I love when I get to be inside the walls of Oregon Ballet Theatre’s building and watch the heat and fury that arises from the dancers as they practice. It takes enormous focus and energy to perfect those twists and turns and leaps, and to be able to witness trial after trial until they reach their aspirations is a wondrous sight.
I was there to make dancer portraits, and even though they came right from brutal practice to sit before my camera, they each faced the lens with authentic passion in their eyes.
What could be more fun than chasing cowboys on horses?
That is exactly what this assignment required as I captured images for Painted Hills Natural Beef in Fossil, Oregon for their website and social media platforms.
A rancher’s life is wrought with many worries and hardships, and often their hard work is under-appreciated by those who sit down to eat the products they bring to the table. There seems to be a disconnect with where our food comes from, how it was raised, and whether it is even healthy for us to eat. Take a spin on their website to read about the many benefits of natural beef.
And consider making a visit to this lovely area of Oregon!
What fun it was to create the image for the first cover for the new Bend Magazine!
I recently completed two projects for the Worldwide Fistula Foundation, documenting work they support.
Oregon Health & Sciences University performs and teaches prolapse surgery in the northern Tigray region of Ethiopia. My imagery helps to promote their work and attract donors to their cause. The project was founded by Dr. Rahel Nardos, an Ethiopian woman who came to the US during the time of the Derg and studied to become a urogynecologist.
TERREWODE is an organization that helps fistula survivors re-integrate back into village life. I have collected various types of content for edited videos, promotional materials, donor engagement activities and guest blog publication.
I love working in a way that engages what I call the “spindle effect”, where many people collaborate and the end result touches a variety of individuals and organizations. Nothing pleases me more than to be a part of a system rather than have my name be front and center.
I love to see how clients use my imagery. The Dignity Period website is full of images I captured, but the way they used this one just blows me away. Their whole focus is so inspiring! The founder, Freweini Mebrahtu, will soon be in Portland to brainstorm an idea we both have….more to come on that!
Dignity Period will be hosting their annual gala on April 30 at the Missouri Botanical Garden, where they will auction ten of my prints from Ethiopia.
What an honor it was when someone from the Ohio University communications department called and asked to interview me about a few images they curated from my website! Their Visual Communications program is well known in the country, and I highly respect their educational offerings in this field of study.
When I attended Ohio University, I wanted to be a Photojournalism major but my father did not permit it for various reasons. Having them initiate this discussion and sanction my work is a long held wish come true.
Listen to the interview here.
We are so very pleased to announce the launch of our beautiful little book The Market Workers, a loving tribute to some of the hardest workers on earth.
This book has been a labor of love for many years, starting when I first entered the market in Bahir Dar, Ethiopia and saw the tireless energy and positive mindsets of the market workers who work so very hard each day to bring food, clothing/textiles, spices and household wares to so many. From simple dinner tables to high end luxury hotels, these people make sure there is a ready supply of items that feed the body and soul.
This book could not have been created without the help from so many others. Enormous gratitude goes first and foremost to Lincoln Miller, owner of PushDot Studio, who labored over the files to get them to look colorful and lively, all with a consistent feel, even though the images were created over a three year time span. His talented and gracious wife, Dardi Troen, owner of Ditroen, worked with renowned educator and artist (and very good friend!) Kirsten Rian to create the look and feel of the design of the book and sequence the images. We could not select a cover image (this proved too difficult when I love all of the workers!) so the cover is a very simple black face with red/orange foil type.
Aida Muluneh, founder of the Addis Foto Fest, penned a heartfelt introduction to the book and coordinated an exhibit, and mentor and friend Mary Ellen Mark, who has had a huge influence on my visual heart and soul, wrote a special sentiment.
Words escape me when trying to articulate the gratitude I have for the assistance I received while in Ethiopia from my many friends there, from the city officials in Bahir Dar, and above all, from Habtamu, my trusty guide and friend who works in the markets in Bahir Dar, Ethiopia.
The printing was done by Brown Publishing, with astonishing results. The colors are deep and saturated, and skin tones are true to life.
Each book was lovingly crafted with a hard cover, the highest quality papers and flat lying binding. This is a very short run (only 200 copies) and many of them were given to people in Ethiopia (including the energetic market worker who coordinated the project within the market) when the book was launched during The Market Workers exhibition opening at the National Museum of Ethiopia last December.
Prints have been shown at Lightbox Gallery, PushDot Studio, Katayama Gallery, The Clymb headquarters, and have been included in many other international exhibits. Special gratitude to Laura Domela, for her painterly hand at post processing each image to appear lifelike. The sales of these prints offset costs that enabled this book to be published, so a sincere thank you goes to those who purchased prints.
Each book costs $40, plus shipping and handling. All proceeds enable me to pay for the cost of producing the book, plus allows me to keep doing the work I do in Ethiopia.
Kindly email me to reserve a copy.
How can a young man, so early in his life, produce such forlorn material that depicts strain and stress and mystery and broken down spirit, with the tendrils of hope right within and outside of reach?
This is Vikesh Kapoor‘s style of song, and he sings it with conviction, as though he really did experience such down trodden affairs.
Photographing him was not an easy task – when he reaches for his guitar and begins to sing, he is lost in the lyrics and I had a difficult time finding a connection through the camera. For most of our session, I just put the camera aside and listened to him.
Once the guitar is by his side, he returns to his impish and stylish self, joking and smiling in a playful manner. But the specs of my assignment was to photograph him while he was playing. I waited and joined him in his means of story-telling, forgetting that I had a job to do. Sometime during his songs, I was able to pick up the camera and create these images by not looking through the experience-ruining lens.
Something feels a bit controlled about him, but not in the traditional way. He seems to be really thinking about things: his day, his upcoming tour, his lovely girlfriend perhaps? No, there seems to be a tragedy that lurks behind his boyish grins. Who knows if he has experienced some trauma that brings him to this music – it doesn’t matter. He doesn’t seem to question where his creative center comes from, and neither should I.
The Portland Mercury writes that his album “The Ballad of Willy Robbins is a vital, blood-spattered document of the times America currently finds itself in, examining hard-working people and their families as they’re sidelined by big business and the bottom dollar”. At such a young age, he is certainly able to channel nuance, the loss of a cherished something or someone, with anguished tentacles running deeper than we allow ourselves to feel in this highly distracting world.
I wonder what he will do next.
Images shot for OnTrak Magazine; his story is on Amtrak trains now.