Not From Here
Final Photo Project
hello vonnie
Not today Justin

oozey mess
Peter Solarz
Mike Driver

titsay
Misplaced Lens Cap
Sweet Seals For You, Always
Keni
NASA
ojovivo
I'd rather be in outer space 🛸

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official daine visual archive
Noah Kahan
Game of Thrones Daily
trying on a metaphor
YOU ARE THE REASON
TVSTRANGERTHINGS

ellievsbear

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@salmaaym
Not From Here
Final Photo Project
Not From Here
Final Photo Project.
Final project printing. #NotFromHere
Lebanon x Syria.
Images for my final project, “Not From Here” showing where people are originally from and where they ended up. We get to see their new world through a camera lens.
Almost Breathless by Kristyna Erbenova
“People in their own private space and time. Places that reveal themselves to me. The exposure is long, so my photographed subjects need to stand still for a while, almost breathless. In those few minutes, when we are forced to immobilize, I am able to become intimate with them.”
https://www.lensculture.com/explore?category_id=10&modal=true&modal_type=project&modal_project_id=175036
Top Ten Portrait photographers.
http://www.boredpanda.com/top-10-photographers-for-travel-portraits/?image_id=Top-10-photographers-for-travel-portraits14__700.jpg&gallery=0#topcategories
10 Tips for Making Natural Light Portraits
1. Decide what the shoot is for
2. Location, Location, Location
3. Determine the quality of the light
4. Getting your positioning right
5. Use the light to your advantage
6. Window shots
7. Camera settings
8. Communication is key
9. The type of light
10. Try it for yourself
http://photography.tutsplus.com/tutorials/10-tips-for-making-natural-light-portraits--photo-8601
Look Into the Eyes of Refugee Children
Muhammed Muheisen visited Syrian refugee camps in Jordan. In an effort to capture the life of refugees, Muheisen took a series of portraits of the displaced children of Syria.
http://news.nationalgeographic.com/2016/03/160318-syria-refugee-children-portraits/#/
Photos by Axel Oberg
Intimate Portraits of Refugees: ‘We Don’t Want to Live in a War’
Oberg traveled to the Mediterranean in early September to meet with some of the people who have been driven out of their countries as a result of the brutal civil war in Syria and the advance of the Islamic State.
With these pictures, Oberg aimed to show “more of the person, less of the situation,” and to present refugees in the same dignified manner he uses when taking portraits in New York. As a result, he says, these portraits remind us that refugees are “normal, working, middle class people” who want to live their lives but were forced out by war.”
http://news.nationalgeographic.com/2015/09/150918-refugees-Syria-Middle-East-Europe-crisis/#/
Experimenting with lighting and location for the final project shoot. #NotFromHere
Final project shooting. "New Home" shows non-Egyptians who have moved to egypt recently and now call it home. Through pictures, I try to show their roots and how their lives look like now. Model: Ingy Sheir, half Spanish/half Egyptian and has recently moved to Egypt when her father decided it was time to go back to his country.
Randa Shaath’s Indelible gives life to everyday objects and transforms them to centerpieces of her pictures. What really grabed my attention was that she used boring everyday objects and turned them into interesting photos. My favorite was the iron which reminded me of a mouse and felt as though it was an animate object.
Anthony Hamboussi is an Egyptian-American photographer, born in Brooklyn, NY in 1969. His book, Newtown Creek: A Photographic Survey of New York’s Industrial Waterway was published by Princeton Architectural Press in 2010. Hamboussi has received grants from the Graham Foundation for Advanced Studies in the Fine Arts, Jerome Foundation, and the New York State Council on the Arts in Architecture, Planning & Design. His photographs have been published in The New Yorker, Domus Magazine, and The New York Times, among others.
Fayoum.
Holy Cow!
Personal Statement:
“She’s like a child to me,” ‘Am Farag says laughingly as I ask him what his cow means to him. In Fayoum, almost every house owns some kind of cattle. When I asked the locals about their cows, they all mentioned how important it is for them. They regard it as their source of income.
Ever since the tourism in Egypt has been negatively affected and decreased, people in Fayoum have relied greatly on agriculture and livestock. If one Googles the city of Fayoum, all that would come up is scenery of landscapes, mountains and lakes. There is nothing showing what Fayoum really looks like, aside of the touristic places.
In my photo essay, I try to show the life of the average Fayoumi farmer through their livestock. My photos are a series of cows in different villages in Fayoum. It shows where they eat, rest and basically live. Though there are not any humans in the photos, it shows what life the average Fayoumi leads.
Cows have been important to Egyptians ever since ancient Egypt and the pharaohs. They put them out to pasture on land that couldn't be farmed on, either because it was too far from the Nile to irrigate or in the Nile delta, which was too wet to farm on. Egyptians used them for food, milk, leather, and sacrifice. “Ancient Egyptian cattle came to be considered so important that many Egyptian gods were considered to have the form of cattle, notable deities being Hathor, Ptah, Menthu, and Atum-Ra.”
What is interesting is the earliest evidence of cows owned by ancient Egyptians were found in Fayoum, dating back to the 8th millennium BC. Upon doing this research, I figured why not go to the original land of the cows and have pictures of them taken that show that after almost 2000 years, the same species are seen as essential by the same people who inhabit the same land.
I went on a road trip to Fayoum, stopping at houses of local Fayoumis and asking them if they owned any cows, and when they said they did, I asked if I could take a picture of it. Almost all of them were very eager to show me their most valued possession and called out their names as I took its picture (yes they have names for their cows, just like we have for our dogs). I was welcomed in to the homes of the locals, invited in for tea and had a little conversation about tourism that lead to talking about their agriculture and livestock.
It was very obvious that Fayoumis treasured their livestock. It was also a sign of wealth there. The more livestock one owns, the richer one is, so they were very keen on showing them off.
I had so much fun walking in endless fields of grass (which we don’t get to see in crowded Cairo) and following cows as they graze on the grass. The locals were welcoming and friendly, and I had a great time discovering the ‘other side’ of Fayoum, that so little people get to experience.
Assignment Two | Part Two
It’s funny how humans tend to treat puppies as human babies. As a dog owner whose dog recently had puppies, I find myself imposing human baby values when dealing with the puppies. Even the voice people use when speaking to puppies is the same tone of voice of that when playing with a baby. My idea was to dress the puppy in baby clothes and have it laid on a bed sheet to further demonstrate the idea of turning an animal into human.
Shirin Neshat (Persian: شیرین نشاط; born March 26, 1957) is an Iranian visual artist who lives in New York City. She is known primarily for her work in film, video and photography. https://instagram.com/shirinneshat/ https://twitter.com/shirin_neshat