Tuesday, 29 November 2011

ALL's WELL: life in real time

Life in real is like a part of you. You make experience, discover new thing and learn more thing that you don't know like childhood, adult, ...

life in real time

Life in real is like a part of you. You make experience, discover new thing and learn more thing that you don't know like childhood, adult, love, marriage, children, grand parent. This new things is your life time you have to passed those experience to know how life is.When you have passed those things and make your experience you know what your destiny have reserve for you and you can die in peace and know that this is the real life and know how to protect your family from those obstacles and lets who are after you make there experience in peace thats the real life take example and do it now.

Sunday, 27 November 2011






For this week’s issue, Alessandra Sanguinetti photographed Aida Battlle’s coffee plantation high up in the El Salvadorian mountains. No stranger to shooting out in countryside, Sanguinetti has spent many years photographing in the agrarian communities of Argentina’s Pampas region. Last year, we talked to Sanguinetti about her book of photographs of a pair of cousins in rural Argentina, “The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams.” These new photographs, though, reminded me of one of her first projects out of school: “On the Sixth Day,” which depicts the relationship between the animals and humans on a farm in the Pampas. “In the rural farmland of Argentina, this relationship is part of everyday life,” Sanguinetti writes. “Small and open land farming, unlike intensive and factory farming, has resulted in a language of traditions that persist over the years, where the cycle of life and death is present every day, from dawn to dust.”
Here is a selection from “On the Sixth Day.”

Read more http://www.newyorker.com/online/blogs/photobooth#ixzz1evOpLqbm


A week after the sex-abuse scandal broke at Penn State, Lauren Lancaster spent Saturday in and around Beaver Stadium, documenting the mood among tailgaters, fans, and protesters. “You’d see someone holding a sign for child-abuse awareness, and a minute later they’d be surrounded by a group of smiling, face-painted fans who wanted to pose for a picture with them, so they’d smile for the picture, too,” Lancaster said. “There seemed to be resounding support for Joe Paterno. When asked how he felt about the recent news, one fan said, ‘If your father made a mistake you’d forgive him, wouldn’t you?’ ”
In their first game without their longtime coach, Penn’s Nittany Lions lost to the Nebraska Cornhuskers. Here’s a selection of photographs from Lancaster’s visit.

Read more http://www.newyorker.com/online/blogs/photobooth#ixzz1evP0En6L




The New York Historical Society reopens today, following a three-year renovation, and among its new exhibits is “Freedom Now,” by the New Yorker photographer Platon. Each lit individually in the dark gallery, the photographs make for contemplative viewing. Many of these images, including those of the Little Rock Nine, Muhammad Ali, and the Olympians Tommie Smith and John Carlos, first appeared in the pages of this magazine as part of our multimedia Portfolio “The Promise.” The exhibition runs through April 15th, 2012.

Read more http://www.newyorker.com/online/blogs/photobooth#ixzz1evPGOcig


Finding Fernanda,” the first book by the photojournalist and investigative reporter Erin Siegal, uncovers pervasive fraud in the international adoption industry, specifically between Guatemala and the U.S. It’s not a photo book, but photographs are central to its conception.
The story began in December of 2007, when, on vacation in Guatemala, Siegal found herself surrounded by over a dozen American couples leaving Guatemala City airport with newly adopted children. “There was something very surreal about the scene because of the quantity of children leaving,” Siegal told me. “At first, I thought I’d shoot a simple photo story on international adoption, using images alone, and maybe some audio, but the more clips I read, the more I realized that the subject matter didn’t seem well-suited to visual reportage.” Nonetheless, as her reporting unfolded, Siegal found herself relying more and more on photography as a tool to inform her writing. “I needed to be able to describe scenes visually in the book, to keep things vivid, and it really helped having photos and video to rely on for description,” she said. Photos alone would not be able to tell the complex story Siegal was uncovering, but the story could not be told without them, either. “The road to this book included a lot of reflection on photography and the limitations of the craft, in terms of being able to tell in-depth investigative human rights stories,” Siegal told me. “I never meant to write a book; the story simply demanded it.”
On Saturday, Siegal will celebrate the publication of “Finding Fernanda” at powerHouse Books in Brooklyn. Here’s a selection of photographs from her reporting.

Read more http://www.newyorker.com/online/blogs/photobooth#ixzz1evPPFeF5


Mildred Alvarado and one of her daughters during an interview, Villa Nueva,



For this week’s Food Issue, we asked Julia Fullerton-Batten to photograph Lucy Worsley, the British historian and TV personality, for Lauren Collins’s Profile. The location: the Tudor Kitchen in Hampton Court Palace. “It was so cold,” Fullerton-Batten told me. “We managed to persuade them to have this huge open fire to keep us vaguely warm. Apparently it gets so cold in there it even snows inside.”
Worsley is known for her televised archaeological experiments, in which she explores life in different eras by recreating quotidian tasks, such as laying a fire in period costume, or staging a full-scale Georgian dinner in an unwinterized kitchen. They are works of imagination, making her a fitting subject for Fullerton-Batten, whose photographs often entail staging fantasies and simulating daydreams. Much of her work is focussed on female adolescence and the teen-age mind, a world she has explored in her series “Teenage Stories,” “Awkward,” and “In-Between.” Here’s a selection.

Read more http://www.newyorker.com/online/blogs/photobooth#ixzz1evO5hN8w



This week in the magazine, Peter Schjeldahl reviews the Guggenheim retrospective of the impish Italian artist Maurizio Cattelan, whose works, Schjeldahl writes, “have provided the international art world with comic relief and the occasional news-making sensation since 1989. Now a hundred and twenty-eight of them—taxidermied animals, veristic wax figures, joke photographs, joke paintings, joke marble sculptures—dangle beneath the museum’s rotunda.” We asked Raymond Meier to capture the scene.
“I am a big fan of both the architecture of the museum and Maurizio Cattelan’s art,” Meier told me. “After walking down the spiral ramp, I knew immediately where I wanted to take my picture. The moment I was at that spot, I started to realize the complexity and the three-dimensionality of the exhibition. But it took me over two hours to find the proper viewpoint and crop.” Meier’s work is often seen on the pages of T Style magazine and Vogue. Though he primarily photographs fashion, his still lifes, architectural images, and portraits share a common spirit which he describes as “strong, simple, powerful graphics with a slight twist of oddness, not excluding humor.” Here’s a selection of some favorite images of Meier’s.

Read more http://www.newyorker.com/online/blogs/photobooth#ixzz1evNmSz8a



On opening night of the Maurizio Cattelan retrospective at the Guggenheim (read Peter Schjeldahl’s review of the show), a Hummer stretch limo with the words “TOILET PAPER” printed on the side was not-so-discreetly parked outside the museum. The insignia referred to Toilet Paper magazine, a bi-annual, picture-based publication co-created by Cattelan and the photographer Pierpaolo Ferrari.
The project began when the two collaborated on a shoot for W magazine’s 2009 Art Issue. “We had so much fun, we said, why don’t we do more of this?,” Cattelan told me. “We then did a shoot for TAR, and then had a baby: Toilet Paper.” It’s not Cattelan’s first periodical. “Other magazines I’ve done, like Permanent Food, were really more radical,” he said. “We would do an issue in twenty-four hours. We’d start by going to the newsstand and buying anything that caught our eye. We would rip out pages, re-edit them, and send it off to the printer.”
In Toilet Paper, the images might appear to have been appropriated from world’s most surreal stock-photograph service, but they’re all made from scratch. “Every issue starts with a theme, always something basic and general, like love or greed,” Cattelan explained. “Then, as we start, we move like a painter on a canvas, layering and building up the issue. We always find ourselves in a place we didn’t expect to be. The best images are the result of improvisation.” Many images are rejected, he said, because they’re “not Toilet Paper enough.” What makes a Toilet Paper photo? “We keep homing in on what a Toilet Paper image is. Like distilling a perfume. It’s not about one particular style or time frame; what makes them Toilet Paper is a special twist. An uncanny ambiguity.”
Here’s a selection from four different issues of the magazine.

Read more http://www.newyorker.com/online/blogs/photobooth#ixzz1evNJt7Em