1. If you have small video files just e-mail it to tufts.exposure@gmail.com
2. If you have larger video files send me an e-mail
(ian.maclellan@tufts.edu) and I’ll add you to the dropbox where you
can upload all the gigabytes you want. Don’t worry so much about
limiting your submissions to a minute.
3. If you’re unsure how to submit go to the Digital Design Studio
tonight from 5-9 to get some assistance.

Thanks! E-mail tufts.exposure@gmail.com with any questions.

Footage can be of anything in your life.

You can also try and answer these questions:

Where are your going?
What’s the best part of your day?
What’s in your room?

You can submit your footage in person in the days following March 1st, through E-mail, or on a special Dropbox.

E-mail tufts.exposure@gmail.com with any questions.

Amy Connors:

Catherine Roseman:

Charmaine Poh:

Chrystal Koech:

Dan Teller:

Emma Scudder:

Hadley Green:

Ian MacLellan:

Jess Kulig:

Katja Torres:

Sarah Strand:

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AmericanPoverty.org is a project of In Our Own Backyard, an organization of photojournalists commited to poverty alleviation in the United States

Children of the Gulf

Photographed by
Brenda Ann Kenneally

Images of abject suffering and deprivation on the Gulf Coast were laid bare by Hurricane Katrina – not just that caused by the hurricane’s destructive path, but vivid portraits exposing the numbing poverty of tens of thousands of Mississippi and Louisiana families prior to the storm. In Mississippi alone nearly one third of all children were poor even before Hurricane Katrina. Most still are. All of this can be seen in the exceptionally sensitive pictures taken by photojournalist Brenda Ann Kenneally. Sadly, though these were all taken on the Gulf Coast, similar photographs could be shot virtually anywhere in the United States.

Black in America

Photographed by Eli Reed

Poverty and racial injustice are deeply intertwined and continue to undermine our nation’s most basic promise of liberty and justice for all. Racism, both institutional and individual, is both a cause of poverty as well as an additional barrier for millions of people of color seeking to escape poverty. In nearly every key economic indicator, African Americans continue to fare far worse than the national average. According to U.S. Census figures, 24.5% of black families live below the poverty line, compared to 8.2% of white families. Poverty statistics are even worse for black children. One in three black children lives in poverty. Here is a selection of images drawn from perhaps the most intimate and poignant portrait of black life in America, photographed over two decades by legendary Magnum photographer Eli Reed.

Shadow Lives

Photographed by Jon Lowenstein

Since 1990, close to one third of the nearly 12 million recorded immigrants to the United States have taken the perilous journey north in search of a better life. But the reality these migrants encounter is jarringly different from their lofty hopes. Due in large part to their undocumented status, many face a constant specter of poverty and exploitation. Slave wages and deplorable working conditions in farm fields and food-processing plants have turned some rural communities into labor camps of underpaid immigrants who remain largely impoverished and powerless. Farm workers have few – if any – legal right to organize, and laws concerning minimum wages, child labor are not enforced. Award-winning photojournalist Jon Lowenstein has spent the better part of five years bearing witness to a group of people who too often are silenced and abused in a nation that seeks their labor but defines them as criminals.

See the full website here

New methods of reporting the news, new imaginations of what the news might be, have challenged the hegemonic figure of the photojournalist at its core and given birth to the most interesting ideas. This critical approach is called, following Allan Sekula, ‘antiphotojournalism’.

Click here to learn more about the reinvention of photojournalism.

One of the goals of this project, based jointly in Beirut and New York, is “to locate, preserve, study and produce audio, visual, literary, and other artifcats that shed light on the contemporary history of Lebanon.”

It’s a really powerful example of how important it is to bring together different mediums when trying to piece together a coherent narrative.  The Atlas Group tells a story through the process of trying to piece together the voices of others in the aftermath of crucial social events. Check it out here

• Make 3 images in different situations with at least 5 people in the frame, at least 2 of the images no-one can be looking at the camera.

Here is a gallery of the images:

Ian even made some audio:

If you weren’t aware from our tweets, Exposure had a chance to sit down Michael Light who was in town for the EPIIC Symposium.  We had a chance to have a long conversation with him regarding his work on 100 Suns, Full Moon, and his upcoming L.A. Day and Night (as seen below).

Michael Light is primarily known for his book work, including his large scale books.  While most photography books see a run of 10,000, Michael’s book Full Moon is in it’s eighth edition with 80,000 copies.  He stresses the importance of working with an international team to reach such a large audience.

Not only did he delve into his process of archival editing and book making but also, enlightened us on his current work on landscapes of the arid American west.  He photographs with a Soviet Era spy camera which shoot large format negatives in rolls of over two hundred images.  An avid flyer, many of his images are taken from helicopters or fix-wing airplanes.  He is currently looking into digital possibilities with Hasselblad.

Despite the absence of people from his photographs, his landscapes have a seductive quality that develops a strong connection with the viewer. “You can’t reach people without seducing them to a certain extent; people don’t want to be lectured at,” said Light.  His work is inherently political, but his distinctive style has helped him to overcome what he calls the visual and political engagement fatigue that all too often disengages the viewer.