Saturday, June 30, 2018
U. names new medical school dean to replace Vivian Lee
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New Eagle Mountain playground honors sheriff’s Sgt. killed in the line of duty
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Govia Thameslink 'could lose franchise' over rail chaos
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Massive natural gas project promising $1 billion for Utah delayed
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Tariff war hurting Utah farmers and ranchers
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Renters would get longer tenancies under government plans
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Hi-tech dreamcatcher defeats sleep amnesia
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Draper fire marshal dies unexpectedly
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Mix-and-match holidaymakers get more protection
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Trump urges Saudis to raise oil output 'by two million barrels'
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Officials identify Idaho man who died in Utah County plane crash
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$12 million Intermountain project to foster focus on 'non-medical factors that affect health'
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Utahns rally for change in Trump's immigration policy
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Fort Duchesne Police seek public’s help locating elderly woman with dementia
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Live blog: Multiple wildfires continue burning for 3rd straight day
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Cultural offerings the key to downtown economic development, analyst says
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Solving a Salt Lake poverty problem: Addiction recovery center creates employment program
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Fresh Air Weekend: Comic W. Kamau Bell; Musician Frank Newsome
Bell's new Netflix special is called Private School Negro. Kevin Whitehead reviews reviews John Coltrane's Lost Album. Newsome is a former coal miner who sings a cappella in a lined-out hymn style.
(Image credit: KC Bailey/Netflix)
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Utah CrossFit instructor starts ASL class for deaf community
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Musical 'East Of The River' Examines A Gentrifying Anacostia
Set amid a theoretical debate about a potential Whole Foods arriving in the historically underserved Washington, D.C. neighborhood, the musical looks at the good and the bad of gentrification.
(Image credit: Eslah Attar/NPR)
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Electric corridor along Utah's I-15 now fully charged
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Looking At Photographer George Rodriguez
Photographer George Rodriguez has chronicled a visual history of Los Angeles over his multidecade career. His work is being celebrated in a new book as well as his first retrospective.
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Hearing From New American Citizens This Independence Day
It's almost the Fourth of July. We reached out on social media to folks who recently became American citizens to find out what the holiday means to them.
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Separated Triplets Offer A Glimpse Into 'The Wild West Of Psychology'
Would they have been better off not knowing about each other? That's the question director Tim Wardle keeps asking himself — he's the director of a documentary called Three Identical Strangers.
(Image credit: NEON)
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Electric car buyers claim they were misled by Nissan
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Step Away From The 'Trauma Buffet' With These 5 Beach Reads By Authors Of Color
Sometimes it seems like authors of color are relegated to writing about nothing but suffering, says author Silvia Moreno-Garcia. But we all need a taste of happiness — starting with these five books.
(Image credit: Chris Hackett/Getty Images/Tetra images RF)
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Friday, June 29, 2018
Volunteer cleanup planned for Provo Canyon to remove items from transient camp
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Affordable housing on Utah's federal lands? Lee proposes trio of bills
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Virgin Atlantic stops accepting forced deportations
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Nationwide crackdown on health care fraud leads to two Utah indictments
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Penny drops
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Fortnite: A fortnight in my 40s in Battle Royale
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Reward offered for information after 32 cows allegedly poisoned in Tooele
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AI to help tackle fake news in Mexican election
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2 men with woman shot by police in Iron County face criminal charges
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Lettuce growers warn of imminent shortage
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Products to help with biking safety, maintenance
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1 dead in crash near Heber City; U.S. Highway 40 closed
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Events, festivals happening around Utah in July
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Steel firms Tata and ThyssenKrupp to merge
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Here's where you can and can't launch fireworks in Utah
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GM warns against potential car tariffs
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Aircraft missing from Utah County, officials say
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New NHS app 'puts patients in control of their own healthcare'
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Sovereignty issue
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Electric car buyers claim they were misled by Nissan
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Lincoln Beach, Marina closed at Utah Lake due to algal blooms
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'I do believe in second chances': Families offer forgiveness to man who killed sons
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Goodbye To Harlan Ellison, 'America's Weird Uncle'
Our critic Jason Sheehan says he's a little surprised that the legendary sci-fi writer passed away peacefully at home. It should have been an attack by alien space bears, or an argument with gravity.
(Image credit: Barbara Alper/Getty Images)
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Judge appoints attorney for security guard charged with murder
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Utah tech company Domo goes public amid skepticism
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'Leave No Trace' Follows A Father And Daughter Off The Grid
Director Debra Granik's new film is based on a true story about a veteran suffering from PTSD who lives secretly in a municipal forest with his teenage daughter.
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Remembering Former Poet Laureate Donald Hall
Hall, who died on Saturday, wrote about farm work and his wife, poet Jane Kenyon, in the 1993 memoir Life Work. He and Kenyon spoke to Fresh Air in 1996, and Hall was interviewed again in '02 and '12.
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4 LDS chapels vandalized in Cottonwood Heights
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'Leave No Trace' Follows A Father And Daughter Off The Grid
Director Debra Granik's new film is based on a true story about a veteran suffering from PTSD who lives secretly in a municipal forest with his teenage daughter.
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Remembering Former Poet Laureate Donald Hall
Hall, who died on Saturday, wrote about farm work and his wife, poet Jane Kenyon, in the 1993 memoir Life Work. He and Kenyon spoke to Fresh Air in 1996, and Hall was interviewed again in '02 and '12.
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How to make Split underwater pictures
Click the title of the article to read this post on Improve Photography, which includes all media files mentioned.
Underwater pictures are always fascinating and open the eyes for a new unknown world. But sometimes you have beside the great underwater world also a great overwater world. With split underwater shots you can combine these two worlds in one photo. But how can you make them? The easy answer is: Get an underwater case ...
The post How to make Split underwater pictures appeared first on Improve Photography.
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Canada 'will not back down' over US metals tariffs
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Casino Comeback: 'Atlantic City's Best Days Are In Front Of It'
Legendary gambling destination Atlantic City, N.J. has had a tough few years. Now, it wants to re-make itself to offer more: shows, spas, a local beach and dining.
(Image credit: Michelle Gustafson for NPR)
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Utah experts warn about pitfalls of long-term auto loans
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Charges: Landlord stabbed, shot at sleeping tenant
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32 cows poisoned in Tooele and police want to know who’s responsible
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Investigators seek public's help locating car connected to homicide
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KSL Investigators put family pets to the home security test
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François Clemmons: From Mozart to Mister Rogers
AMA heads to the Nantucket Film Festival with François Clemmons. Known for his role as Officer Clemmons on Mister Rogers' Neighborhood, he reflects on his life and the film Won't You Be My Neighbor?
(Image credit: Noam Galai for NPR at Nantucket Film Festival)
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Nike shares fly as sales momentum mounts
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At The Education Department, Student Artworks Explore Tolerance And Racism
In an exhibit at the department's headquarters in Washington, young artists speak out through their work about race, sexuality and about being young and having a voice.
(Image credit: Courtesy of YoungArts)
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Best TV streaming service: YouTube TV vs. SlingTV vs. Hulu vs. PlayStation Vue, and all the rest
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Tesco trials shopping without tills
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Live coverage: Wildfires continue to burn throughout Utah
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Wasatch, Duchesne counties worry over Salt Lake City's water 'muscle'
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Pearl Arrendondo: How Can Mentors Push Students To Move Beyond Their Circumstances?
Pearl Arredondo grew up in East Los Angeles, the daughter of gang members. Education was her ticket out. She says young people need mentors to push them not to be victims of their own circumstances.
(Image credit: Ryan Lash/TED)
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Victor Rios: How Can Mentors Guide Kids To Live Up To Their Full Potential?
Victor Rios had dropped out of high school. But one teacher helped him turn his life around. Today, he's a sociologist who studies youth and the factors that nurture their potential.
(Image credit: Ryan Lash/TED)
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Regina Hartley: Why We Shouldn't Overlook The "Scrapper" With The Atypical Resume
Regina Hartley grew up a self-described scrapper, with far fewer opportunities than her peers. Now the VP of Human Resources at UPS, she says she knows the value of candidates who faced adversity.
(Image credit: Mark Tioxon/TED)
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Jeff Smith: How Much Entrepreneurial Potential Lives Inside Our Prisons?
After serving a year in prison, Jeff Smith realized his fellow inmates were just as business savvy as many on the outside. He now works to help inmates harness those skills when they leave prison.
(Image credit: Ryan Lash/TED)
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A Wednesday July 4 may mean long week of heavy traffic on Utah's roads
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Cottonwood Mall site developer says referendum against project is illegal
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Domestic violence charges: Man told wife she was to cook, clean
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Noel Bowler goes inside the union movement
Modern working life is so frenetic, we often don’t get the chance to dwell on how it’s evolving, how secure it is, or how we’d cope if our jobs came under threat. Who are the people, or groups of people, fighting this seemingly inevitable trend? The people who see something noble and worthy of protection in work?
Noel Bowler provides a possible answer in his series Union, which is on show at Impressions Gallery from 04 July – 22 September. Taking us inside the meeting rooms and head offices of industrial unions, it introduces us to the people who try to safeguard labour rights.
Bowler portrays union offices in fourteen countries, ranging from Washington to Warsaw to his native Ireland. He invites us to consider office spaces, meeting rooms and boardrooms as empty, dormant chambers, heavy with a sense of suspended conversation. In doing so, he gives us the chance to consider how these beleaguered organisations – which date back to the nineteenth century – are adapting to today’s challenges.
Economists now openly talk about a third industrial age, an era of self-employment, flexible employee arrangements, and zero-hour contracts. Traditional work practices, they say, are just that – old-fashioned, a thing of the past. The rooms Bowler photographs are quiet, and yet their set ups suggest important summits and dramatic negotiations.
“Even the furniture seems dramatic and overthought,” Bowler tells BJP, “perhaps burdened under the weight of its own responsibilities.”
Bowler is fascinated by what we can learn from the built environment – Making Space, his first major series, portrayed rooms used for prayer by Muslim communities in his native Ireland. “I think viewer engagement is vital to the narrative,” Bowler says. “For me, allowing the viewer to populate the images within their own imagination is not only one of the strengths of this type of work, but of photography as a whole.”Many of these rooms were chanced upon rather than sought out, a factor which gives Union a sense of authenticity. “I always take the rooms as I find them,” Bowler says. “As a rule I don’t rearrange or change anything within the frame.
“Where possible, I would spend up to an hour in each room on my own, just absorbing my thoughts and research and allowing instinct to decide the frame. For me, this process allows for those serendipitous moments to occur.”
One such moment is the image taken at the AFL-CIO (American Federation of Labor and Congress of Industrial Organisations) building in Washington DC, America’s capital, and the heart of its federal government. “This was the office of the person assigned to escort me around the building. A room, otherwise I would never have seen,” Bowler says.
This five year project allowed Bowler to explore organisations as varied as the United Steelworkers of America and the International Brotherhood of Teamsters and alongside these interior shots, Bowler took portraits of union leaders. One of his portraits shows Bob Crow, for example, General Secretary of the National Union of Rail, Maritime and Transport Workers in the UK from 2002 until his death in 2014 from a heart attack, just weeks after organising major industrial action across London’s transport networks.
There’s a sense of a palimpsest here; the distinct character of the unions communicated through the details that lie embedded in the many rooms, offering clues as to the attitudes and beliefs of those who inhabit them. A poster on one worker’s messy desk reads ‘Vote Socialism’, positioned next a photo of Karl Marx making the victory sign. In contrast, a meeting room, minimalistic and modern, portrays a Rene Gruau poster – more socialite than socialist.
“I feel we live in a neo-liberal society with the cult of the individual at the forefront, satisfied to let corporate power run things in the background,” Bowler says. “There seems to have been a shift in ideology, which basically promotes corporate individuality as good and collective non-corporate action as bad. So long as this ideology exists, I think unions will battle to find their position within it.
“That sense of ‘the battle still to come’ is very much present whether it’s to organise and reassure the labour market as a whole or to simply reaffirm its own position as a mechanism that’s still relevant.”
www.noelbowler.com Union by Noel Bowler is on show from 04 July – 22 September at Impressions Gallery, 7 Aldermanbury, Centenary Square, Bradford, BD1 1SD www.impressions-gallery.com Union by Noel Bowler is published by Kehrer, priced €48; the book includes an introduction by Ken Grant www.kehrerverlag.com
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Get Good Photography Reviews While Avoiding the Bad Ones
Click the title of the article to read this post on Improve Photography, which includes all media files mentioned.
Several years ago I was talking to a high school friend. He had just been turned down for a teaching job. Turns out, one of his references as saying some negative things about him. I’m not sure how many jobs my friend missed out on because of that person, but once he stopped using him ...
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Lloyd's of London chief executive Inga Beale to step down
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Accountancy giant PwC hangs up on landlines in mobile move
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Legal bid to throw out US sex trafficking law
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Fake bookings hit Singapore's Ryde Technologies
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Floating robot Cimon sent to International Space Station
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Fake bookings hit Singapore's Ryde Technologies
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10 great movies to celebrate the Fourth of July
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Bluesound Pulse Mini Bluetooth speaker review: Great sound, strong feature set, and a few rough edges
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'A Very English Scandal' Is Veddy, Veddy Fun, Indeed
The stars of Paddington 2 (Ben Whishaw and Hugh Grant) reunite, under ... very different circumstances, for a 3-episode Amazon mini-series about a gay relationship that shocked the U.K. in the '70s.
(Image credit: Sophie Mutevelian/BBC/Blueprint Television Ltd)
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Tesco trials shopping without tills
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Surprise upgrade to UK growth
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CO2 shortage 'to hit food choices on supermarket shelves'
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Instagram Photo Sizes Made Easy
They say there are only three things in this world you can count on—death, taxes, and that social media sizes that you’ve committed to memory will change out of the blue. Fear not, denizens of Instaland! We’re on top of it. We’ve thoroughly researched all facets of Instagram sizing, so all you need to do is worry about whether or […]
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Sports Direct pips Apple in global retailers' list
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WTO backs Australia over plain cigarette packets
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Get me out of here!
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Get me out of here!
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Elders Gerrit W. Gong and Ulisses Soares talk about their calling as new apostles of LDS Church
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Man killed in crash after running red light identified
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Salt Lake City considering $87M bond to improve city streets
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Orem man accused of fatally shooting rival gang member takes plea deal
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Utah first state to be named 3-star destination by international travel guide
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Utah mom shares benefits of meal prepping for families
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UDOT gets creative with its messaging on overhead highway signs
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Thursday, June 28, 2018
Colorado man arrested in death of woman whose body was dumped in Utah
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Beyoncé And Jay-Z Present A Unified Front On 'Everything Is Love'
The Carters, who married in 2008, celebrate their union with a heavily autobiographical new album. Critic Ken Tucker is impressed by the record's easy shifts between hip-hop and R&B.
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Reporter Covering Immigration Warns Government Is 'Ill Equipped' To Reunite Families
New Yorker writer Jonathan Blitzer has been in El Paso, Texas, reporting on immigration and family separation. "I've been meeting women who are crying so violently they can barely speak," he says.
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With Gonzo Flair, A New Graphic Novel Kills Hitler
Anthony Del Col's gung-ho tale of a convoluted plot to bump off Hitler is jam-packed with beret-wearing Resistance fighters, frosty female spies and epic car chases — plus the dictator's secret son.
(Image credit: Image Comics )
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Preliminary report doesn't find Wyoming glider crash cause
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Live updates: Wildfires threatening structures throughout Utah
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Conquering the Circle of Confusion for Photography
Click the title of the article to read this post on Improve Photography, which includes all media files mentioned.
It is likely that there has never been a term that is more aptly named than the circle of confusion. Through an understanding of the Circle of Confusion will come a mastery of depth of field. A mastery of depth of field will dramatically enhance every photo you take. If you’re like most people, when ...
The post Conquering the Circle of Confusion for Photography appeared first on Improve Photography.
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Convicted killer among 5 charged in prison stabbing
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Amazon to buy online pharmacy PillPack
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Gun industry noticing new trend affecting their business
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Studio 1854 wins The PPA Great Leap Forward Award
Studio 1854, our rapidly growing visual content agency, was awarded The Great Leap Forward Award at last night’s Professional Publishers Association Awards. “The brave decision to redirect Studio 1854 away from advertising has allowed all other areas of the business to develop,” said the judges, “it was a unanimous choice.” Edward Enninful, editor-in-chief at Vogue, and GLAMOUR Beauty Club were among the seven others shortlisted for the prize.
The Professional Publishers Association is the primary media industry body in the country; the Awards were judged by an impressive panel of editors and media owners. 1854 Media has won three prizes at The PPA Awards over the past two years. In 2016, British Journal of Photography was named Consumer Media Brand of the Year, and our Portrait of Britain exhibition received Digital Innovation of the Year. In 2017, 1854 Media was awarded the Publishing Innovator of the Year Award.
“2017 was a pivotal year for our business,” says Marc Hartog, CEO, 1854 Media,“ it culminated in a complete rebrand from Apptitude Media to 1854 Media, a multi-platform digital media business, and the launch of our new visual content agency – Studio 1854.” With advertising as we used to understand it – interruptive, heavily branded and in your face – effectively over, 1854 Media made the bold leap to transform its commercial arm into a visual content agency. “We had to risk everything,” continues Hartog, “we revisited not just what we do and how we do it, but also the very essence of why we exist. This culminated in the re-brand, and a new manifesto to clarify our vision and reboot our focus.”
By partnering with major clients and brands, Studio 1854 creates paid opportunities for its community of photographers, while also generating compelling content for its digital readership. Recent projects include Separation: What does Brexit mean for love? – a series of portraits by the award-winning photographer Laura Pannack that explore couples forced to contemplate separation in the wake of Brexit, supported by Affinity Photo – and The DJI Drone Photography Award – a competition calling for photographers across the world to submit ideas for creative, drone-shot projects, supported by DJI.
“Taking a risk worked,” reflects Hartog, “1854 Media now exists to curate the best contemporary photography for an international audience; to provide a platform to help photographers succeed, and to help brands create standout visual content.” Despite being just five years old, 1854 Media has continually innovated in what is a rapidly evolving media landscape within a sector facing increasing pressure. “Without question, 2017 represents our boldest year yet: pivoting away from our traditional model and launching Studio 1854 – our greatest leap forward yet.”
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Utah Highway Patrol cracks down on distracted drivers with undercover operation
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Purported cult leader wanted to grow old with 8-year-old girl he abused
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21-year-old man dies in early-morning crash on I-15 near Cedar City
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Lafarge cement giant in terrorist funding probe
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Steffi Klenz’s lively still life Staffages
In the late 1700s and early 1800s, painters sometimes included ‘staffages’ in their work – human and animal figures that weren’t the primary figure, but which added life to the work. ‘Staffage’ means ‘accessories’ or ‘decoration’ in German, and was used to describe figures that had no specific identity or story, but which were included for compositional or decorative purposes.
It’s the name German-born artist Steffi Klenz has chosen for her latest series, which was commissioned by Tunbridge Wells Museum & Art Gallery and features objects from its collection. Researching the museum’s collections catalogue, Klenz got interested in museum theory – the idea that objects are given equal status through the way an institution registers, describes, displays and cares for them, and gain their value through the way they represent our shared stories.
Each curator or artist who works with the objects displays them in a different way, the idea goes, and therefore shifts our perception of them; by putting the objects into another, radically new situation, Klenz’s images toy with our idea of their worth.
Graduating from the prestigious Photography MA at the Royal College of Art in 2005, Klenz’s work plays with architecture and our perception of space, though never in a direct way. For this project she was given access to all the collections and buildings in the museum plus its adult education centre – which, along with the library, are soon to be redeveloped into a Cultural & Learning Hub.
“At this exciting time of change and to celebrate the uniqueness of our collections and spaces, we wanted to capture a snapshot of the collections, buildings and the people working in and using these spaces before the evolvement into the new Cultural Hub,” commented Suzie Plumb, the exhibition curator.
www.steffiklenz.co.uk Staffages is on show until 08 September at Tunbridge Wells Museum & Art Gallery, Civic Centre, Mount Pleasant, Tunbridge Wells TN1 1NJ www.tunbridgewellsmuseum.org
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Facebook and Google use 'dark patterns' around privacy settings, report says
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Mother and daughter go from homelessness to independence with gifted car
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2 teen gang members charged in violent 6-hour crime spree
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Tobacco giant Imperial Brands invests in medical cannabis
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CO2 shortage: Pubs promise not to spoil the party
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Utah's 4 House members disappointed immigration bill fails to pass
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A million couples miss out on tax break
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Ticketmaster 'warned of hack attack in April by Monzo'
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Against the Grain: Skate Culture and the Camera
In 2020 skateboarding will become an Olympic sport for the first time, joining the Games in Tokyo alongside surfing, karate and sport climbing. It’s big step for a sport that’s always been associated with the counter culture – with, as a new exhibition of skate photography puts it, going Against the Grain.
Including images by photographers such as Spike Jonze, C. R. Stecyk III, and Glen E. Friedman, Against the Grain: Skate Culture and the Camera traces the history of skateboarding, from the empty Californian pools of the 1970s to the now world-famous Palace Wayward Boys Choir – a London-based crew whose member Lev Tanju founded a wildly successful skateboard and clothing brand.
The exhibition also includes archive material from magazines such as SkateBoarder, Thrasher, Transworld, R.a.D [Read and Destroy], and Sidewalk, which, say the organisers, were “essential to circulating information about skateboarding and contributed to the international force it is today”.
And in doing so, Against the Grain also hopes to make a case for skateboarding photography – arguing that, although it’s “often dismissed for solely capturing the decisive moment or ‘peak action trick’, this wide-ranging genre of photography has expanded to many documentary and artistic styles and continues to exist through its own decree”.
Against the Grain: Skate Culture and the Camera opens in London before travelling to North America in 2019 and Tokyo in 2020, focusing in on aspects of the skate community and history of each location. In London it kicks off with an Art Night run in association with Hayward Gallery, for example, tracing South London skate spots critical to the Palace story – and fundraising for Long Live Southbank, the campaign to restore and save the outdoor skatepark underneath the public gallery.
Against the Grain: Skate Culture and the Camera is on show from 07-22 July at 15 Bateman Street, Soho, London W1D 3AQ https://atg-exhibition.com
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Sim Chi Yin investigates the Fallout
Four years ago, when we first featured Sim Chi Yin in our talent issue, she was a relative newcomer to the photography scene, though her resumé was already looking impressive. Tipped by Sarah Leen, director of photography at National Geographic, she seemed an assured bet, destined to do great things with a camera.
Fourth-generation overseas Chinese, she was born and grew up in Singapore before studying history and international relations at the London School of Economics on a scholarship. Returning home, she spent her twenties and early thirties on the road, working fiercely hard as a foreign correspondent for The Straits Times, Singapore’s respected daily, rising to become the paper’s Beijing correspondent.
“Plenty of people warned me it was crazy to throw away a decade-long career as a foreign correspondent,” says the 39-year-old, speaking from her home in the Chinese capital. And the move into photography was, from afar, a seamless transition. Her first major work, The Rat Tribe, a documentary series detailing the lives of blue-collar workers in Beijing, was shown
at the 2012 edition of Rencontres d’Arles, while her coverage of the Burmese Spring was exhibited by Oslo’s Nobel Peace Center later that year.
A third series, Dying to Breathe, which explored Chinese gold- miners living with occupational lung disease, was supported by the Pulitzer Center on Crisis Reporting and triggered a nomination for the 2013 W Eugene Smith Grant in Humanistic Photography. After inviting her to be part of their mentoring programme, VII photo agency made her a full member (although she left in 2017).
The major news organisations quickly came calling. She gained assignments for publications such as Le Monde, National Geographic, The New York Times, and Time. She was almost constantly on the road, working feverishly. She recalls an English friend asking her how her career was going. “I’m juggling spinning plates,” she said. “I think you’re mixing your metaphors there,” he said. “I know,” she responded. “I mean to.”
It’s disconcerting to think how years of work and effort, of countless hours spent practising and honing a skill, can be wrenched away from any of us in just a few minutes of misfortune. It’s also, for any of us used to good health, troubling to consider how reliant we are on the basic functionality of our bodies. A photographer, for example, needs to be able to hold a camera, to have the strength to frame a shot and time the click of the shutter in the heat of the moment. Shorn of that basic ability, what are we left with? Early one morning in May 2015, Sim had to face that exact question.
She was on assignment for a French newspaper, travelling to the Tumen Economic Development Zone, a government-owned complex of Chinese factories on the edge of the border with North Korea. Tumen employed North Korean labourers who, with state sanctioning, would be sent to live and work in the economic zone. The brief was to capture how North Korea and China trade. This place seemed like the perfect microcosm for that complex relationship – the makings of great pictures.
Entering Tumen with her driver and colleagues from Le Monde, she failed to spot a sign that read: “No smoking, photography, or practising driving”. As they approached the factories, the car passed a small group of women in black jumpsuits, knelt by the roadside picking weeds from the ground. Sitting in the driver’s seat with the window wound down, Sim instinctively raised her camera and fired off a couple of shots. “Almost immediately, the women turned around, ran towards the cab, and reached into the car,” she wrote in an article for ChinaFile, recounting events.
“My hand, with fingers on the camera grip and shutter button in shooting mode, was stretched outside the car window. We were now surrounded by the women workers. Six or seven of them were pulling on my camera… The strap [was] wound around my thumb, making it impossible for me to release the camera…”
She can remember the thumb on her stronger right splitting in two places. Blood was pouring from the wound, yet the women would not give in. “For a second, I locked eyes on one of the women pulling my camera… She was consumed by a fury that I had never encountered before, a blind hatred, an uncompromising determination. I wondered, what drove these women? What were they thinking?”
By the time the camera had been wrested from her grasp, Sim’s thumb had been ripped from its socket, her ligaments turned to spaghetti. From there, the situation didn’t get any easier. The women were North Korean. Sim expected them to smash her camera, but they instead, “with great discipline, handed it immediately” to a frowning, official-looking man who had arrived on the scene. When the police arrived, the camera was dutifully turned over, and Sim entered a vortex of suspicion, indecision, bureaucracy and misdirection.
Deprived of ice to ease the swelling or water to clean the wound, her thumb ballooned to twice its size as a gaggle of policemen and exterior officials – evidently from China and North Korea – gathered at the police station, trying to work out how to handle a situation that involved a Chinese-Singaporean photographer, a French reporter and North Korean workers at a Chinese-run factory.
As Sim waited for news, she noticed her attackers – who studiously ignored her – pass around a small red badge engraved with the bust of Kim Il Sung or his son, Kim Jong Il. She observed one of them take it to a corner of the room and seem to talk to it – as if she were talking to Kim himself.
When she eventually made it to the local hospital, Sim Chi Yin was told a man had visited the industrial park a month previously. He had taken pictures with his mobile phone and was also attacked. A chunk of flesh was bitten from his hand. Returning to the police station, she says it was made clear they would not be let go unless they promised not to press charges. Giving in, she was on a flight back to Beijing two hours later, where a doctor ordered an MRI scan.
“As I waited for the results, one of the policemen from Tumen called. ‘Hello, Journalist Sim,’ he said. ‘We hope your hand is better. It’s best if you don’t get surgery.’”
She did have surgery, twice, followed by physiotherapy that continues to this day. Le Monde’s insurance only covered the initial costs of surgery, leaving Sim to pay the rest of the expenses. All in all, she estimates she lost 12 months of earnings, and it took her a full two years before she felt confident and capable enough to work again. But, however traumatic the event, and however painful the aftermath, that day on the border with North Korea has allowed Sim to realise parts of her life, and her photographic practice, that might otherwise have remained veiled.
“It was a very stressful and painful time for me,” she admits. “But I decided to see it as a wake-up call. It allowed me to think carefully about how I was spending my time, where I was going, what I was contributing. The injury coincided with me becoming aware of my age, and I thought to myself, ‘There’s only so many more creative and productive years you have left’. I decided I wanted to work differently, to find a new visual language – a slower, more patient, more deliberative style of photography.”
It’s a theme she expounded on in May this year at an awards event in New York commemorating her as the seventh winner of the Chris Hondros Award, an accolade created in memory of the late Pulitzer Prize-winning photojournalist who died alongside Tim Hetherington in a mortar attack in Libya in 2011. She used her acceptance speech to thank “the mentors whom offer moral support as I stumble and shuffle along this path that is not straight, paved or breadcrumbed. And the dear friends who talk me through heartache and cheer me on as I fight through the confusion of a self-directed life.”
Yet she also used the speech to recognise that her work, and her life, are at a crossroads. “Even in the seven quick years I’ve been a full-time photographer, the way images are being consumed has changed significantly,” she said. “A photoessay I spent much of a year working on runs online and seems to be consumed and spat out in two hours. How do we be useful photographers any more? How do we speak in a very noisy and distracted room – and be heard? And having got their attention, how do we make people care?”
She pointed to the influence of Hondros and Hetherington, noting how they adopted a more thoughtful approach, “fluidly multidisciplinary and experimental”. And with that in mind, Sim’s new focus is on creating works with an emphasis on “impact over reach”. The foremost example is the series she made for the Nobel Peace Prize, illustrating in her own voice the work of the 2017 winner, the International Campaign to Abolish Nuclear Weapons.
It was the first major commission Sim had taken on since her thumb was ripped, and having been awarded the assignment before the winner was announced, she’d anticipated photographing the work of an individual, and was planning accordingly. To hear the prize was awarded to a diffuse, multinational organisation, one mostly made up of volunteers working out of more than 100 countries, presented a clear and obvious issue. “To be frank, the organisation is mostly campaigners with banners and placards,” she says. “It’s people writing emails, or newspaper columns, or going on Twitter.”
How could she photograph such an abstract thing – a weapon that could cause genocide in an instant – in a meaningful, thoughtful manner? What’s more, how could she take on the issue without being seen to take sides, or by hectoring people about who was in the right and who in the wrong? It is estimated that North Korea has tested nuclear weapons on six separate occasions over a decade, while the US – the only country ever to use the weapons – carried out more than a thousand similar tests between 1945 and 1992.
“Who gets to call who a rogue state, and who decides how many warheads are too many?” she asks. “I decided that if I was to invite people in, I had to create a suspension of moral judgement, and that meant creating a suspension of place.”
With what could be regarded as beautiful serendipity, an image of the North Korean borderlands taken the day before she was assaulted provided the eureka moment for her remarkable study of the pervasive threat of nuclear weapons on our collective psyche. Sim had been invited to Oslo to try and agree on a unified conceptual approach to the exhibition. During her preparatory research, she recalls looking at archival military pictures of the scarred and pockmarked landscape of America’s largest nuclear test site in Nevada. A little later, she decided to revisit the photographs she had made on that fateful trip to Tumen.
She honed in on an image she had photographed of the North Korean landscape, taken through barbed-wire fencing on the Chinese side of the border. The image was incidental, a momentary snapshot she had never had cause to seriously consider before. Yet two years later, she placed the screen of her mobile alongside the image of the Nevada test site on her desktop.
“And they looked similar,” she says. “There was a parallel there, a sense of a continuity between the way both places looked. An idea was there, a meaning emerging. I decided I would look for parallels – both visual and symbolic – between these landscapes.”
The series, which she titled Fallout, saw Sim and two producers drive more than 6000 kilometres along the China-North Korea border and through six US states in the space of two months. In Asia, she searched out locations closest to North Korea’s nuclear test sites, missile-manufacturing facilities and munitions bases, photographing the landscapes that surround them. “I travelled back to the place where I had been attacked,” she says. “I had to confront those traumas.”
In America, she photographed from the snowy wilderness of North Dakota, where a pyramid like military radar complex looks out from a high vantage point, to the cratered nuclear test site in the Nevada desert. For the resulting exhibition, which launched at the Nobel Peace Center museum in Oslo, Norway, after the Peace Prize ceremony in December (and continues until November), she placed the images from the two countries side by side, creating a series of diptychs that seem to mesh and tessellate with each other. “Which is America, which is North Korea? The answer is not always obvious,” she says.
Meanwhile, Sim has various long-term projects on the go, including Shifting Sands, focusing on a natural resource for which demand is rapidly outstripping supply. Her homeland, the small
but populous island of Singapore, is the world’s leading importer of sand. “Its thirst is mainly driven by its appetite for land reclamation,” she explains. “It has created almost a quarter of its territory [more than 50 square miles] out of the sea over the decades.”
She began photographing the project last year, on the back of a New York Times Magazine assignment, and a residency with the Singapore-based Exactly Foundation. “With rapid urbanisation and massive land reclamation around the world, there is now a growing global shortage of sand – a resource that, almost counter-intuitively, is finite,” she writes in her statement. “What does that mean for cities like Singapore going forward? How should we view this piece of global story?
“In this highly lucrative sand trade (so attractive there are sand mafias), rich cities are developing at the expense of their poorer neighbours – the growing global income gap writ large. Seen another way, the wealthy are buying bits of territory and moving it where they want it.”
Sim has overseen another exhibition earlier this year, one of much more consequence to her own life. Opening at the Jendela Gallery during Singapore Art Week, she showed for the first time a series titled One Day We’ll Understand, an exploration of the Malayan Emergency of 1948 to 1960, “a 12-year war in all ways but name, as the British fought against Malayan communists.”
The exhibition, which was part of a group show alongside Bangladeshi photographer Sarker Protick and Vietnamese painter and video artist Thao-Nguyen Phan, explored the contemporary impact of colonial legacies. Sim travelled to China, Hong Kong, Thailand and Malaysia to interview and photograph people from her grandfather’s generation who had experienced and survived the Malayan Emergency, photographing their treasured personal items and finding the landscapes they recalled in their stories – “landscapes of trauma and conflict”.
“On the trail of ghosts in the jungles of Malaya,” is how she terms it. But the photography Sim showed is, in fact, only a small part of a much larger, more complicated and ongoing family history series – one which centred around the shrouded story of her grandfather. In 2011, Sim’s mother showed her a photograph of him, a gentle-looking man called Shen Huansheng, dating back to the 1940s. Wearing a white cotton shirt, he smiles towards the lens, and from his neck hangs a camera. “I was very struck by it,” she says. “I had never known there was another photographer in the family.”
Indeed, Sim knew little of her grandfather, because he was barely mentioned by the family. He had been purposefully forgotten, his life an unspoken taboo. She began to dig, and discovered her grandfather, a former businessman and editor of a left-leaning newspaper, who had been imprisoned and then deported from Malaya by British colonialists, returning to Gaoshang, his ancestral village in Guangdong province, South China.
That same year, at the beginning of her career as a dedicated photographer, she decided to retrace her grandfather’s steps, travelling to Gaoshang and connecting with relations who she had never met before. There, she began to piece together her grandfather’s story. A month after arriving, he had joined the Chinese Communist Party – an act that would have been seen as a terrible crime in Malaya – before being captured and executed by Nationalist forces in 1949, just a few months before the Communist Revolution swept the country.
Titled For This My Grandfather Died, Sim’s photographs of her ancestral village are remarkable, capturing in unsentimental terms the demands of living in this simple, isolated farming village – a possible road not taken in her own family history. But she also captures how her grandfather is, to this day, remembered and revered as a martyr. She photographed a six-foot tall obelisk that marks his grave, and a faded, barely visible official portrait she discovered – maybe the last photograph ever taken of him.
Throughout the series, an unofficial history starts to quietly emerge, like the faded marks of a palimpsest. “He had died for communism,” Sim says. “But the family never accepted it. The family was ordered to forget him.”
Returning home, she showed her photography to her father, uncles and aunt. It sparked a reconciliation. After some soul-searching, the family returned to their ancestral home to pay their respects to the man they were forced to forget. And if anything exemplifies the power of photography, then this is it. Yet Sim is continuing the series, after revisiting its roots at an artist residency with Docking Station in Amsterdam last year.
“It has become a research, archival and visual project delving into trauma, memory, representation and historiography,” she says. “The project spans photographs, oral histories, archival material, artefacts, film, song, text, and will take me some time yet to finish.”
With her newfound deliberative, meditative approach, it seems likely Sim will create something very special. It’s difficult to say what those North Korean women had in their mind that May morning three years ago – did they feel obligated to attack Sim in such a way, or did they just feel a hatred towards a woman so curious and free, creative and ambitious? Either way, her defiant reaction demonstrates a remarkable resilience from a prolific talent.
chiyinsim.com Fallout is on show at the Nobel Peace Center, Oslo, until 25 November as part of its Ban The Bomb exhibition nobelpeacecenter.org It is also showing at Cortona On The Move, 12 July to 30 September cortonaonthemove.com and will be installed as a solo show at the Institute of Contemporary Arts Singapore from 20 July – October 2018 under the new title Most People Were Silent. This article was first published in the July 2018 issue of BJP.
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