The Game of Life

A multimedia project exploring family ties, baseball, and the immigrant experience

I’ve always had a restless type of creativity, wanting to push the bounds of photography and photojournalism, and to seek new ways to use my photographs as storytelling. In 2006, I created one of the first “flipbooks” based off my photographs taken in Iraqi Kurdistan on assignment for National Geographic. The photographs were edited together in a rapid, filmic succession creating a collage-like portrait that would foreshadow my venturings into the video world.

A few years later, in 2012, I would go on to create “Photojournalisms”, blending over 20 years of photographs with journal entries to my wife, Julie Winokur.

In 2017 I decided to create a non-linear, immersive video incorporating my vast video and stills archives, to create The Enigma Room, which premiered in 2019 at Photoville in NYC and has since been shown around the world.

Last year, I decided to venture into the unknown once again, this time creating a series of multimedia collages with my studio. The process that organically developed in my studio has exemplified the beautiful collaborations that are possible when open minds and creative desires are mixed. What started as a simple goal of producing collages out of archival imagery from my family, images of my son playing baseball, which was a 17-year period, and new images I made by photographing some of my son’s baseball ephemera, developed into a 3-way collaboration between myself, Mike Curry and Mei Seva. 


The process started with me creating original combinations of digital images, which were enhanced and modified on Photoshop by Mike Curry. Mei Seva then added 3d materials like seeds and bubblegum, as well as liquids such as vaseline and shaving cream, to "paint" the printed out collages. The mixed-media collages were then photographed to create the final image.

All of the materials used to create the collages relate directly back to baseball and are used by baseball players all over the world. These include: pine tar, chalk, beard oil, sunflower seeds, body butter, shaving cream, vaseline, chalk, eye black, spider tack, bubblegum, and gripping spray.

These collages express my relationship to baseball, my son, my immigrant family, and the murky memories of a first-generation American’s childhood. It’s also an exercise in something I cherish about the creative process, collaboration. 

The final pieces represent a visual memoir of my obsession with baseball, my family, and being an assimilated immigrant.

Saigon on Wheels | Rediscovery through the Archive

I recently went through my vast photographic archive, packing boxes upon boxes of tearsheets, prints, books and more, in preparation for an upcoming handover to the Briscoe Center for Documentary Studies. This was a bittersweet process for me as I looked through decades of my photographic work, but the sense of loss was accompanied by a profound attachment to the many stories I’ve had the privilege to capture with my camera.

One of the many boxes I packed included prints from a story on the motorbike craze in Saigon in the 90’s. These black and white prints were well-preserved and had survived two decades of storage. As I rifled through the prints, I realized many of these images were not a part of my official archive of my best photographs — which I refer to as the “DA”, or Digital Archive. But as time passes, so does our perception of images. I was able to rediscover many photographs I had brushed aside before.

This whole process led to my studio scanning negatives and new additions to the DA, expanding my initial edit for this story, and resulting in a new online gallery: “Saigon on Wheels”.

-Ed Kashi

The Forgotten Faithful | Arab Christians in the Levant

On assignment for National Geographic | Israel, Palestine, Syria, Lebanon

2008

 

One of the least reported cultural stories in the Middle East today involves the plight of Arab Christians—some eight million people living mostly in Syria, Lebanon, Israel, Palestine, Egypt, Jordan, and Iraq. These are the remnants of indigenous Holy Land communities dating back 2,000 years who were among the first Christians in history. Their culture is ancient, distinctive, and colorful, shaped by their remarkable ability to survive the upheavals of Middle Eastern history. Yet Arab Christians are now in danger of vanishing from the region altogether, driven out by a rising tide of religious and political extremism. Attacks on Christians are up dramatically from a decade ago, prompting a huge wave of out-migration. Besides uprooting families and communities, this trend is also having an adverse impact on the Arab world: Christians tend to be the best educated and most modernized citizens of their home lands—the progressive voices in the political arena as well as successful merchants and traders. In short, the people Arab society can least afford to lose.  This story looks at the Arab Christians in the Levant.

George Eastman Museum: Artist Talk on Abandoned Moments

George Eastman Museum | Rochester, New York

On November 17, 2022, I gave an artist talk at the George Eastman Museum in Rochester, New York on my Abandoned Moments photobook, which contains photographs shot from the hip in a unique style of photography that I have developed over the years. It was a pleasure and an honor to be at the Museum, which contains one of the oldest film archives in the world.

You can watch the full lecture above.

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Abandoned Moments: A Love Letter to Photography
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The Revival of Analog Photography

by Mei Seva

Photographs by Mei Seva, taken with a Pentax K1000

Analog photography is making a major comeback, propelled by young photographers enamored by its dreamy colors and less-than-perfect resolution.

In a way, it's a rebellion against modern life. Today's generation grew up with technology embedded into every aspect of their lives, carrying around high-quality cameras from an early age. Film cameras have come to represent a break from the norm – a "detox" from digital life. 

The popularity of film photography has grown in recent years for a variety of reasons, with the media, influencers, and younger generations all playing a significant role.

Celebrities such as Kendall Jenner and Gigi Hadid are at least partially responsible – frequently sharing fuzzy film photos with a natural, organic look on Instagram, a rebellion of its own against Instagram's carefully curated, highly produced look.

Jenner even brought her film camera to the Met Gala in 2018, using it to photograph candid shots of her famous friends and fellow attendees.

And popular shows such as HBO's Euphoria, have also opted to use film – a stark contrast to 99% of the major films and television shows produced today. The second season of Euphoria, which averaged 16.3 million views, was all shot on Kodak Ektachrome film. 

This was such an unusual request, so far from the norm of the film industry, that the series creator, Sam Levinson, had to reach out to Kodak to see if it would even be possible to get enough of the film stock to shoot the entire series in the 35mm format. According to Levinson, Kodak had to convert parts of its factory to make his request possible. The result is one of the most popular shows in recent years, known for its outstanding and masterful cinematography.

Shots from HBO’s Euphoria Season Two

Because of this rise in popularity, the price for analog cameras and film has jumped.

The 35mm Ektachrome film is back in production, after production was completely halted in 2011 due to decreasing demand.

The price of a Contax T2 (Kendall Jenner's camera of choice) is now averaging at $800+, the highest point since the 90’s.

Harman Technology (the company that manufactures Ilford films) and Kodak, in particular, have seen steady growth in sales over the past five years.

Film photography is in no way poised to dominate the market — those days are long gone. But you can't deny film is experiencing a major resurgence.

Besides the "coolness" of analog photography increasing, lending itself naturally to higher interest among the younger generations, there are other reasons that explain the new-found interest in what is seen by most in the industry as an outdated and impractical way to shoot.

Analog photographs provide a fresh look, and when done right, an almost nostalgic and ethereal quality to photography and video. After hours of scrolling, whether it be on our laptops, phones, or streaming providers, analog film simply stands out. It is not the norm, which gives it a more unique aesthetic – and the rarer something is after all, the more we desire it.

One can even make the argument that such interest in film photography is a valuable learning opportunity for young photographers and videographers. After all, instead of using a memory card that holds hundreds of images and videos, using a film camera forces a more mindful approach. There is a deliberativeness that film requires when you only have 24 or 36 frames per roll. This forces more careful consideration of what to frame in your shot, and when you actually press down the shutter. This is an essential element of learning photography – that deliberative composition is what produces, in most cases, a compelling image. 

In a culture where we are inundated with a never-ending onslaught of choices, analog film's restrictions, in a way, are freeing. The results aren't perfect. There are light leaks, maybe the focus is off. The shots don't come out exactly the way you had in mind. But that's what makes every click of the shutter that more important and special.

Mei Seva
Studio Manager

Anderson Ranch Mentoring Program Graduates | Part Two

Over the past seven years, I’ve had the great privilege to create, with Jim Estrin of the New York Times, a unique and incredibly powerful mentoring program at the Anderson Ranch Arts Center in Snowmass, Colorado.

The Center for Advanced Mentored Studies is a three-year mentorship that is part of The Center, and the goal of this program is for participants to create books, exhibitions, websites, films, large bodies of photographic work and in one case, possibly a major documentary or narrative film. Being a part of these cohorts’ journeys over the past few years has been one of the most rewarding teaching experiences of my life and provided a significant opportunity to mentor with depth, commitment and vision.

Along with Andrea Wallace, the Vice President of Artistic Affairs at The Ranch, Jim and I have worked with four different groups, each over a three-year period, to create the most unique and powerful community I’ve experienced in my role as a teacher and mentor. Some of the brightest talents in our profession have passed through this program, going on to win World Press and Pictures of the Year International awards, get hired by the likes of the Washington Post, National Geographic, The New York Times and much more.

Applications are now open for two new sections of this three-year program. If you’re interested, please go to this link to learn more. Jim and I are thrilled to have the continued opportunity to be a part of something that is so deeply serving for both the cohorts and ourselves.

I’ve decided to showcase some of the work of recent participants below. Please check it out and stay tuned for more!

TW: violence, rape, sexual assault, fatphobia

Rosem Morton

Rosem Morton is a Filipina photojournalist, nurse and safety trainer based in Baltimore, Maryland. As a visual journalist, she is a National Geographic Explorer whose work focuses on daily life amidst gender, health, and racial adversity. She documents issues such as the effects of gender-based violence, the unheard stories of healthcare workers, and the legacies of western colonization that have shaped Filipino culture and migration. Her work has been awarded the Leica Women Photo Award and the Visa d'or Daily Press Award. She has also been recognized by the Pictures of the Year International, the World Press Photo 6x6 Talent and the 30 under 30 list. Morton has worked at major trauma centers as a registered nurse for the last 10 years. She draws on these experiences alongside the IWMF Next Gen Fellowship to provide holistic safety trainings for journalists.

Her project DearSurvivor.org is designed to build community, support and resources for survivors of gender and sexual violence alongside their allies. This platform hosts a growing audio-visual collection empowering survivors through the expression of their own narratives. These stories seek to highlight survivor experiences, illustrate the prevalence of sexual violence, and question how we can break this cycle. The site offers free access to resources, workshops, a podcast, photo series’, workbooks, sharing spaces, and more.

Shelby Knowles

Shelby Knowles is a freelance photographer and photo editor at The New York Times in San Francisco. Prior to moving to California, she worked as a multimedia producer and editor at Newsday, where she was awarded an Emmy for Sports Photographer for her documentary, "Empress.” Knowles received a Master's Degree from the University of Texas at the Austin School of Journalism in 2018, and a Bachelor's of Science in Nutritional Science from Texas A&M University.

Her project examines fat camps in America and the ramifications on youth's mental and physical health. The framework parallels the diet industry’s “before and after” approach –– The “before” portion of her project will show the current experience of attending fat camp, and the “after” is a curated series of disposable cameras taken by former campers capturing their experiences through self-documentation. The project raises the question: “are there any good fat camps in a fat-phobic society?”

Roddy MacInnes

Roddy MacInnes has been teaching photography at the University of Denver since 2001. He considers himself to be an autobiographical photographer. In that capacity, he has been documenting his life through photography since 1964. He received a Master of Fine Arts in Photography from the University of Colorado Boulder, and a Bachelor of Arts in Photography from Napier University in Edinburgh, Scotland. 

His latest photography project, Intimate Proximity, was inspired by an album of photographs he discovered in an antiques mall in Denver, Colorado. A North Dakota woman made the photographs in 1917. Through this project, MacInnes is exploring issues surrounding the relationships between photography and community.

Sebastián Hidalgo

Sebastián Hidalgo is a civically trained independent photojournalist and National Geographic Explorer based in Chicago. He has reported on issues ranging from family separations due to harsh immigration policies to the lasting psychological toll of gentrification. His main focus revolves around the intersectionality of restrictive zoning policies that contribute to conflicts across the country. Hidalgo's approach to photojournalism has been recognized by numerous newsrooms as “setting the standard of community journalism”. His photographs have been permanently collected at The Library of Congress, the National Museum of Mexican Fine Art, and The Harvard Art Museum.

His latest project titled, Public Heroes and Secrets, (a reference to Roberto Bolaño's relatable poem, Godzilla En Mexico) documents how new industrial revitalization plans have jeopardized the health of thousands in Chicago's predominantly Mexican and working-class community, Little Village. From 2020 to 2022, he collaborated with civic journalism labs to examine the political events leading up to a botched implosion that covered the area in a cloud of toxic dust. While his reporting looked into industrial zoning changes, his photographs provide an intimate look at the cumulative impacts (stress and pollution) of residents. Today, he continues to research and photograph.

Rachel Wisniewski

Rachel Wisniewski is an independent photojournalist and writer based in Philadelphia, PA, USA. Her work often explores stories at the intersections of community, identity and trauma. She is a contributor to publications including: Reuters, the New York Times, the Washington Post, NPR, and more. She was a Gwen Ifill Fellow through the International Women’s Media Foundation in 2020, and received a National Geographic Society Grant in 2021. Beyond photography, Wisniewski is passionate about volunteering, traveling, reading, and food. When she doesn't have a camera in her hands, it’s probably because she's eating pizza.

Her project L’dor Vador (‘From Generation to Generation’) documents the experience and pressure of coming-of-age as a Jewish person by focusing on a specifically Jewish American ritual: sleep-away camp. In following Jewish young women as they form their identities, L’Dor Vador will stir conversations within the Jewish community about how to preserve our culture in an increasingly changing world, and challenge stereotypes and misconceptions held by the non-Jewish community.  

The essential connection between photography and painting

by Mei Seva

I picked up a camera at an early age, and by the age of 14, I carried it by my side at all times. Despite loving photography, I always had an interest in other art mediums. Taking advantage of an experimental education thanks to Hampshire College, I took classes in sculpture, collage, printmaking, film/video (including shooting and developing with an actual Bolex camera!).

While dappling in different mediums, I stayed away from painting. I was too intimidated by it. I can’t paint, I thought. That’s for “real artists”, you know, the ones that can paint realistically, I told myself.

Multiple years later, I decided to quit my advocacy non-profit job after being disillusioned with politics following the chaos of the 2020 election. I had free time, and I had spare paint, and so I decided to paint. Why not? I was especially inspired to learn that Van Gogh didn't start painting until he was 27 — a fact that would shock most familiar with his work.

Little did I know I would quickly fall in love with painting and all it had to offer. And little did I understand the longstanding connection between the two mediums. 

“According to some historical hypotheses, that relationship started a long-time ago in the paleolithic era of our kind; but not precisely as an intentional occurrence. Thanks to some archeo-optical experiments made by Matt Gatton, it is accepted that some optical effects can take place during specific moments of the day thanks to light passing through random tiny holes in tents and caves, producing something we now know as “camera obscura”. And it was through these light-borne images, that humanity was first introduced to the possibility of representations, the same which later inspired paleolithic visual depictions in caves.”

Via Visual Culture Magazine


When photography was first developed in 1826, the artist Paul Delaroche famously declared, “Painting is dead.”

The next few decades would result in a struggle between the two mediums. In 1842, a magazine writer noted that "the artist cannot compete with the minute accuracy of the Daguerreotype." By 1859, essayist Charles Baudelaire was denouncing photography as "the mortal enemy of art."

But this competition between the two mediums ultimately freed painters from the ever-nagging quest of realism. It gave artists more opportunities to let loose and experiment. After all, why attempt at realism when a camera could capture a scene more realistically than a painting ever could? This freedom resulted in the art world moving away from realism and shifting towards impressionism, dadaism, abstractionism, etc.

In later decades, the pendulum swung the other way perhaps, and so we've seen many painters shift towards a style known as "photorealism” — which uses the incredible detail of the photographic image as a reference for intensely realistic and detailed paintings.

Photographs have long served as reference images for many painters (myself included). While plen air painting (direct observation) is still widely known to provide a better understanding of colors and depth for artists, reference photographs are essential tools painters use to mimic light conditions and to measure correct proportions, both of which are essential in figurative painting.

Take famous painter Norman Rockwell. He frequently constructed “sets” in his studio and had a photographer take pictures for him to use as reference later.

Degas’ reference photograph for his painting Blue Dancers.

Paul Gauguin, during his second stay in Tahiti, used photographs of models to create his paintings.

(It's essential to note that reference photos, most of the time, except in the case of photorealism, serve solely as jumping off points for many artists. Painters frequently adapt images, change colors, combine multiple images into one, and more to fulfill the artistic vision in their head.)

And yet many artists, especially 19th and 20th century artists, did not admit to using photographs to create paintings – it is extremely rare to find even a mention of photography in relation to their work. This has changed as photographs have become a more vital and accepted part of the artistic process.

Photography and painting are forever interconnected. No longer are artists tied to the limitations of what we can perceive in the natural world. Photography has allowed for the unleashing of artists' imaginations and revolutionized all of art. And artistically, the two mediums share many similarities. Both use the ideas of composition, color, subject, and form to create a visually compelling, 2d image. They are like long-lost fraternal twins, forever separated, but undeniably similar once you look closer.


Mei Seva
Creative Director + Studio Manager
Ed Kashi Studio


Anderson Ranch Mentoring Program Graduates

Over the past seven years, including the disruption from the pandemic, I’ve had the great privilege to create, with Jim Estrin of the New York Times,  a unique and incredibly powerful mentoring program at the Anderson Ranch Arts Center in Snowmass, Colorado.

The Center for Advanced Mentored Studies is a three-year mentorship that is part of The Center, an initiative overseen and developed by the great Andrea Wallace, Artistic Director of Photography and New Media, and Chair of The Center. The Center also has three-year programs for ceramics, sculpture, digital fabrication, and painting. 

When Andrea, Jim and I first came up with this program, the basic idea was that to produce anything of significance you needed a substantial amount of time to do it, as well as the support of a cohort, expert training, plenty of feedback and a safe space to express yourself. Somehow we have managed to accomplish that, in large part because of the great people who have passed through this program. In the end, the goal of this program is for participants to create books, exhibitions, websites, films, large bodies of photographic work and in one case, possibly a major documentary or narrative film. Being a part of these cohorts’ journeys has been one of the most rewarding teaching experiences of my life and provided a significant opportunity to mentor with depth, commitment and vision.

Along with Andrea, Jim and I have worked with four different groups, each over a three year period, to create the most unique and powerful community I’ve experienced in my role as teacher and mentor. Some of the brightest talents in our profession have passed through this program, going on to win World Press awards, get hired by the likes of the Washington Post, National Geographic, The New York Times and much more.

Early next year, in 2023, The Ranch will be announcing two new sections of this three-year program. Jim and I are thrilled to have the continued opportunity to be a part of something that is so deeply serving for both the cohorts and ourselves. If you’re interested, please go to this link to learn more.

I’ve decided to showcase some of the work of recent participants below. Please check it out and stay tuned for more!

TW: addiction, violence

September Dawn Bottoms (she was, in fact, born on a September dawn) is a self-taught photographer from Oklahoma. She focuses on women’s and social issues, and also endeavors to explore her family through photography to better understand the effects of intergenerational trauma. In June of 2020 she joined The New York Times as a Photography Fellow. She was also a 2020 Joop Swart Masterclass Participant.

Juan Diego Reyes is a documentary photographer based between Colombia and Asheville, NC. His project Strangers In Their Own Land examines the impacts of climate change on vulnerable populations in the American South through a human perspective in connection to the environment and the relationship with the concept of identity.

Rory Doyle is a freelance photographer based in Cleveland, Mississippi. He was a 2018 Visual Artist Fellow through the Mississippi Arts Commission and has exhibited in New York, London, Atlanta, Mississippi and beyond. His work has been published in The New York Times, Smithsonian Magazine, Washington Post, POLITICO, ProPublica, ESPN, The Guardian and numerous publications.

Modifying on the Mississippi is an ongoing project that highlights the constant changes taking place on the lower Mississippi River, from St. Louis all the way down to the Gulf of Mexico. The body of work focuses on the landscape, history, culture and industry that define this iconic American river. The project grows as Doyle continue to work along the river, and he has also included images from his archive, dating back to 2009 when he first moved to the rural Mississippi Delta.

Maria Contreras Coll is a National Geographic Explorer and a documentary photographer and visual storyteller based in the Empordà region, near Barcelona, Spain. She sees photography as a tool for transformation and as a personal quest, she is committed to highlighting how women are transforming patriarchal notions and social structures in within religion and spirituality. With a collaborative approach and combining long-term practice and research, she captures people’s stories intimately.

After finishing her degree in Fine Arts in Barcelona, she joined a postgraduate degree in Photojournalism at the Autonomous University of Barcelona as a valedictorian. She spent the next year working on the refugee and migrant crisis in Europe, traveling and living in the Spanish enclave of Melilla, Greece, France, Germany, and Morocco. She lived in Nepal between 2017 and 2018 to document how women are transforming menstrual restrictions in the country. She is currently exploring the concepts of women and religion thanks to the support of the National Geographic Society and studying Narrative Practices by Collectivo Mexico.


Christopher Michel is the inaugural Artist-in-Residence at the National Academies of Sciences, Engineering and Medicine. His appointment is focused on leveraging visual storytelling to elevate the work of scientists, engineers and medical professionals in society.

Chris graduated from the University of Illinois and holds an MBA from the Harvard Business School and an honorary Doctorate from Tiffin University. Chris serves on the board of Dale Carnegie and Catchlight, a non-profit focused on supporting photographers and innovative leaders in the field of visual storytelling. Chris is also an advisor to the Union of Concerned Scientists, a Crown Fellow at the Aspen Institute, a Fellow of the Royal Geographic Society, and a member of the Explorers Club.

Ginna McGee Richards is a photographer, historian, and environmental lawyer who lives in North and South Carolina. Her wet-plate collodion photographs have been exhibited at the Light Factory in Charlotte, North Carolina (2018, 2019), and the North Carolina Museum of Art in Raleigh, North Carolina (2022). In March 2022, the Smithsonian Magazine published her documentary work on “The Inner Passage" of colonial America as a feature article with author Imani Perry.


The Inner Passage documents an ancient hand-dug waterway that was constructed by enslaved men through the Lowcountry of South Carolina and Georgia in the late 1600s. In this series, photographs made with the wet-plate collodion process create not only a historical record but also a visual poem, allowing us to explore our own understanding of the past.

Nicole Craine is a documentary filmmaker and photojournalist with a focus on sociopolitical issues in the southeastern United States. Nicole serves on the Advisory Board of Everyday Projects and  is the founder of Everyday Rural America, a social media project dedicated to featuring stories from communities and storytellers working outside of cities and urban areas. She is a regular contributor to New York Times, Wall Street Journal, Bloomberg, Washington Post, Redux and Associated Press. Her work has been featured in New York Times Magazine, Vanity Fair, Vogue, Marie Claire Magazine, Columbia Journalism Review, ESPN, and the Intercept.

Her project Kinfolk takes an intimate look back at five generations of her family knotted together with violence, substance abuse, imprisonment and poverty.

Trey L. Broomfield is an internationally exhibited artist from El Paso, Texas, USA, working primarily in digital photography, video, and spoken word. In 2015, Trey graduated from New Mexico State University with a Bachelor's in Fine Arts. Much of Trey's work draws inspiration from artists such as Hank Willis Thomas, Bayete Ross Smith, and Shepard Fairey conceptually and formally. His work often speaks on the relationship between media, language and disenfranchised communities.

These Words Are Everything explores language in relation to troubled and incarcerated youth, with concepts such as linguistic relativity along with mental health and social disparities acting as reference points. Through the pairing of audio, photography, and poetry the goal of this project is to amplify the voices of the youth and break the stigma of incarceration.

How journalism can do better

I’ve been thinking a lot lately about the damage to journalism’s reputation—some deserved and some artificially created by the current crop of global demagogues and authoritarian leaders. This is a real issue that has not only diminished the belief in journalism and the media but created more tension and aggression towards journalists and photojournalists. 

Here are some ideas on how to remedy this. 

I’ve talked about and been a practitioner of the idea of solutions journalism, or advocacy journalism, for years and find great satisfaction and efficacy in this approach. There are three main goals that journalists and media makers should incorporate in our storytelling and reporting in order to improve the standing of our profession and more importantly, better our societies.

  1. We should give hope to the reader to open up their minds to the possibilities for improvement and change and show how problems are being addressed.

  2. We should encourage agency for our readers, so they can feel empowered to act, whether that be to engage with the issue, donate money or time, contribute solutions, or at the very least be able to talk with a clear understanding about the topics our work covers.

  3. We should maintain dignity in our work, both for the subjects and for the issue itself, so that what the reader feels matters, that the life of the people whose stories we tell is worth caring about.

Below are some great thoughts from a recent article by Amanda Ripley in The Washington Post. and David Bornstein, Co-Founder of Solutions Journalism Network, whose organization has trained over 25,000 journalists to write high-quality action-oriented stories all over the world.

“There is a way to communicate news — including very bad news — that leaves us better off as a result. A way to spark anger and action. Empathy alongside dignity. Hope alongside fear. There is another way, and it doesn’t lead to bankruptcy or puffery. But right now, these examples I’ve listed remain far too rare.

Changing that may require journalists to accept that some of their own core beliefs are outdated. “The journalist’s theory of change is that the best way to avert catastrophe is to keep people focused on the potential for catastrophe 24/7,” Bornstein says.

A better theory of change, Bornstein suggests, might be something like:

“The world will get better when people understand problems, threats and challenges, and what their best options are to make progress.”


Ripley writes:

“Finally, and this is closely related: The people producing the news themselves are struggling, and while they aren’t likely to admit it, it is warping the coverage. News junkies tend to drink deeply from the darkness, mistakenly thinking it will make them sharper. All that angst has nowhere to go — and it leaks into our stories.

There aren’t many major news outlets systematically creating news for humans yet, but one that I admire (and now subscribe to) is the Christian Science Monitor. Each issue features reporting from around the globe, vivid photos, brutal realities — right alongside hope, agency and dignity. Stories include a brief explainer called “Why we wrote this,” treating readers like respected partners.

It’s a kind of low-ego, high-curiosity journalism that I’ve started trying to emulate in my own work. I don’t always succeed. It can feel uncomfortable to, for example, let listeners dictate the subject of the podcast I host. But last month, I spent four hours at an antiabortion rally with a camera crew and did something I’d never done before: I just tried to understand, deeply, what people told me. I didn’t try to extract the most chilling quote or the vivid, ironic anecdote. I just asked deeper questions, without judgment. It felt less transactional, more human. I also felt more informed.

So, as we brace ourselves for the coming midterms, variants and cataclysms, here’s my plea to all my fellow journalists: Please send a search party for the 42 percent of Americans who are avoiding the news. We can’t all be wrong. Or oversensitive or weak. And we might just be you.”

We must always be ready to shine a spotlight on the problems of the world, our societies and increasingly, our own personal stories. That's what keeps us informed, sensitized and engaged. But we must remember to do so in a strategic and thoughtful way. 

Thanks for reading! -Ed

Abandoned Moments Screening: Visa Pour L'Image Photojournalism Festival

Each year, a selection of the best stories from around the world is shown at the Visa Pour L'Image Photojournalism Festival in Perpignan, France. On the last night of the festival, photographs from my book Abandoned Moments: A Love Letter to Photography were screened. I'm honored to have gotten the chance to present my work in front of thousands of festival attendees and to participate in this year's festival. You can watch the full video screened at Perpignan below.

More about the photobook Abandoned Moments…

Abandoned Moments: A Love Letter to Photography
from $58.00

If the decisive moment reflects reality in tune with the photographer’s intuition, flawlessly combining composition and timing, then the abandoned moment is the consequence of a fractional instant of surrender. This collection, made over a 40-year period by renowned photographer Ed Kashi, reveals imprecise glimpses of transitory events filled with frenetic energy - the chaos of everyday life. Embodying photography’s intrinsic power, they preserve moments that can never occur again in exactly the same time and space.

When geometry, mood, and possibility unite to unintentionally create something new, the magical and fictional qualities of still photography capture the unplanned essence of existence. In contrast to his journalistic approach of deep personal connection and keen observation, this work is about capturing the untamed energy of a moment with abandon.

Find the Photo Essay here.

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© 2021 Kehrer Verlag Heidelberg, Ed Kashi and Alison Nordström
Project Management: Kehrer Verlag (Sylvia Ballhause, Teresa Halbreiter)
Texts: Alison Nordström, Ed Kashi
Copy Editing: Brenda Bingham, Jennifer Larsen, Marjorie Steffe, Mallika Vora
Proofreading: Tom Grace
Design: Michael Curry, Mallika Vora in collaboration with Kehrer Design (Nick Antonich)
Scans, Retouching: Michael Curry
Image Processing: Kehrer Design (René Henoch)
Production Management: Kehrer Design (Tom Streicher)

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Hardcover
ca. 30x24cm
ca. 136 pages
ca. 42 color + 26 b/w ills.

November 2021
Kehrer Verlag

BOOK VIDEO TRAILER, edited by Stephanie Khoury

PRESS
- All About Photo: "A Love Letter to Photography"
- P3: “Ed Kashi Wrote a Love Letter to Photography”
- L’Oeil de la Photographie: “Kehrer Verlag : Ed Kashi : Abandoned Moments : A Love Letter to Photography”
- Glltn: “Ed Kashi: Abandoned Moments”
- PhotoBook Journal: “Ed Kashi – Abandoned Moments. A Love Letter to Photography”
- Haaretz: “A love letter to the human experience”
- Amateur Photographer: “Ed Kashi: 40 Years of Abandoned Moments”
- Analog Forever: “Interview: Ed Kashi - Abandoned Moments"
- L’Oeil de la Photographie: “Kehrer Verlag : Ed Kashi : Abandoned Moments”
-Frames Magazine: “When the Moment Occurs: Review of Abandoned Moments: A Love Letter to Photography by Ed Kashi”
- NPPA: “Collection spotlights photojournalist Ed Kashi’s ‘spontaneous ‘uncomposition’”
- Yield Magazine: “Interview with Ed Kashi”
- Frames Magazine: “When the Moment Occurs – Review of “Abandoned Moments: A Love Letter to Photography” by Ed Kashi
- Fraction Magazine: “Ed Kashi’s Abandoned Moments”


INTERVIEWS
- Photography Daily: “Photowalk: A Love Letter to Photography”


AWARDS

- International Photography Awards Winner (2022)
- London International Creative Competition Finalist (2022)
- American Photography Annual Winner (2022)
- Communication Arts Photography Book Award (2022)
- Prix de la Photographie Book Award — Gold (2022)
- Lucie Photo Book Awards Finalist (2021)


EXHIBITIONS
- Monroe Gallery of Photography, Santa Fe, NM, USA (March 2022)
- Dallas Center for Photography, Dallas, TX, USA (August 2022)
- Visa Pour L’image Festival, Perpignan, France (August 2022)
- Galeria do Paço UMinho (October 2022)

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Abandoned Moments book review | L'OEIL DE LA PHOTOGRAPHIE

Thank you so much to L’oeil de la Photographie for this review of my recent monograph, Abandoned Moments, published by Kehrer Verlag.

VADHAV, INDIA, 2007 Villagers celebrate the Ganapati Festival to honor the Lord Ganesh. © Ed Kashi

For forty years, celebrated photojournalist Ed Kashi has delivered the world’s stories through images that both imply, as well as directly show, humanistic challenges and joys. Abandoned Moments: A Love Letter to Photography (Kehrer Verlag, March 2022) is a window into Kashi’s unique voice and craft, and presents glimpses of ordinary life, as well as extraordinary events, struggles, and triumphs.

A tenet of journalism is to remove one’s own voice, as much as is possible, from the narrative. But a photographer’s impulses are also inextricably linked to and driven by who they are. This cues how they see, what they notice, and how they compose. The book’s publisher notes, “When geometry, mood, and possibility unite to unintentionally create something new, the magical and fictional qualities of still photography capture the unplanned essence of existence. In contrast to his journalistic approach of deep personal connection and keen observation, this work is about capturing the untamed energy of a moment with abandon.”

In the essay she contributed for this book, “On Recollection,” photography scholar and curator Alison Nordström reflects on this intersection between the intentional and unplanned elements within Kashi’s work.

“By returning to his archive, long after the images have lost their primary relevance and immediate use, he re-inserts his voice, heart, and intellect into a world of pictures from which he had once intentionally concealed his presence.”

In Nordström’s consideration of how the book is structured and curated, she points out that in part this book is a reflection of the place Kashi is at in his career. “Recalled, reconsidered, and recontextualized, these images serve as a point of departure for the photographer’s retrospective meditations on his work.”

Kashi shares that this book is a 40-year “labor of love.” He speaks to the evolution of his style and methodology, revealing that, “Over time, I developed a more personal approach, one that is instinctive and without premeditation. I often shoot from the hip. Sometimes it is simply a matter of letting my camera absorb light in hopes that the intensity and immediacy of life-simply-being-lived has been devoured in all its fullness. It is precisely the uncontrolled circumstances sparking these images that gives them their vitality and surprise.”

The images selected span the decades of his work and were taken around the world. Kashi speaks to the ‘abandoned moment’ theme cued by the title, stating that, “Abandoned moments demonstrate a different kind of precision. They are shaped by serendipity and instinct, rather than objectivity and intellect. They are free to be less controlled but for that very reason they may be more certain and more certainly true…”

Ed Kashi is a renowned photojournalist, filmmaker, speaker, and educator who has been making images and telling stories for 40 years. As a member of VII Photo Agency, Kashi has been recognized for his complex imagery and its compelling rendering of the human condition. Along with numerous awards from World Press Photo, POYi, CommArts and American Photography, Kashi’s images have been published and exhibited worldwide. His editorial assignments and personal projects have generated nine books. Kashi in partnership with his wife, writer and filmmaker Julie Winokur, founded Talking Eyes Media. The non-profit company has produced numerous award-winning short films, exhibits, books, and multimedia pieces that explore significant social issues.

 

Alison Nordström is an independent scholar, specializing in photographs of all kinds. She is known for her writing, speaking, and curating and for the administration of photographic projects both in the US and internationally. Her long career in the field includes positions as Founding Director and Senior Curator of the Southeast Museum of Photography (FL), and Senior Curator of Photographs, Director of Exhibitions at George Eastman House (NY). In 2011, Nordström received the Focus Award for Lifetime Achievement in Photography from the Griffin Museum in Boston and the Apple Valley Foundation Award for Curatorial Excellence. She is currently a Research Associate in Photography at Harvard University.

 

“Perhaps most importantly, this book demonstrates an innovative and nuanced form for autobiography from someone whose entire working life has been predicated on his own invisibility. By offering the story of his life in this way, this thoughtful man has risen above some of the restrictions his chosen career has imposed.”—Alison Nordström

BATH, ENGLAND, 1977 A Jamaican minister preaches the Bible to passersby in Bath, England. © Ed Kashi

Kehrer Verlag : Ed Kashi : Abandoned Moments : A Love Letter to Photography
Photographs by Ed Kashi
Texts by Ed Kashi and Alison Nordström
Hardcover
42 color and 26 b/w illustrations
12 x 0.5 x 9.75 inches
ISBN: 3969000440
Price: $58 US, €45.00, £40
https://www.kehrerverlag.com/

Ed Kashi Wrote a Love Letter to Photography | Abandoned Moments book review by P3

Thank you so much to P3 for this review of my upcoming publication, Abandoned Moments, with Kehrer Verlag.

The American photojournalist Ed Kashi describes, in his most recent photobook Moments of Abandonment: Love Letter to Photography , the “visceral and emotional” relationship he maintains with Photography. “Over decades of work, I've developed an immersive approach that allows me to shoot intuitively, detached from the camera's viewfinder,” he explains to the P3. "In those moments, I'm not trying to tell a story, I'm just reacting to what I'm feeling."

Ana Marques Maia
September 17, 2021, 8:38 am

Over more than 40 years of career, American photojournalist Ed Kashi witnessed, in his words, “unfathomable pain and cruelty”. The coverage of the conflicts in Iraq, Syria, Afghanistan, the coexistence with oppressed minorities, with victims of labor and sexual exploitation, left deep psychological marks that did not shake something that it considers "a blessing" and, at the same time, a kind of “terminal illness”: his love for Photography. His most recent photo book, entitled Moments of Abandonment: a Love Letter to Photography , translates into images the visceral relationship he maintains with Photography and officially signs a “philosophical statement” that stands at the opposite of Henri Cartier-Bresson's and of its famous “decisive moment”. Kashi explores, in the set of images he gathered, what he coins of the “moment of abandonment”, which he describes, in an interview with P3 from New York, as a photographic practice that privileges instinct, intuition, surrender and chaos.

In contrast to his journalistic work, which is regularly published in National Geographic magazine and in publications such as the New Yorker magazine or the news channel and television station MSNBC, which is remarkably meticulous, sober, the result of a careful, lingering, in-depth look at the themes on which it focuses, the set of images that make up Kashi's photo book overflows with energy, movement, unpredictability. “Over decades of work, I've developed an immersive approach that allows me to shoot intuitively, detached from the camera's viewfinder,” he explains. “It's visceral, emotional, not cerebral. In those moments, I'm not trying to tell a story, I'm just reacting to what I'm feeling, seeing, smelling.”

Portrait of photojournalist and videographer Ed Kashi. Throughout his 44-year career, the American has been awarded multiple times in the World Press Photo and POYi contests. ©Amr Alfiky

Portrait of photojournalist and videographer Ed Kashi. Throughout his 44-year career, the American has been awarded multiple times in the World Press Photo and POYi contests. ©Amr Alfiky

In this instinctive gesture, in which he admits to losing part of control over the final result, Kashi sees “a fundamentally different style and approach to Photography”, he says. "In it is contained, in a way, the psychology of the photographer." But not only. Safety in the field may also depend on the adoption of this photographic strategy. "In a context of conflict or hostility, pointing a camera, raising it to eye level, is the equivalent of pointing a gun." In 2013, he recalls, when he was producing a work for  National Geographic about the conflict between Christians and Muslims in northern Nigeria, the car in which he was following was intercepted by the military, who violently challenged his team. “At that moment, if I had conventionally aimed the camera, I would have been stopped and my camera would have been destroyed. I estimated what I wanted to frame, namely the people on the ground and the military's guns pointed, and fired instinctively—and discreetly. The only thing I cared about was getting an image.” There are several images in the photobook that describe this situation, in different geographic contexts.

Kashi's vibrant “love letter” is divided into five chapters that clearly delineate the author's autobiographical aspects and the bittersweet relationship he maintains with his craft. “I have to submit to the chaos of reality”, “For me, the most difficult thing was to overcome people's fear”, “We must never lose the fascination of the world” are some of the titles that allow us to listen to the challenges, motivations and rewards from your career path; the images that illustrate each of these chapters subjectively and intimately support these aspects.

Moments of tension, violence, joy, and unusual fill the pages of the photobook, but one of them has a special meaning for the 64-year-old photojournalist. “In 1977, at age 19, I painted a portrait of a Jamaican pastor with a Bible in his hand, and at that time I still didn't quite know what I was doing. It was the first time I shot with a flash in broad daylight." This image is at the genesis of the concept on which this book is based, he stresses. "It was my moment of revelation." Since then, 44 years later, his passion for Photography has remained firm. “It makes me feel alive, connected to the world; it takes me out of myself, it's the perfect excuse to keep asking people questions, and it's a continual source of learning.”

The 68 frames of this retrospective work, captured between 1977 and 2020, belong to bodies of work already published. It is in the photographic edition, however, in the way in which the images are recontextualized, that lies “the magic” of this photobook, edited by Kehrer Verlag. “I echo the words of photographer Don McCullin , who says that at night, when he lies down in his bed, he hears his negatives talking. I've always found this image to be very beautiful and I think it perfectly translates what I experience.” You chose those that are, for you, good photographs and those that, in color or black and white, best “talk to each other”. This is not the first retrospective work by Kashi, who in 2008 published book 3 , composed of triptychs, and Photojournalisms, in 2012, a photographic diary aimed at women, with whom she works regularly. “The big difference in this book is that we want to convey a clear and philosophical message regarding Photography.”

Interviews with PhotoWings

A few years ago I had the pleasure of speaking with PhotoWings, whose mission it is to highlight and help facilitate the power of photography to influence the world.

Below is the feature and a few videos from their site.

In this video, award-winning photojournalist Ed Kashi tell us about some of his recent work and what motivates him in his career.

Ed Kashi is a renowned photojournalist, filmmaker, speaker and educator who has been making images and telling stories for 40 years. His restless creativity has continually placed him at the forefront of new approaches to visual storytelling. Dedicated to documenting the social and political issues that define our times, a sensitive eye and an intimate and compassionate relationship to his subjects are signatures of his intense and unsparing work. As a member of VII Photo Agency, Kashi has been recognized for his complex imagery and its compelling rendering of the human condition.

Kashi’s innovative approach to photography and filmmaking has produced a number of influential short films and earned recognition by the POYi Awards as 2015’s Multimedia Photographer of the Year. Kashi’s embrace of technology has led to creative social media projects for clients including National Geographic, The New Yorker, and MSNBC. From implementing a unique approach to photography and filmmaking in his 2006 Iraqi Kurdistan Flipbook, to paradigm shifting coverage of Hurricane Sandy for TIME in 2012, Kashi continues to create compelling imagery and engage with the world in new ways.

Along with numerous awards from World Press Photo, POYi, CommArts and American Photography, Kashi’s images have been published and exhibited worldwide. His editorial assignments and personal projects have generated nine books.

In 2002, Kashi in partnership with his wife, writer + filmmaker Julie Winokur, founded Talking Eyes Media. The non-profit company has produced numerous award-winning short films, exhibits, books, and multimedia pieces that explore significant social issues.

In 2019, The Enigma Room, an immersive installation, premiered at NYC’s Photoville festival, and has since been seen in Israel, the Netherlands, South Korea, and New Mexico, USA. The Enigma Room is an experimental multimedia projection created in collaboration with Brenda Bingham, Michael Curry, and Rachel Bolańos.

In this video, photography industry professionals Nancy Borowick, Ed Kashi, Erika Larsen, Olivier Laurent, John White, Michael Williamson, and Chuck Zoeller provide insight into the important ways that family photographs and family albums enrich our lives and contribute to the important work of documenting history.

Nancy Borowick is an internationally renowned photographer, author, teacher and speaker, delivering over 50 speaking engagements each year around the world, bringing her personal story to universities, hospitals, oncology units and community groups globally. Nancy is a graduate of the International Center of Photography and has exhibited her work in over 100 cities. Working regularly with the New York Times since 2013, Nancy has told the intimate stories of people and places from every corner of the globe winning her major accolades and awards, such as World Press Photo, Pictures of the Year International and most recently the 2018 Humanitarian Award from the organization Women That Soar for her photography and recent monograph, The Family Imprint.

Ed Kashi is an acclaimed photojournalist who uses photography, filmmaking and social media to explore geopolitical and social issues that define our times. He is also a dedicated educator and mentor to photographers around the world and lectures frequently on visual storytelling, human rights and the world of media. A leading voice in the photojournalism world, Kashi frequently lectures on a wide range of topics for arts institutions, universities, schools and professional organizations. His work has been published and exhibited worldwide, receiving numerous awards and honors. Through his editorial assignments and personal projects Kashi has published nine books, including Curse of the Black Gold: 50 Years of Oil in the Niger Delta, THREE, and Photojournalisms.

Erika Larsen is a photographer and multidisciplinary storyteller known for her essays, which document cultures that maintain close ties with nature. Her work has been included in the Smithsonian National Portrait Gallery, National Geographic Society, Fotografiska Museum and Ajtte Sámi Museum. Larsen is a recipient of several grants and fellowships including a Fulbright Fellowship, New Jersey State Arts Council Fellowship, Women in Photography Individual Project Grant, Lois Roth Endowment and a World Press Award. Her first monograph, Sami-Walking With Reindeer, was released in 2013. Larsen is currently a Fellow and Explorer with National Geographic Society.

Olivier C. Laurent is an expert in social media, he partners with the Washington Post social team on photo-driven initiatives and contributes to the InSight blog. Before the Washington Post, Olivier was most recently at TIME, where he was editor of LightBox, the magazine’s former photography website, which provided a window into how great photographs are made and drew attention to groundbreaking work by photography masters and new pioneers. Before TIME, he was the associate editor of the British Journal of Photography starting in 2008, the world’s longest running photography magazine and the editor of FLTR, the first weekly magazine on smartphone photography.

John H. White is a renowned American photojournalist. His photography documents everyday lives and political events in American cities, particularly Chicago. He was a staff photographer on the Chicago Sun-Times for 35 years, and won a Pulitzer prize in 1982.

Michael Williamson was born in Washington, but grew up in a series of foster homes and orphanages in more than 15 states. It was an experience he says that has led to his interest in documenting the plight of the homeless for the past 18 years. He and a collaborator, writer Dale Maharidge, have produced three books.The first book, "Journey to Nowhere: The Saga of the New Underclass," inspired several songs on Bruce Springsteen's album "The Ghost of Tom Joad." The pair's book "And Their Children After Them" received a Pulitzer Prize for non-fiction in 1990. He shared a second Pulitzer Prize in 2000 with colleagues Carol Guzy and Lucian Perkins for their coverage of Kosovo. A photographer with The Washington Post since 1993, Williamson was named Newspaper Photographer of the Year in the 1995 Pictures of the Year contest and Photographer of the Year in 2000 by the National Press Photographers Association.

Chuck Zoeller is director of creative services for The Associated Press. A former photographer, he joined the AP as a photo editor at the news cooperative’s New York headquarters, and later served 14 years as director of the AP Images photo library — one of the world’s largest collections of news photos. He has curated several books and exhibitions of AP photography. A graduate of the University of Rochester, he has served as chair of the Pulitzer Prize jury in photography.

From websites like Photobucket to apps like Instagram, the digital age has seen an extraordinary explosion in everyday photography, but are we archiving these images appropriately for posterity? In this video, award-winning photographers Victor Blue, Mary Calvert, Ed Kashi, Laura Roumanos, Camille Seamen, and Adriana Zehbrauskas help us understand the importance of taking care with our photographic history, so that the images can continue to inform and inspire for years to come.

Victor J. Blue is a New York based photojournalist whose work is most often concerned with the legacy of armed conflict, human rights and the protection of civilian populations, and unequal outcomes resulting from policy and politics. He has worked in Central America since 2002, concentrating on social conflict in Guatemala, and since 2009 has photographed the Counterinsurgency war in Afghanistan. He has completed assignments in Syria, Mexico, El Salvador, Honduras, Iraq, and India, and has documented news stories and social issues across the United States. He worked as a staff photographer at The Record in Stockton CA, and holds a Masters Degree in Visual Communication from Ohio University. In 2010, 2011, and 2015 his work in Afghanistan was honored in Pictures of the Year International. In 2017 he garnered three awards in the Pictures of the Year International.

Mary Calvert is committed to using photography to affect meaningful social change and is known for producing work on gender-based human rights issues. Calvert has been focusing her journalistic attention on the continually under-reported relegation and abuse of women in the US Armed Forces. Her work “Sexual Assault in America’s Military” was awarded 1st Prize, Long Term Projects in the 2016 World Press Photo Contest. Calvert has won the Robert F. Kennedy Journalism Award twice and is a two-time Pulitzer Prize finalist in Feature Photography. Recently, Calvert was awarded the 2015 W. Eugene Smith Memorial Fund Fellowship.

Ed Kashi is an acclaimed photojournalist who uses photography, filmmaking and social media to explore geopolitical and social issues that define our times. He is also a dedicated educator and mentor to photographers around the world and lectures frequently on visual storytelling, human rights and the world of media. A leading voice in the photojournalism world, Kashi frequently lectures on a wide range of topics for arts institutions, universities, schools and professional organizations. His work has been published and exhibited worldwide, receiving numerous awards and honors.

Laura Roumanos is the executive producer and co-founder of United Photo Industries and Photoville where she has produced over 400 photo exhibitions and public projects worldwide. Originally from Sydney, Roumanos worked as a Producer and Arts Administrator before making the big move to NYC where she joined the Manhattan Theatre Club. She then headed to St. Ann’s Warehouse as the General Manager for several years where she worked to help present and produce large-scale international theatre, music, and art events.

Camille Seaman was born to a Native American (Shinnecock tribe) father and African American mother. She graduated from the State University of New York at Purchase, where she studied photography with Jan Groover and has since taken master workshops with Steve McCurry, Sebastiao Salgado, and Paul Fusco. Her photographs have been published in National Geographic Magazine, Italian Geo, The New York Times Sunday magazine, Newsweek, Outside, Zeit Wissen, Men’s Journal, Camera Arts, Issues, PDN, and American Photo among many others. Her photographs have received many awards including: a National Geographic Award, 2006; and the Critical Mass Top Monograph Award, 2007.

Adriana Zehbrauskas is a Brazilian documentary photographer based in Mexico City, Mexico. Her work covers mostly issues related to migration, religion and the aftermath of the violence related to the drug wars in Mexico as well as the daily life of sub and misrepresented communities. She contributes regularly to The New York Times, BuzzFeed News, The Washington Post and others. She’s one of the recipients of the first Getty Images Instagram Grant and was awarded Best Female Photojournalist -Troféu Mulher Imprensa (Brazil). Her mobile photography work was selected by Time Magazine for the “29 Instagrams That Defined the World in 2014″ and her project on Faith in Brazil and Mexico was awarded a Art & Worship World Prize by the Niavaran Artistic Creation Foundation.

Interview with EverydayClimateChange

"I'm way less interested in assigning blame anymore and much more interested in figuring out how we solve our problems".

I sat down to talk with James Whitlow Delano, the founder of @EverydayClimateChange, to share the work I've done over the years documenting the climate crisis around the world as well as community-level environmental challenges and solutions.

James Whitlow Delano / Founder of @everydayclimatechange on Instagram https://www.jameswhitlowdelano.com/
Instagram: @jameswhitlowdelano
Selected Books:
Empire: Impressions from China / https://www.amazon.com/Empire-Impress...
Black Tsunami: Japan 2011/ https://www.amazon.com/Black-Tsunami-...
The Mercy Project/Inochi