I am documentary photographer who has lived and worked in Asia, spending 20 years in Tokyo, Japan, and am now living in Dublin, Ireland. My website is www.philiparneill.com. I began experimenting with a camera in college, and I am interested in documenting the urban landscape and musical subcultures as well as the power of mobile publishing platforms such as Instagram and iPhone photography.
Tokyo Jazz Joints (www.tokyojazzjoints.com) is a documentary project which began in 2015 to document Tokyo’s (and has since expanded to the whole of Japan’s) myriad jazz bars and cafes. Japan’s incredible subculture of jazz bars and ‘kissaten’ coffee shops – many of which opened after World War II – is a hidden, insular world which is slowly vanishing in the face of changing trends, aging customers and rising rents. Since the project began, at least 15 of the places photographed have closed, and continue to do so; time is ticking to record the remaining 125 (approximately) before these living museums of musical culture disappear forever from Japan’s urban landscape.
The project is quite simply a labour of love. I can’t track the exact origin of when the idea came about, but I suspect that it was a visit several years ago to Hello Dolly in Kyoto that planted the seed. I decided to start at the incredible Pithecanthropus Erectus in Kamata, a rundown suburb in southern Tokyo, and having photographed that one place, the project was born. We never imagined back then that 3 years later we would have racked up 160 joints right across the country. The purpose of the project is simple: to document photographically Japan’s myriad collection of jazz bars and coffee shops before they disappear forever. The entire project has been self-funded, and we have paid for every drink, train ticket, plane ticket and hotel bill ourselves. Ultimately, if we can add a remaining 50 joints (approximately) to the project, we would like to then publish the project in a large scale photo book format.
The project is a visual chronicle of a unique world, and to date it has documented 160 individual jazz bars and kissaten.
Algi Febri Sugita, born in Bandung, February 14, 1997, is a Freelance Photojournalist, Editorial & Travel Photographer based in Bandung, Indonesia. With his passion for traveling and photographing moments, he is available for Travel, Editorial, or Documentary photography assignments.
His projects focuses on human life, culture, tradition, portraits, and nature.
In 2017, he had time to study at ANTARA FOTO – The Indonesian Press Photo Agency (Workshop Kilas Balik 2017). He then attended the workshop “Visual Story Telling Aku Dan Kotaku Bandung with Pannafoto” in 2018.
The Cikareumbi village community, Cikidang Village, West Bandung Regency, and West Java are removing wretchedness. They are ridding themselves of bad nature and all things interconnected with plant diseases by throwing away tons of rotten tomatoes.
Participants wear helmets and use shields woven from rattan. Spectators and participants alike pour into the village streets, all hoping to strike the other with handfuls of rotten tomatoes. They merge and dissolve in a mass of excitement.
Tomato War is a series of Ngaruat Bumi Ceremonies and Hajat Buruan. Hajat Buruan is a form of gratitude or the work of a vegetable plant for its joy which is expressed through a generous presentation.
The Ngaruat Bumi ceremony and Hajat Buruan are one of the things that are done to show awareness for the environment, not merely a novel act.
We’ve received so many great submissions from all over the world from people of all different backgrounds. In an effort to include these submission, we’re introducing a new segment called Global Feature.
Marcelo Brodsky (1954) lives and works in Buenos Aires, Argentina.
An artist and political activist, Marcelo Brodsky’s work is situated on the border between installation, performance, photography, monument and memorial, his pieces blend text and images, often using figures of speech. Buena Memoria, is emblematic work of 1996, has been shown more than 150 times in public spaces as well as museums and public spaces around the world. It narrates the story of his generation affected by the dictatorships in Argentina, and the holes left in it with the dissapearences of friends and classmates.
Marcelo Brodsky´s solo shows and books include Nexo, Memory under Construction, and Visual Correspondences, his visual conversations with other artists and photographers, such as Martin Parr, Manel Esclusa or Pablo Ortiz Monasterio. Recent projects include the publication of Once@9:53 with Ilan Stavans, a photonovella that combines reportage and fiction, and Tree Time, a book about the relationship between memory and Nature. His current exhibitions are “1968 the Fire of Ideas” and “Migrants”, an essay on the refugee crisis in Europe connected with his own migrations.
Marcelo Brodsky is is a member of the Board of Directors of the Parque de la Memoria, a sculpture park and large monument with names and a gallery, built in Buenos Aires to the memory of victims of state terrorism.
His work is part of major collections such as the Museum of Fine Arts Houston , the Tate Collection London, The Metropolitan Museum of Art New York, Museo Nacional de Bellas Artes Argentina, Museo de Arte Moderno Buenos Aires, Center for Creative Photography Tucson Arizona, Sprengel Museum Hannover, Museo de la Memoria y los Derechos Humanos Santiago de Chile, MALI Lima, etc.
1968 the fire of ideas is now on tour in exhibition in Museu Berardo, Lisbon, Spanish Academy, Rome, Lithuanian Gallery of Photography, Kaunas and Musrara Gallery Jerusalem
The images are photographs from files and photographers from 1968, licenced from the photographers or their agencies, printed in high res on cotton paper and then intervened with colour and text.
Pilipinas Kong Mahal (My Beloved Philippines)
My name is Toni Evangeline Lucero. I am a 22 year old photographer from the Philippines. I started taking photographs at 12 when I had my first digital camera, which was a Canon Powershot. I used to walk to school because it was nearby, so I always bring my camera, to take random photos in the streets. At the age of 17, I started shooting weddings and events, but street photography has always been number one in my heart. I recently got into analog photography too.
This photo series shows the true face of the Philippines; the everyday life in a third world country. Some are taken on 35mm film and some are digital.
My name is Thibaut Goarant, I am a middle aged guy. I’m born in Quimper, Brittany, France but I’ve been living now in Japan for 4 years. I have moved to Japan because of my work and because my wife wanted to go back to her country.
I am a father of a sweet six-year old little girl. I suffer from depression. I’ve always been in a bad shape, but after I moved to Japan it got worse : not adapting to my new work, my best friend died… Fortunately, I succeeded in making a new friend, which is very lucky, as this kind of relationship doesn’t build like this every day. I am now on sick leave and left the huge city of Tokyo to move to the countryside. I see my depression influencing my work; I shoot high contrast black and white, dark, like my feelings.
I have started photography only 3 years ago. When I was 37 years old. Now I’m forty… Yes it is late to start but you need to start somewhere right?
I am currently using a Ricoh GRII (and a flash) so I am limited to 28mm. Sometimes, when I shoot film, I shoot with lenses that are approximately a 50mm equivalent. With the 28 wide angle, I need to be close to be in a scene to be able to take something decent so it is very exciting. The 50mm lens is better for me for environmental portrait that I like to do with the medium format ; I want to fully use the potential of the camera and I believe it is better like this. The medium format is also a big camera so it can scare the subject in a way.
The camera, for me, is a lovely tool. It is an extension of my eye and brain that helps me in capturing or reflecting something that I cannot say with words.
I shoot 99% of the time in black and white. That’s how I like to see the world around me. I think it corresponds to my state of mind ; it is only natural for me to shoot black and white.
My favourite photographer is Todd Hido although he did not influenced me on shooting, or at least not consciously. I enjoy also Daido Moriyama and some other Japanese photographer such as Shinya Arimoto or Shin Yanagisawa.
Photography has different aspects for me. First it is an art form where I can express myself ; it is an “affordable” one in a sense that you just need a camera and then practice/work. It is a stress reliever ; I shoot and I forget everything. Finally it is an enjoyable moment when it comes to share my pictures with my family, friends and the rest of the world through social medias.
For photography, my best friend told me everything I should know, and even more ; that’s how I started to dig deeper. Then the books came; they are marvelous tools for learning and for mind healing, a good source of inspiration and satisfaction with the medium, a different feeling than looking at pictures on the internet. I also attended a workshop with Eric Kim in Tokyo ; it is not an experience that transcend your photography immediately, but the energy is good and what you’ve learned hits back later ; it really acts as a trigger.
When I started photographing I did not have any work or photographer in mind. I bought myself a camera ; a mirrorless that said it was the perfect tool for street photography. The street photography words resonated in me, it was appealing. I started to photograph frenetically, and little by little, I dug deeper into street photography.
I educated myself and discovered a whole world of photographers. I looked for the new names on the internet, learned about the masters, they became, not directly a source of inspiration, but a solid cultural background to pursue my route.
I used to love pure street photography, but I slowly moved to portraits taken in the streets (and a project called Hello You!). Then, as I moved to the country side of Japan (I mean real country side) and as there are less people and that the scenery is totally new to me, I started to take landscapes.
I am currently on sick leave from my work (I work in marketing in the automotive industry) because of my depression. Before that, I would just include photography on my days off. My work, as a salaryman and photography were just two different worlds that never communicated. As a salaryman in Japan, you have to bend, to fit in, even in a foreign company. Photography is a true part of myself, some place where I don’t lie to myself.
Photography saved my life. I suffer from a severe depression but when I’m out photographing, or when I concentrate on photography matters, all the pain goes away.
I don’t have any recurring themes specifically ; I don’t explore humanity matters, I don’t document life as some photographers do. I have been told I shoot emotionally ; I think that well describes my photography in general. See, point, and shoot with your guts.
I like to be close to my subject. I have another project called Hello you ! where I only shoot faces very close. The impulse came from the workshop I took with Eric Kim. I am a very shy person, it is difficult for me to talk to people, even more when it is not my mother tongue (please remember I live in Japan). But when it came to overcome my fears during the workshop, I surprisingly went very, very close, like an hunger for something, and I found it enjoyable and very rewarding.
I also prefer to work with somebody ; that’s the way I grown up as a photographer. I think many photographers share the same feeling of not taking pictures but also share time with someone in the same state of mind as them. But recently, I have to say that I unfortunately shoot alone.
Changing your life, who has never dreamt about it?
That’s what I am trying to do. Bored with my “salaryman” life. Because I don’t have the capacities for it. Because I grew tired of it. Because it didn’t meet my expectations anymore.
I left the big city, the noise, and turmoil. I went for the country, the silence, and peace. I moved to my wife’s parents place.
It is a different world here. It is in the middle of the country. It is in the middle of the mountains. It is in the middle of nowhere. The closest shop is a fifteen-minute drive. So if you have no car, you can’t even sustain.
I am here, trying to adapt to the main-town of Mitani, in Yabu city, Japan. Led by the urge to keep shooting, I’m walking around the place… not far yet. We arrived in winter. The place is covered with snow. Houses dark wood, mountains, firs, the winter stormy sky… Everything calls for my longing of high contrast blacks and whites.
My first steps into this world, only a beginning I hope, a new story to tell.
Taking photographs and practicing meditation might seem at first glance to be unrelated activities. For while photography looks outwards at the visual world through the medium of a camera, meditation focuses inwards on unmediated experience. And whereas photography is concerned with producing images of reality, meditation is about seeing reality as it is. Yet in taking photographs and practicing meditation, I find the two activities have converged to the point where I no longer think of them as different. As practices, both meditation and photography demand commitment, discipline and technical skill. Possession of these qualities does not, however, guarantee that meditation will lead to great wisdom any more than photography will culminate in great art. To go beyond mere expertise in either domain requires a capacity to see the world in a new way. Such seeing originates in a penetrating and insatiable curiosity about things. It entails recovering an innocent, childlike wonder at life while suspending the adult’s conviction that the world is simply the way it appears
The majority of my photographs, are calm moments in time that will always remind me of these locations and what i felt at the time.
Photos taken on a Cambodian tour 3 years ago, where I wanted to practice more portraits and as the Cambodians are especially happy, even given their poor status, they always smile.
My goal is to move people, like a piece of music. Within photography, I explore humanity as I experience it. My images appeal to sensory perception more than to that of the mind.
By using black and white, contrast or grain, a parallel world is being created. An abstract. A world in which light and darkness are allowed to exist side by side.
My work was described as follows: ‘Beauty is not cultivated and ugliness does not seem to be a problem. On the crossroad of journalism, Dijkers exhibits poetry in the images of daily life, in a complex, undefinable way. It only requires the viewer to look. The quality of his images is that they do not want to be more powerful than the world from which they originate.’
Eli Dijkers is a Rotterdam based, Dutch Photographer born in 1978. He graduated at the Academy of Photography in Rotterdam, the Netherlands, in 2012 – after having finished his pharmacy studies and PhD.
His photographic work is intuitive, raw, yet always very connected to people. He finds his subjects in the public space or in their own personal living space.
Eli graduated at the academy of photography with his personal interpretation of the city of Rotterdam entitled ‘Temporal Existence’. In 2013, he was one out of 12 photographers selected to document the city of Rotterdam. In addition he is author of the self-published photo book ‘Enigma’; a confronting series of images about daily life on the streets in India. His work has been exhibited at various places in the Netherlands and abroad. March 2018 Eli will have a solo exhibition in de Kunsthal in Rotterdam.
In December 2013, Eli was fortunate to follow a masterclass by Michael Ackerman, one of his primary sources of inspiration, in Paris. Later on, he participated in a Magnum workshop by photographer Jacob Aue Sobol at Copenhagen. Both of them critically contributed to an in-depth empowerment of his work. A selection of the work produced during this workshop was exhibited at the Copenhagen Photofestival.
His first solo-exhibition at Deelen Art Gallery, was curated by Sun Hee Engelstoft, editor of Jacob Aue Sobol. The grand opening was performed by Jacqueline Portielje from the well-known Dutch artist duo Schilte & Portielje. From March to August 2018 he has a solo exhibition in the Kunsthal, one of the leading Dutch museums in contemporary art.
Eli is awarded Ilford MASTER, amongst Sebastião Salgado. He is a member of the international collective Noise, Pictura and Dutch Contemporary Photography.
Change is ubiquitous in China. Old buildings are replaced by uniform 30 stories flats at unprecedented pace: between 2011 and 2013 alone China used more concrete than the United States in the entire 20th century. In addition 20 million Chinese relocate to cities each year. On the other hand, China’s 5,000 year old history is firmly anchored in society. These opposite forces place China in a twilight zone between past and future, creating a world of opportunities, uncertainties and challenges.
I started street photography in 2014, I like street photography because I can take photographs of the street and people’s facial expressions. I will not call out to them, I will take the look of their expressions as it is. Everyday I participate in lens culture, IPA, 1x etc. Recently, I started to take portraits.
I keep shooting the city, people, noises, tranquility, anger, sorrow, laughter, stinginess, everything as a beautiful scene every day. The place is Osaka, where I grew up.
There’s much to say. I’m just an ordinary person who in love with photography and music. My life kinda boring but photography saved my life. When I was young I used to dream about becoming rock star. But it never happened. I failed and once again photography saved my life
Location : Bali and Jakarta