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Rémi Ochlik’s Revolutions

“War is worse than drugs. One moment it’s a bad trip, a nightmare. But the next moment, as soon as the immediate danger has passed, there is an overpowering desire to go back for more. To risk one’s life in order to get more pictures in return for not very much. It is an incomprehensible force that pushes us to keep going back in.”

Rmi Ochlik, 2004

This spring, after French war photographer Rmi Ochlik was killed during fighting in Homs, Syria, a group of close friends and colleagues felt their obligations to the photographer weren’t complete. Meeting aboard a TGV train on their way to Paris from the World Press awards ceremony in Amsterdam in late April, the group took stock of everything that had happened since Rmi’s death. find personal injury attorney . His photographs had spoken for themselves when exhibited in tribute in Amsterdam. The large circle of friends gathered in his name was a testament to his character; he was always the guy who would make friends sharing a cigarette. But one duty remained unfinishednot a tribute, nor a memorial, but a commitment to continue what was and what should have been in Rmi’s life.

Now, five months later, Revolutions is finisheda book of 144 pages, across which Rmi’s photographs of the Arab Spring spread forth. The tome depicts hope, anger, celebration and fearsome of humanity’s most powerful emotions recorded in photographsand feelings the photographer undoubtedly felt during a career cut short by the harsh realities often facing those documenting armed conflict.

Scattered through this visual record of Rmi’s witness are the words of friends, which encompass close confidants, long-time coworkers and fellow photographers. Their testimonies are short, speaking to the memories of a man killed at a time and place in the world many photographers hesitated to cover.

Ochlikbegan his photography of the Arab Spring in Tunisiaand so the book does the same. “It is impressive to see the ease with which he moves through the street as the rocks fly everywhere,” writes Julien De Rosa of his shared time with Rmi outside Tahrir Square in Cairo. “This is clearly his natural environment.”

Rmi, considered by colleagues an old-school photographer despite his youngage (29), moved with confidence and resolve through the borders of conflict in the Middle East. This is what makes his death that much more painful, for at his age and with his skill, his potential had seemed limitless.

“Be safe, okay?” were the last words that Gert Van Langendonck told Rmi before his final trip to the besieged city of Homs. “You’ve already won your World Press Photo.” And indeed Rmi’s work was deserving of high honorhis story from Libya earned him first prize in the 2012 World Press Photo competition’s General News category. His photographic eye was strongstrengthening, evenas he entered Syria. A vision deserving of high honor, cut short by a barrage of shelling that also killed American correspondent Marie Colvin.

Rmi was often aware that he didn’t have a personal project in the works, Van Langendonck told TIME. Personal projects provide an outlet for photographers to explore their interests outside of commissioned editorial work, allowing for an inner-consistency even as a photographer’s surroundings are rapidly changing. So caught up in his work, Remi didn’t need it “I’ve never had so many of my pictures published in my life,” he told Van Langendonck.

After paying the ultimate price for his work, Rmi’s personal project became clear. Although the future promise of the French photographer will never be fully realized, the publishing of Revolutions has brought a modicum of closure.

Revolutions is nowavailable through Emphas.is. The book project, funded by contributors, raised $24,250 as of Sept. 4, exceeding its original fundraising target of $15,000 by almost 40%.

Photojournalism Links’ Guide to Visa pour l’Image and Perpignan – Sunday 02 September 2012

Professional Week at Visa pour l’Image can be a daunting experience, especially if it’s your first time in Perpignan. At Photojournalism Links, we thought we would publish a short guide to the city, the festival and everything else that happens in Perpignan from 03 to 09 September, when thousands of photojournalists will converge on the French city.

In the map below, you’ll find the location of all the exhibitions and official festival events, but also a few other useful addresses such as where to find free Wifi or a supermarket. This map will be updated all week with addresses of the best restaurants, as well as the location of some open-to-the-general-public parties. If you are an agency, and are holding an event you would like us to flag up on the map, let us know at olivierclaurent[at]gmail[dot]com.

How do I get from the airport to the city centre?

There are taxis at the airport, but they can be expensive if you’re alone (and, anyway, there are not that many taxis there – not at all). But the city runs a bus shuttle. It costs around 5 and will get you there in around 20 minutes. Don’t miss it though, it won’t wait for you to finish your cigarette.

I just arrived in Perpignan, what do I do now?

Go to Palais des Congrs to get your official accreditation. It will also be the opportunity to get information about talks and events, as well as a list of all the exhibitions and evening screenings.

What are these evening screenings that everyone talk about?

Each evening, from 9.30PM, the festival presents a series of photography screenings at Campo Santos (see map above). Each screening is made up of two parts – one part recounts what has happened around the world in the previous 12 months, while the second part is dedicated to individual projects and photographers. On Friday and Saturday, the screenings can be watched from Place de la Rpublique, allowing you to have dinner at a reasonable pace while watching the show.

But all I want to do is meet editors to show them my work. How do I do this?

There are twopredominant spots where you can meet photo editors: on the second floor of the Palais des Congrs or on the 7th floor of that same building. The second floor is the official spot, where agencies will have stands as part of the festival’s media centre. There you can find agencies such as Getty Images, Agence VU’, EPA, Cosmos and Polaris among many others. A lot of these agencies will have a schedule of available times for free portfolio reviews. But, be there early to secure a space – for example, in Getty Images’ case, if you don’t show up as soon as the doors of the Palais des Congrs open, you will have missed your chance: within minutes all of the day’s spots will have been booked.

Your second option is the 7th floor of the Palais des Congrs, where photo editors for publications as prestigious as TIME, Newsweek, The New York Times and many other worldwide titles from Geo to National Geographic will get a table and look at photographers’ work. Most often, they have already booked meetings with photographers they know they want to see, but they will also allow, sometimes, for a queue to form up to see the work of other photographers. My advice is to know who they are. Don’t show up in front of them without knowing who they are. directory submission . With a bit of research on Google or even Facebook you should be able find out who is who. And it’s not because you have an opportunity to meet with the international photo editor at TIME that you should actually show him your work – know whether you are ready to meet that person and ask yourself if you will be wasting his time or not. Sometimes, photo editors will appreciate being told: “I don’t think my work is good enough right now, but could I get your business card for when it is?”

What is this Caf de la Poste that everyone is talking about?

Caf de la Poste has become one of the festival’s emblematic meeting points (see map above). In the beginning, this is where photojournalists on show at Visa would gather for a drink in the evenings. And year after year, they would be joined by other photographers, young and old, until the wee hours of the morning. Since the Caf is open 23 hours a day during professional week, you can expect to find photographers there even at 5AM, especially on Thursday, Friday and Saturday. Oh, and by the way, the Caf makes 90% of its annual revenues that one week – photographers do like their drinks!

Who’s in Perpignan during Professional Week?

Visa pour l’Image has a great page on its site with the names of everyone that has checked-in at the Palais des Congrs to get their accreditation. Here it is: http://www.visapourlimage.com/professional/who_is_in_perpignan.do

Don’t make this one visit your last one.

If it’s your first year at Visa pour l’Image, be prepared. It. Is. Scary. You will find yourself among thousands of photographers who are, just like you, trying to make it in a very competitive market. My first year at Visa, five years ago, was dreadful. I didn’t know who to talk to, I didn’t know where to hang out, I didn’t know what to do. But don’t give up. Come back the following year, and the one after that. And you will get the hang of it. Also, next year is the festival’s 25th anniversary, and that’s one edition you won’t want to miss!

Any other tips?

  • Do not carry two camera bodies around your neck. This is a festival where you’re trying to sell your work and meet people, not report on it like you would a humanitarian crisis. If you really want to have a camera with you at all times, a compact camera will do, or even your iPhone. Also, you won’t run the risk of being mugged at 3am in the morning because you’re carrying $10,000 worth of kit around your neck…
  • If you are staying the entire week, remember this is the South of France: stores WILL be closed on Sundays. So if you’re planning a big feast on Sunday afternoon, visit the local supermarket on Saturday.
  • Find the time to see the exhibitions. Not only does it make sense, but it’s also a good way to find out what photographers like Stephanie Sinclair, Stanley Greene or Sebastian Liste look like – each exhibition carries a description of the work and a portrait of the photographer. It might come in handy when you’re at Caf de la Poste. Of course, that doesn’t mean you should introduce yourself to every single one of the exhibited photographers. Just like with photo editors, use your judgement before approaching someone.
  • Don’t miss Saturday night’s party at the Couvent des Minimes. Yes, the point system to get a drink is confusing, but it’s still good fun.
  • Perpignan isn’t far from the beach. You can get a bus from the Castillet or Palais des Congrs that gets you to Canet-Plage. The bus runs every hour, but don’t expect to get one past 8PM to go back to Perpignan, so don’t fall asleep on the beach! On your way back, there will be a lot of people trying to get back to Perpignan. Just remember that unlike in the UK and in the US, in France people don’t respect the queue, so expect to push and shove to get on the already-packed bus.

Patty Lemke

Los Angeles photographer, Patty Lemke, has a wonderful series about the hot air balloon culture which seems a great way to celebrate the idea of summer.  She is a third generation Angeleno, received her BA from UCLA, and continues  to use lo tech plastic and digital cameras to create singular and surrealistic images taken on the road far away from the beaches of Southern California.
Patty has exhibited across the US and is currently working a a project documenting the ruins of live animals parks, in addition to continuing her work on hot air balloons.
The photographs for this series were made at the Hot Air Balloon Festival in Albuquerque New Mexico on two occasions; first in October of 1994 and then in October of 2010.

I remember waking up at 4 am that first October in 1994 to the sounds of people, thousands as it turned out, gently moving past our van.  There had been no available hotels and my friend David wanted to be sure we did not miss the morning launch so we parked in front of the entrance late the night before.  Outside the van it was cold and dark.

Inside the park, the children were still asleep and the black sky was turning to shade of deep brown and grey.  Flashes started to pop up.  Long patches of tarp took shape; it was Thursday, the day of the odd shape balloons.  Soon multi-story characters were gliding past on their way up before dawn.

These images made with a Holga camera using black and white film show what that day felt like.  Years later, in 2010, I was finally able to return and once again use the Holga and black and white film.  Many of the earlier balloons were not there that second time through a fair number remained.  New, more animated characters replaced the liquor and cigarette balloons. But the dark deep surreal brown remained.