Tag Archives: photo essays

A Portrait of Colombia in 26 Gorgeous Polaroids

Mother Jones

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Bay Area photographer Matthew O’Brien documented Colombia from his unique vantage as a long-time visitor, straddling the line between traveler and insider while living in the country off and on from 2003 through 2013. Using a Polaroid camera, O’Brien photographed Colombia in a way that contradicted the stereotype of the country as a war-ravaged narco-state and more closely reflected reality for most who live there, as well as for the tourists who visit. Having a foot in both worlds brings together a body of work that shows many of Colombia’s contours, outside the wars we here in America have heard so much about.

O’Brien collected his Colombian Polaroids in a new book called No Dar Papaya: Fotografías de Colombia 2003-2013 (Icono Editorial/Placer Press). The book’s title comes from a common Colombian expression that has nothing to do with tropical fruit, but instead roughly translates to “show no vulnerabilities and present no easy target.”

As a longtime documentary photographer—O’Brien won the Mother Jones International Fund for Documentary Photography in 1998—he first went to Colombia to work on a project about beauty pageants called Royal Colombia. He later wound up teaching at different schools throughout the country and eventually got a Fulbright to continue working on the project that would eventually become No Dar Papaya.

The book’s 190 images show a depth of appreciation for a country not seen enough in photography, especially by an outsider looking in. Portraits, landscapes and more photojournalistic images work together to given a well-rounded sense of the country.

First shown in Colombia in 2013 and 2014, 24 large prints from the book are now on exhibition at the Colombian Consulate in San Francisco from May 4 to August 3, with a talk and signing on July 19.

Left: Carmen de Viboral, 2010; Right: Santa Marta, 2011

Left: Cartagena, 2003; Right: Bogotá, 2005

Left: Punta Gallinas, 2011; Right: Salento, 2010

Left: Bogotá, 2013; Right: Cali, 2010

Left: Medellín, 2010; Right: Cabo de la Vela, 2011

Left: Cali, 2010; Right: Cartagena, 2010

Left: San Andrés, 2005; Right: Urabá Antioqueño, 2011

Left: Acandí, 2011; Right: Acandí, 2011

Left: Playa Salguero, 2013; Right: San Andrés, 2005

Left: Pereira, 2005; Right: Cartagena, 2010

Left: Capurnagá, 2011; Right: Manizales, 2010

Left: Cartagena, 2010; Right: Medellín, 2004

Left: San Andrés, 2005; Right: Salento, 2010

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A Portrait of Colombia in 26 Gorgeous Polaroids

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Donald Trump May Be on Your Television, But Here’s What America Really Looks Like

Mother Jones

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Photojournalist Peter van Agtmael considers his third book, Buzzing at the Sill, the latest chapter of what he calls “one greater book”—a sweeping exploration of the September 11th attacks and the impact of the wars in Afghanistan and Iraq on soldiers and their families. His project began with his 2009 book, 2nd Tour, Hope I Don’t Die, and continued with Disco Night Sept. 11, which appeared in 2014. In Buzzing at the Sill, published by Kehrer Verlag, he shifts his attention to unexplored corners the United States, after he realized “how little I know about my country.”

The Magnum photographer first went to Iraq in 2006 when he was 24, and he covered the conflicts there and in Afghanistan for several years before returning to the States. With 72 images pulled from his journalism assignments and others he shot while traveling throughout the country, Buzzing at the Sill examines the reverberations of 9/11 through glimpses of daily American life that often have the intimate feel of a snapshot. The photos in Buzzing at the Sill depict vulnerable, grieving, celebrating, and sometimes threatening Americans, collectively offering a cohesive and sharp reading of the country, with a powerful undercurrent of alienation. “In America, we somehow feel immune,” he writes in Buzzing at the Sill, “but in any country at war, the first thing they’ll tell you is that they didn’t think it could happen there.”

I talked with van Agtmael about making this book and what it might say about the political climate in the United States today.

Kentucky Derby aftermath. (Louisville, KY. 2015)

Mother Jones: Can you tell me about the title, Buzzing at the Sill?
Peter van Agtmael: Buzzing at the Sill is from a Theodore Roethke poem called “In a Dark Time.” I’d heard a small part of it in a play, a sort of sci-fi play about morality in a virtual reality universe. Nothing to do with the book precisely, but it was a great play. I read the poem afterwards because I was intrigued and had one of those strange senses: “This poem is kind of important to me. I don’t know why, but I’m going to just keep it in the back of my mind.” I just kept coming back to it. As I started putting the book together and writing the stories for it, this idea of buzzing as a word kept popping up in my brain.

I started the book with the story of a vulture that flapped up to this window sill outside of a burn ward at a military hospital in Texas. I guess it could smell the rotting flesh through the walls and was just trying to desperately and aggressively get in through that window, I don’t know, to try and feast on the flesh. It was really a troubling moment. But apparently it happens all the time, because the soldiers in recovery and the nurses were totally accustomed to the presence of those vultures.

When I started thinking of the decisions that led me down the road first—which was part of Disco Night Sept. 11 and then the buzzing being— I somehow couldn’t ignore the urge to do things that kind of defy logic. And I liked the poem, I liked the ring of it. I was sitting with David Allan Harvey one day when he pointed out how appropriate the title was for the things I was talking about.

MJ: In what way do you see that Buzzing at the Sill continues the narrative you built with Disco Night?

PVA: I went out to cover the wars in Iraq and Afghanistan fundamentally because I was interested in war as a notion and in experiencing it. I was interested in history and how societies form. I was interested in the recent history of what had provoked these wars. So when I finally got out there, I was really seeing the wars through the American perspective, much more than through being embedded with American soldiers and Marines. I realized in that process how little I knew about my own country. I had grown up in the suburbs and, after college, I moved out of the country, so I didn’t really know the place well. When I started following soldiers and their families back home, it provoked a lot of the questions about who we are as a nation, questions I realized couldn’t be explored through the more limited framework of looking at the military at war and at home. So that inspired these trips in which I began to explore America in more general terms. I really started this work in 2009. I got the bulk of it done as I was easing out of Disco Night. I started them as almost concurrent projects.

A woman attending the annual Iowa GOP Ronald Reagan dinner, where Sarah Palin gave the keynote speech. (Des Moines, Iowa, 2010)

The Fourth of July. (Brooklyn, New York, 2010)

The KKK had boasted that dozens from their Klan chapter would attend the rally and cross burning, but there were only a few people when we showed up, including a British TV crew and a freelance photographer. (Maryland, 2015)

Outside Lyniece Nelson’s house. Nelson’s 19-year-old daughter, Shelly Hilliard (known as “Treasure”), was strangled, dismembered, and set on fire in 2011. Treasure was a transgender teen born Henry Hilliard Jr. The family is with Treasure’s urn. (Detroit, Michigan, 2012)

MJ: What was your thinking as you approached putting together this body of work? The photos feel like they’re pieced together from assignments or from different stories.

PVA: At first it wasn’t meant to be a book, although I’m always thinking about that in the back of my mind. It started off as a series of exploratory road trips that I was doing with Christian Hansen, who I dedicated the book to. Then I started getting some assignments to go shoot in America because I think editors liked the pictures I was taking. What I was doing for those assignments wasn’t always directly tied to what I was doing for myself, but it gave me the space to photograph. I started getting assignments that dealt with my own interests and made some pictures in that direction. A lot of it was just photographed through general exploration. It was sometimes provoked by assignments, then I’d go back on my own dime if I really clicked with a place. And sometimes it was just hanging out with my family or friends.

MJ: How did you approach the editing? How were you going to tie the pictures together?

PVA: I’m a constant editor. Every few months or so I make a ton of 4×6 prints. I put them on a magnetic board and I live with them for a while to see what bubbles to the surface. A lot of this was part of Disco Night originally, and I suddenly started realizing, “If I keep working on this because I’m not done and I put all that in Disco Night, how can this be one book? Is it going to be too long and bloated and crazy?” Then I started thinking, “Okay, I have so many other questions about America, when do I stop?” I started thinking about each book being a chapter in one bigger book and that gave me the space to cut it off at a certain point. I needed to have some kind of thematic focus to the work.

I was taking all these prints and I brought them to the Magnum meetings, trying the old Josef Koudelka trick: Give them to photographers, who are getting bored during the talks about the economics of the agency, to look through with a pen. They’ll separate them in two piles—what they like and what they don’t like—and put their initials on the back. I started to find the core pictures that people seem to relate to. I’d ask myself why? And did I relate to them? Sometimes I did and sometimes I didn’t. But it gave me an idea of how other people were seeing the work. From there, I kept shooting but started making drafts of the work, essentially spending a few days a month sequencing and editing, hanging things up on the board, showing them to trusted confidantes from in and outside the photo world. It started to take its shape naturally over time until I kind of ran out of ideas. At that point I was like, “Okay, I guess it’s a book.”

After dinner at Lyniece Nelson’s house. One of Nelson’s children was murdered, one committed suicide shortly after his 16th birthday. Her house burned down not long after the death of her son, destroying the urns of both her deceased children. (Detroit, Michigan, 2012)

Hunting rabbits with BB guns. (The outskirts of New Orleans, Louisiana, 2009)

Iraqi refugees in a low-income housing community in Portland. The area is home to several thousand Iraqi refugees. (Portland, Oregon, 2015)

MJ: When you’re out on these road trips, do you still see reverberations from 9/11 in the country?

PVA: Constantly. You find them in them most unexpected places, like graffiti on a wall. Sometimes it’s a faded picture; sometimes it’s a newspaper tacked to a wall. Sometimes it’s weird paraphernalia related to it, home constructed paraphernalia. It resonates through society and continues to resonate today. The travel ban that was imposed by the administration is a very direct reverberation of 9/11. Even though most people were disconnected from it, the moment amplified a fairly massive and somewhat irrational fear that exists in the populace at large. And I think a lot of the work I’ve done and a lot of the work I’m going to do in the future still ties to 9/11 and the fallout from it.

MJ: In the text you’ve written for both Disco Night September 11 and Buzzing at the Sill, you are introspective about covering war. Do you still cover conflict?

PVA: I am still covering conflict to some degree. I was back in Iraq last year for the next book I’m working on. I’ve covered quite a bit of the Israel and Palestine conflict in the last five years for another book I’m working on. But I’m not doing it with the kind of intensity I was before and I’m not seeking out the front line and the kind danger that comes with being at the edge of the war the way I used to. It just kind of ran its course for me. For a long time I could justify doing it to myself, no matter how irrational it was. It was important to me and my work. And I just don’t feel it in the same way any more. When it comes up and it’s important to me, I’ll do it, but more out of sense of duty than desire—which used to be a big part of it.

MJ: When we started talking, you mentioned that Buzzing at the Sill reflects the times, the current situation in America. Can you explain what you meant?

PVA: It deals with the margins of America, a lot of parts unseen. Well, parts that are seen and familiar to a lot of the populace, but unseen when it comes to the parameters of what mainstream news and popular culture and Hollywood reflects. That kind of unease, that melancholy, is of course partly my interpretation, but partly, I think, it’s something that’s really there as well. It resonates with this moment and the sort of alienation from the power structure a lot of people feel, as well as a certain amount of desperation, in the hope of disrupting the power structure so they can live better lives. I think in those ways, it’s intimately connected to today.

The youngest children tending the horses. (Pine Ridge, South Dakota, 2011)

A “second line parade” is a local African American tradition where brass bands–known as the first line-march in the streets and are joined by members of the public, the “second liners.” (New Orleans, Louisiana, 2012)

All photos by Peter van Agtmael/Magnum Photos, from his book Buzzing at the Sill.

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Donald Trump May Be on Your Television, But Here’s What America Really Looks Like

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"I Didn’t Come Here to Lose": How a Movement Was Born at Standing Rock

Mother Jones

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Ome Tlaloc walked through the North Dakota hills with a flashlight and a walkie-talkie, scouting for police in the prairie dark. Earlier that evening, I’d met the 30-year-old on Highway 1806, where he’d been sitting behind a makeshift barricade. Now he was doing reconnaissance. The Morton County Sheriff’s Department and the National Guard, stationed ahead of us on the road, were planning to raid the camp where Tlaloc and hundreds of other protesters had been living for the past week. The barricade was meant to stop the cops, or at least to slow them down. As he walked, Tlaloc listened to his radio for the code words that would signal when he and his comrades were to spring into action: “Eagle’s Claw.”

The Standing Rock Sioux reservation sits in the Dakota Prairie Grasslands, an endless sweep of elephan­tine hills once home to millions of members of the Lakota Nation. Today, it’s inhabited by fewer than 9,000 of their surviving descendants, and one of the few places in America where buffalo roam wild. In late July, the Dallas-based Energy Transfer Partners informed the Standing Rock Sioux that in five days its subsidiary would begin construction on a section of the Dakota Access Pipeline (DAPL) next to the reservation. After that, members of more than 200 Native American tribes and their allies gathered to block what would be America’s longest crude oil pipeline. Their encampments of teepees, tents, and RVs were mostly ignored by the media until private security guards set dogs on protesters and a few journalists were arrested, sparking a national conversation about tribal sovereignty, environmental racism, and police brutality.

The October night I met Tlaloc, the stakes in the #NoDAPL movement were as high as they’d ever been. If the “water protectors,” as the protesters called themselves, were cleared out, the pipeline would continue east under the Missouri River, coming within 1,500 feet of Lake Oahe, the Standing Rock Sioux’s water supply. A leak or spill, activists believed, would poison the drinking water of as many as 10 million people, nearly all of them on Native American reservations. The protesters’ goal was to block construction until March 2017, when Dakota Access would have to reapply for a federal construction permit—a delay that might make the project financially unfeasible. If the protesters were removed before then, Dakota Access would complete the 1,172-mile pipeline that would transport up to 570,000 barrels of crude a day. (On December 4, the Army Corps of Engineers announced that it would not approve a permit for the pipeline to run beneath Lake Oahe.)

Police have responded to the protests with teargas, tasers, water cannons, rubber bullets, and armored vehicles.

Native Americans of all ages have protested against the pipeline.

Tlaloc stopped at the top of a ridge. Off in the distance was the trench holding the lengths of 30-inch metal pipe. “An old Sioux prophecy says that a black snake will come to destroy the world at a moment of great uncertainty,” he said. “Unless the youth stop it.”

Back at the barricade, men in camo fatigues sipped cowboy coffee and waited. Pup tents formed a circle around a pit fire. “They’ve killed us before,” said Harry Beauchamp, a 63-year-old Assiniboine from Montana. Resting his cowboy boots on a soup pot, he told us about his participation in the 1973 standoff between members of the American Indian Movement and law enforcement agents in South Dakota that ended in the deaths of two Native American activists. A few weeks earlier, he’d been attacked by a dog brought in by a pipeline security contractor. His future son-in-law, he said, was bringing him a rifle. “I’m not going to let this be another Wounded Knee,” he said.

Left: Chanse Adams-Zavalla. The #NoDAPL protesters have occupied three main encampments.

Dancers in front of a sacred fire in a protest camp

The next day, a pale sun burned through the morning haze, backlighting 200 sheriff’s deputies and National Guardsmen in full riot gear. Behind them were an armored personnel carrier, a land-mine-resistant truck, and the pipeline’s private security force—overseen by TigerSwan, a North Carolina firm that’s done work for the US government in Afghanistan and Iraq. “This is a state highway,” a police commander said into a loudspeaker. “You must clear the road.”

On August 19, North Dakota Gov. Jack Dalrymple, who served as an adviser to Donald Trump’s presidential campaign, had declared a state of emergency, and the National Guard mobilized three weeks later. On September 3, security contractors turned dogs on the protesters. Not long afterward, Standing Rock Sioux tribal chairman Dave Archambault II asked the Justice Department to investigate civil rights violations against activists. “This country has a long and sad history of using military force against indigenous people—including the Sioux Nation,” he wrote. “When I see the militarization taking place in North Dakota against Indian people, I am genuinely concerned.”

Over the next 12 hours, I watched as grandmothers with red feathers in their hair, Oglala elders in cer­emonial regalia, and teens astride horses were teargassed, tased, and arrested. Cops fired rubber bullets at protesters and blasted them with earsplitting whines from Long Range Acoustic Devices. As the police marched down the highway, the crowd, echoing Black Lives Matter protesters, held their arms in the air and shouted, “Hands up, don’t shoot!”

Native Americans are more likely to be killed by police than members of any other group, even African Americans. More than 1 in 4 Native people live in poverty. (The average individual income on the Standing Rock reservation is $4,421.) Native unemployment levels are nearly double those of the overall population; their youth suicide rate is the highest in the nation.

Protesters watch as the police destroy a campsite.

A Sioux leader asked the Justice Department to investigate “the militarization taking place in North Dakota against Indian people.”

Many at Standing Rock saw the threat of environmental catastrophe as inextricable from racial injustice. An early proposal to route the Dakota Access Pipeline through Bismarck, 45 miles north of the reservation, was rejected by the US Army Corps of Engineers because of concerns that it could harm the municipal water supply. (Bismarck’s population is 92 percent white.) “But it’s okay if it poisons Natives’ water, right?” said Chanse Adams-Zavalla, a 22-year-old who grew up on the Maidu reservation just north of Santa Barbara, California. He wore a camouflage backpack that had “Fuck Off” written on it and a matching camo cap that said “Smile More.” In May 2015, the coastline near his reservation was ravaged by the rupture of an oil pipeline. “It’s disgusting what happened to my people, bro, and we’re still being treated that way,” he said.

Young protesters with red bandannas over their faces dragged tree trunks onto the highway and set them on fire. A heavyset teen stood before the flaming barricade, his back to the police. “Stop lighting these barricades on fire, brothers!” he said. “I’m a member of the Standing Rock Sioux tribe.” He paused and looked at his feet like he might cry. “After this, I have to live here.”

“Sellout!” a young man in a balaclava shouted, hurling a tire onto the pyre. Someone else picked up the chant. “Sellout! Sellout!”

The scene underscored the conflicts within the anti-pipeline movement. Some activists, led in part by a group of protesters who lived in a compound called Red Warrior Camp, were committed to stopping the pipeline through direct action. While many Standing Rock Sioux were out on the front lines, Archambault was also lobbying Washington in hopes of a legal victory. In early November, Red Warrior Camp was asked to leave Standing Rock for promoting tactics that the tribal leadership thought were too extreme. There were also tensions between white-led environmental groups like 350.org, which focuses on climate change, and Native activists, who believe the larger issue is one of tribal sovereignty and the unfinished struggle for Native American rights. The protesters were spread among three encampments, including a largely Native camp and another filled with white activists that I heard described as the “Brooklyn” of Standing Rock.

Back at the barricades, Miles Allard, a Sioux man with a white mullet, rushed to the assistance of the teen who’d tried to calm the crowd. “The only way we’re going to win this is by prayer,” Allard said. “If we use violence, we will lose.”

“I didn’t come here to lose,” Beauchamp said, dropping a bundle of kindling onto the pavement before walking off in anger. “And I didn’t come here to fight my own brothers. I quit. I’m going home.”

“Why do they want to kill us?” asked LaDonna Allard over breakfast at the Prairie Knights Casino and Resort, the area’s largest employer. Allard, a Sioux woman, was hosting a protest camp on her land; she was accompanied by her husband, Miles, who had called for nonviolence at the barricades a few days earlier. The police had won those clashes, clearing the road and arrest­ing 142 protesters, including the Allards’ daughter, Prairie. (During a prior arrest, Allard said, her daughter was stripped naked, left in a cell overnight, and asked repeatedly, “Who’s your mother?”) Construction resumed on the pipeline, whose North Dakota section was roughly 95 percent complete.

Allard recalled the life of her great-great-grandmother, Nape Hote Win, who as a nine-year-old survived the 1863 Whitestone massacre, an attack by the US Army 50 miles east of Standing Rock. She was held in a prisoner-of-war camp for seven years. That battle paved the way for the Standing Rock Sioux to be confined to their current reservation. Allard’s father had to flee his land in 1948 after the government dammed the Missouri, flooding his farm. Her father and son were buried along the pipeline’s path.

On Election Day, Energy Transfer Partners announced that it would defy a request from the Obama administration to postpone construction and would begin tunnel­ing under Lake Oahe in two weeks. CEO Kelcy Warren had given more than $100,000 to support Trump, a stockholder. “Overall, I’m very, very enthusiastic about what’s going to happen with our country,” Warren told investors after the election. In mid-November, the Army Corps of Engineers stepped in and said it would not allow completion of the pipeline until there had been further review of its environmental impact. Reaffirming that decision in early December, the Corps said it would consider alternate routes for the pipeline. ETP attacked the decision as “the latest in a series of overt and transparent political actions by an administration which has abandoned the rule of law in favor of currying favor with a narrow and extreme political constituency.”

“We’re in a war,” Allard said, beginning to cry. “How did this happen? I did nothing wrong. I have a right to say ‘no.’ I have a right to live in my own country, on my own land.”

Police spray water on demonstrators in below-freezing temperatures.

Left: Nighttime protests on Highway 1806. Right: Medics assist an injured protester.

Later that night, I passed Beauchamp’s tent, but it was empty. He had gone back to Montana, feeling bitter and defeated. Adams-Zavalla, however, was in great spirits. “This isn’t the end of our movement,” he said. “It’s the beginning.” Fifty horses had just arrived from the Oglala-Sioux reservation, as had 100 Native American youth runners who’d jogged from Arizona. That afternoon the Seven Council Fires had been lit for the second time since 1862, a ceremony in which the seven branches of the Dakota Sioux demonstrated their unity. “When my grandkids ask me where I was during Standing Rock,” Adams-Zavalla said, “I know what I’m going to tell them.”

“Even if somehow, someway, they build this pipeline,” he went on, “they’ve inadvertently sparked a whole generation of us indigenous folks and everyone who wants to stand with us to fight for Mother Earth. We’re going to inherit this planet, bro, and everyone’s welcome to inherit it with us if they want.”

Around us, protesters were chopping wood, battening down tarps, and getting ready for the long Dakota winter. On a hill overlooking the camp, DAPL roughnecks labored away. The moment was uncertain, yet jubi­lant—each side racing toward the future it imagined.

Inside the main protest camp.

Police sprayed mace at protesters who crossed the Cannonball River.

Water protectors march from the main camp to the bridge on Highway 1806.

These horseback riders traveled for three days along the pipeline.

The first snowfall in Standing Rock

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"I Didn’t Come Here to Lose": How a Movement Was Born at Standing Rock

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These Gripping Images From Legendary Photographers Were Supposed to Be Thrown Away

Mother Jones

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The Farm Security Administration, created as part of the New Deal, helped farmers whose livelihoods were decimated by the dust storms and economic collapse gripping the United States. As part of that mission, a group of photographers documented the devastation and helped promote the government program. That team, which included some of the best photographers is the country, shot thousands of images, many of which became iconic photographs.

But there were many images the public wasn’t supposed to see. Photographer Bill McDowell assembled a collection of these killed images in Ground: A Reprise of Photographs From the Farm Security Administration (Daylight Books). The book contains repurposed outtakes from such photo heavyweights as Walker Evans (including images from his work on Let Us Now Praise Famous Men), Carl Maydans, Marion Post Wolcott, Arthur Rothstein, Russell Lee, and others.

Roy Stryker was the man charged with selecting and overseeing the FSA photographers. All the images went to Stryker’s office in Washington, DC, where his team cataloged and edited the photos, which were then eventually archived in the Library of Congress.

He had a harsh method for marking undesired images. During the editing process, the team would literally punch a hole in the negative. The tool left a black, round scar on the image, so they could never be printed.

It is not unlike editing photos from the back of your digital camera, deleting everything but the handful of shots you think you might actually use.

Mr. Tronson, farmer near Wheelock, North Dakota, 1937 Russell Lee/Library of Congress, from “Ground.”

In this case, however, these discarded images gained a new life. Photos once meant to be a very straight documentation of the United States now take on life as post-modern art pieces. More than just offering a glimpse at outtakes and giving insight to Stryker’s editing process, the photos stand on their own in this collection.

In many photos, Stryker’s punch-out looms over the picture like an ominous, black sun. In others, it completely obliterates a face or disrupts an otherwise serene landscape with a threatening black hole. The empty circle takes center stage in all the images. It is not subtle. McDowell’s sequencing of the photos includes close-up crops of many images where the punch-out hole becomes the subject of the photo.

Here’s an example of an original, unpunched image along with an edited version from the same shoot. A detail of this photo is above.

Mr. Tronson, a farmer near Wheelock, North Dakota Russell Lee/Library of Congress

Those versed in the world of photography (and even those not) likely know at least a few FSA photos well. This book mines that treasure trove a bit more deeply, offering a fresh take on a subject that has been studied by archivists, researchers, and historians for decades. It’s a wonderful, artfully edited book.

Untitled, Tennessee, 1936. Carl Maydans/Library of Congress

Getting fields ready for spring planting in North Carolina, 1936 Carl Maydans/Library of Congress

Levee workers, Plaquemines Parish, Louisiana, 1935 Ben Shahn/Library of Congress

Blueberry picker near Little Fork, Minnesota, 1937. Russell Lee/Library of Congress

Untitled, Nebraska, 1938 John Vachon/Library of Congress

Untitled, Alabama, 1936 Walker Evans/Libary of Congress

Resettlement officials, Maryland, 1935 Arthur Rothstein/Library of Congress

Untitled, Kansas, 1938 John Vachon/Library of Congress

Five bedroom house, Meridian (Magnolia) Homesteads, Mississippi, 1935 Arthur Rothstein/Library of Congress

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These Gripping Images From Legendary Photographers Were Supposed to Be Thrown Away

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Weekly Flint Water Report: April 30-May 6

Mother Jones

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Here is this week’s Flint water report. As usual, I’ve eliminated outlier readings above 2,000 parts per billion, since there are very few of them and they can affect the averages in misleading ways. During the week, DEQ took 397 samples. The average for the past week was 10.91.

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Weekly Flint Water Report: April 30-May 6

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BinC Watch: Donald Trump Has Now Changed His Mind on the Minimum Wage Three Times In Three Days

Mother Jones

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Does Donald Trump think we should raise the federal minimum wage? Let’s roll the tape:

November 10, 2015: NO!

CAVUTO: So do not raise the minimum wage? TRUMP: I would not do it.

May 8, 2016: YES!

I think people have to get more….Sure it’s a change. I’m allowed to change.

May 8, 2016: NO!

I don’t know how people make it on $7.25 an hour….I think people should get more….But I would say let the states decide.

May 11, 2016: YES!

Goofy Elizabeth Warren lied when she says I want to abolish the Federal Minimum Wage. See media—asking for increase!

So what does Trump really think about the minimum wage? There’s no telling. Maybe he really has changed his mind over and over. Maybe he didn’t realize there were separate state and federal minimum wages until someone clued him in on May 8. But his tweet today sure makes it clear that he wants an increase in the federal minimum wage. He even capitalized it to make sure we got the point. I wonder how long we’ll have to wait before he claims he never said this and he really wants the states to decide after all?

It’s easy to write this off to Trump’s general buffoonery, and that would be fair. What gets me is that his fans continue to believe everything he says even though he does stuff like this all the time. Do they really believe he’s going to build a wall? Why? I don’t think it would take him more than a few days in office to change his mind and insist that he had said all along that everything was up for negotiation.

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BinC Watch: Donald Trump Has Now Changed His Mind on the Minimum Wage Three Times In Three Days

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There’s More to "Improper Payments" Than Meets the Eye

Mother Jones

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Here’s an interesting thing. I was browsing over at The Corner and came across a post from Veronique de Rugy, who was unhappy about the federal government’s rate of improper payments, which totaled $137 billion last year. That’s fair enough. Here are the six worst programs:

This is the kind of thing that liberals should care about too—in fact, we should care about it more than conservatives if we want people to trust government to handle their tax dollars competently. Still, it got me curious. What exactly does this mean? $137 billion in waste and fraud last year? As it turns out, no. Here’s one interesting methodological tidbit:

Another prevalent misunderstanding is that all improper payments are a loss to the government, but that is not always the case. For example, although most of the $137 billion in improper payments was caused by overpayments (payments that are higher than they should have been), a significant chunk of that total amount was caused by underpayments (payments that are lower than they should have been). The difference between these two amounts (that is, overpayments minus underpayments) equals the net amount of payments that improperly went out the door.

Huh. So if the feds overpay Joe $10 and underpay Jane $10, that counts as $20 in improper payments. This is a reasonable thing to track, since we’d like all the payments to be correct, but it doesn’t give us much insight into how much money we’re losing to improper payments. My guess based on a bit of googling is that underpayments are a smallish part of the whole number, but for some reason there’s no official tally of this. Roughly speaking, though, you can probably shave 10-20 percent off the top and get pretty close.

What else? There’s this:

Also, many of the overpayments are payments that may have been proper, but were labeled improper due to a lack of documentation confirming payment accuracy. We believe that if agencies had this documentation, it would show that many of these overpayments were actually proper and the amount of improper payments actually lost by the government would be even lower than the estimated net loss discussed above.

An entire payment is labeled improper if complete documentation is not available. This appears to account for somewhere in the neighborhood of 50-60 percent of all improper payments. Most likely, though, once the documentation is in place, the vast majority of these payments turn out to be correct.

Put this all together, and the net value of genuinely improper payments is probably about $50 billion or so. Still high, but not quite as outrageous as it seems at first glance.

Something about this whole exercise seems kind of weird to me, though. We’re only a few months into 2016 and we already have numbers for FY2015. That’s fast work—too fast to be anything but a preliminary cut at flagging payments that might be incorrect. But how many of them really are incorrect? Nobody knows. For that, you’d have to wait a year or two and then re-analyze all the payments in the sample.

I’d be a whole lot more interested in that. $137 billion makes for a fine, scary headline—especially when the headline leaves the vague impression that this is all due to fraud and waste—but why don’t we ever get a follow-up number that tells us how much the feds ended up paying improperly once all the documentation is rounded up and the final audits are done? Wouldn’t that be a better number to care about?

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There’s More to "Improper Payments" Than Meets the Eye

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Donald Trump’s Negatives Could Go Up…Or Down

Mother Jones

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Greg Sargent channels the conventional wisdom that Hillary Clinton’s negatives are old and baked into the cake, while Donald Trump’s could get even worse than they are now:

Hillary Clinton has been subjected to intense scrutiny for over two decades. Note that Trump’s attacks on her are largely rehashes: He’s going after Bill Clinton’s affairs and Hillary Clinton’s alleged role in “enabling” them….While it’s possible that a renewed focus on all these things could damage Clinton further, it’s more likely that they will accomplish little, because they don’t represent new information.

By contrast, we simply don’t know yet what is out there in the record on Trump….One Dem opposition researcher has estimated that approximately 80 percent of negative stuff out there on Trump has yet to surface publicly — and they continue to do so. Which means it’s possible that Trump’s negatives have more room to grow (as preposterous as that might seem) than Clinton’s do.

This seems like the right way to bet, but I’m a little less sure. On the Hillary side, negatives that are widely accepted can actually be easier to confirm than new ones. If Trump keeps banging away on “Corrupt Hillary,” a lot of people might start remembering all that old stuff that they’d forgotten about during the past decade. And this could be easier than we think, since there are also a substantial group of Bernie supporters these days who are doing everything they can to help this narrative along.

On the Trump side, yes, his negatives have room to grow. But the opposite is true too. If a lot of people haven’t really been paying attention to the campaign yet, it’s quite possible that they might decide the guy isn’t really as bad as rumors have it. Sure, he’s not entirely PC, but he speaks his mind! He’s going to bring back jobs from China! He’s a man of the people!

Then again, maybe they’ll eventually figure out that he’s just another plutocrat Republican who plans to cut the hell out of tax rates for the rich, something a lot of people apparently don’t believe yet. But that’s not a certainty. For some reason, voters and pundits alike seem to give Republicans a pass on their tax plans, shrugging them off more as totems than as actual intentions.

In other words: I don’t know. This is not a normal year and Trump is not a normal candidate. But there’s one more thing to point out: if Pollster’s algorithms are to be believed, Trump’s negatives are actually about the same as Hillary’s and they’re both trending upward at about the same slow but steady rate. The only real difference is that Trump’s ratings are more variable than Hillary’s. This isn’t necessarily good news for Democrats.

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Donald Trump’s Negatives Could Go Up…Or Down

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Did the Stagflation of the 70s Ever Exist In the First Place?

Mother Jones

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In a conversation with Dean Baker recently, I learned something interesting. This won’t be new to anyone deeply familiar with inflation statistics, but it was new to me. Maybe it will be new to you too.

The general subject is the stagflation of the 70s, which ushered in supply-side economics and the Reagan era. More specifically, the issue is the measurement of inflation during part of this era. Housing costs are incorporated into the CPI by measuring rents, but prior to 1982 it was done by directly measuring the price of buying a house. In an era when interest rates were steady, this didn’t matter much, but when interest rates went crazy in the mid-70s it made a big difference, overstating inflation by about two percentage points. If you correct for this, and also take a look at exactly when the worst periods of stagflation occurred, you get this:

If you correct the inflation figures and account for the two oil shocks of the 70s, the period from 1970-85 looks remarkably steady. Inflation and GDP growth are both running at about 4 percent for nearly the entire time.

I don’t have the chops to relitigate this, but the question it raises is: Did stagflation ever even exist? Was there anything seriously wrong with the economy of the 70s other than a pair of oil shocks we had no control over? Would the economy have recovered normally after the second oil shock even if Paul Volcker hadn’t created a huge recession? Feel free to litigate in comments.

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Did the Stagflation of the 70s Ever Exist In the First Place?

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Friday Cat Blogging – 6 May 2016

Mother Jones

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Yesterday was a tough day: my computer went nuts and wouldn’t let me get any work done. The symptoms were bizarre: I couldn’t open any menus. They’d just flash on the screen and disappear. I couldn’t open apps. I couldn’t close apps. I could highlight text, but I couldn’t copy or paste it. I couldn’t even open the Start menu to reboot the machine. What the hell is going on with Windows 10?

Perhaps you can already figure out how this story ends? It turns out that Windows is fine. I’m sorry for doubting you, Microsoft. The bug turned out to be neither software nor firmware, but catware. Hilbert had his paw hanging out of the pod and was pressing the Escape key. When I removed his paw, everything worked fine again.

Really, the things we cat owners staffers put up with is astounding.

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Friday Cat Blogging – 6 May 2016

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