I just came across this beautiful series of sisters Mary, Jean and Maureen and simply had to share!
It was captured by photographer Rafael Goldchain over the course of 16 years and I think these ladies are mesmerising.
xez
* all photographs copyright © Rafael Goldchain, click to enlarge.
Mister Goldchain’s website can be visited at www.rafael-goldchain.squarespace.com
The gazes of these Algerian women have been etched in my memory ever since I first saw them, years ago.
I hate these portraits and admire these women.
The photographs were taken at Ain Tezine (Kabylia), in 1960 by photographer Marc Garanger, ordered to do so by the French army that had been occupying Algeria since 1830. By that time, France had been attempting to suppress the Algerian war for independence for several years and they were arresting and imprisoning entire populations of Muslim and Berber villages for suspected support of the insurgent National Liberation Front. Their villages were destroyed and their people were transferred into concentration camps.
When the army decided that all ‘resettled’ people should carry mandatory ID cards, Marc Garanger was tasked to photograph around two thousand portraits during ten days of stay in the area. As most men had enlisted with the rebelling NLF, it was mainly women that were captured, in real life and on film.
These women had never before come into contact with Europeans.
They were forced to remove their veils and headscarves, revealing their hair, skin and protective tattoos for the first time outside of the privacy of their homes.
They were to sit on a stool in front of a whitewashed wall while a stranger, accompanied by armed soldiers with machine guns, came uncomfortably close and pointed an unknown instrument at them.
This camera, is what they confronted: quietly, but most certainly not silent.
In her 2017 book Listening to Images, Professor Tina Campt explores a way of listening closely to photography and explains how “photographs originally intended to dehumanise, police, and restrict their subjects, can convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen.”
Two years after these photographs were taken, in July 1962, Algeria would finally have its hard-won independence.
When these women gazed back, it was in the anticipation of that victory.
And maybe it wasn’t the eyes that lingered with me all those years.
Perhaps it was their hum.
It is worth adding that Marc Garanger, a pacifist, tried to mirror his opposition to the war, as well as his respect for the subjects, by not just taking identity snaps but by framing dignified portraits at the waist. Attempting for his photographs to bear witness and hoping that they could one day bring awareness and lead to action against this human rights abuse.
In 2004, Garanger returned to Algeria to meet with the women he photographed almost half a century before.
This time, he was welcome.
xez
Zohra Gacem and her family in 2004, holding the identity photograph taken by Marc Garanger forty four years before.
Sources/Further Reading:
New York Times, Article 2010: Unwilling Subjects in the Algerian War
TIME, Article 2013: Women Unveiled: Marc Garanger's Contested Portraits of 1960s Algeria
TIMELINE, Article 2016: These Algerian women were forced to remove their veils to be photographed in 1960
How I met Marc Garanger and how the Algerians he had photographed welcomed him 50 years later, by Fatiha Saou
Burning the Veil, the Algerian War and the ‘Emancipation’ of Muslim women 1964-62 by Neil Macmaster
While doing a deep dive into the seasons and how we experience them (see yesterday’s blogpost), I came across a special photo series from the sixties, titled “In An English Country Garden”.
In 1963, photographer Ken Griffiths followed a year in the life of Mr and Mrs Sweetman’s beautiful cottage garden in East Sussex. Every month, he took one picture on the exact same spot...12 photographs to document the passing of time.
Almost immediately, the series became less about the garden and fully about The Sweetmans to me. I noticed her leaning towards him, him becoming wet in the falling rain while trying to protect her from it and of course in the last photo...well, her absence hit me hard. He had taken her place, she must have passed away!
It moved me to tears.
When I began doing a little more research, I found that it wasn’t just me that was ready to embrace the sad ending of the series. Worldwide publications had interpreted the last photo like I did.
The truth however was different..Mrs Sweetman was happily alive at the time, it was just freezing! She decided to stay inside and on closer inspection, you can actually see her standing at the kitchen window. That’s why her husband stepped aside.
I love the Sweetmans for this giggle of relief they gave me.
Such a lovely reminder of how our mindset can influence our perception.
xez
* all photographs copyright © Kenn Griffiths (June 7, 1945- August 20, 2014), click to enlarge.
His website can be visited at http://www.kengriffiths.co.uk/.
“…Kodachrome
They give us those nice bright colors
They give us the greens of summers
Makes you think all the world's a sunny day, oh yeah
I got a Nikon camera
I love to take a photograph
So mama, don't take my Kodachrome away..”
- Lyrics to ‘Kodachrome’ by Paul Simon
We used to look at them in the dark- while the slide projector filled the room with its humming motor sounds, we patiently awaited that typical “click” that introduced each new, vividly coloured image.
Our old family slides from the 1970s.
They all just looked so…well, GOOD.
And they looked this good, with their high contrast and deep colours, because of Kodachrome.
Then, in 2009, Kodak announced that it would stop producing this iconic film, after nearly 75 years in production.
Photographer Steve McCurry, who captured more than 800.000 images on the film, asked if he could have the last roll of Kodachrome off the assembly line.
Kodak agreed.
And 6 weeks and 40 min later, the slides were ready to be mounted and viewed.
In the short National Geographic docu that followed McCurry on his journey to shoot the precious last 36 Kodachrome exposures in New York, India and Kansas, we get to see this exact moment. Steve looks at the frames, sighs and simply says:
“I’ve just decided: I think I’m going to give up digital photography and go back to Kodachrome”
And that was it, the end of an era.
This is an overview of the last roll, McCurry’s tribute to Kodachrome about which he states on his website:
“… I wanted to pay tribute to an old friend and in some way have have the subjects share some thematic symmetry with the end.
There is a nomadic tribe in India, whose wandring way of life is coming to an end. I felt that with this roll of Kodachrome, one of the best films ever made, this would be an appropriate subject, as Kodachrome was disappearing as well.
I also wanted to photograph New York, and the icons that make the city what it is. Robert De Niro was very interested in this project. I shot him and I also photographed Grand Central Terminal, Union Square Park, and Washington Square Park, which are some of my favorite places in the city.”
And these are the slides from that historic final roll, with a frame by frame description:
Frame 1: Actor Robert De Niro in his screening room in Tribeca, in New York City, May 2010.
(Frame 2, not shown, is a near duplicate.)
Frame 3: De Niro in his screening room, May 2010.
(Frame 4, not shown, is a near duplicate.)
Frame 5: De Niro in his office in Tribeca, May 2010.
(Frame 6, not shown, is a near duplicate.)
Frame 7: Indian film actor, director, and producer Aamir Khan in India, June 2010.
Frame 8: A boy in a tea shop in Dharavi, the largest slum in Asia, near Mumbai, India, June 2010.
(Frame 9, not shown, is a near duplicate.)
Frame 10: A sculpture studio in Mumbai that produces statues of notable Indian personages and Hindu gods, June 2010.
Frame 11: Indian writer and actress Shenaz Treasurywala, in India, June 2010.
Frame 12: Indian film actress and director Nandita Das, in India, June 2010.
Frame 13: Shekhar Kapur, director of Elizabeth, in India, June 2010.
Frame 14: Amitabh Bachchan, one of the country’s most prominent actors, in India, June 2010.
Frame 15: A Rabari tribal elder, photographed in India, June 2010.
Frame 16: A Rabari tribal elder, photographed in India, June 2010.
Frame 17: A Rabari tribal elder, who is also an itinerant magician, photographed in India, June 2010.
Frame 18: A Rabari tribal elder and itinerant magician, photographed in India, June 2010. (Frame 19, not shown, is a near duplicate.)
Frame 20: A Rabari woman, photographed in India, June 2010.
Frame 21: A Rabari woman, photographed in India, June 2010.
Frame 22: A Rabari girl, photographed in India, June 2010.
Frame 23: An elderly Rabari woman, photographed in India, June 2010.
Frame 24: A Rabari boy, photographed in India, June 2010.
Frame 25: Turkish photographer Ara Guler (“The Eye of Istanbul”), in Istanbul, Turkey, June 2010.
Frame 26: Street art at Seventh Avenue and Bleecker Street, in New York City, July 2010.
Frame 27: Grand Central Terminal, in New York City, July 2010.
Frame 28: A woman reading on a Saturday afternoon in Washington Square Park, in New York City, July 2010.
Frame 29: A street performer in Washington Square Park, July 2010.
Frame 30: Magnum photographer Elliott Erwitt in his Central Park West studio, in New York City, July 2010.
Frame 31: A young couple in Union Square, in New York City, July 2010.
Frame 32: A self-portrait of Steve McCurry, taken in Manhattan, July 2010.
Frame 33: A man on a bench in front of a statue of Mahatma Gandhi in Union Square, July 2010.
Frame 34: McCurry at four a.m. in his hotel room watching a Stephen Colbert interview on television, in Parsons, Kansas, July 2010.
Frame 35: A local man sleeps outside a community center in Parsons, July 2010.
Frame 36: A statue in a cemetery in Parsons, home to the last photographic lab in the world that developed Kodachrome film, July 2010.
What Steve McCurry doesn’t mention on his website, are the final three photographs.
The images that were taken in Parsons, Kansas, which is the location of Dwayne’s Photo, the only remaining lab on Earth that still developed Kodachrome.
But perhaps it’s that last frame of the film, that is most symbolic: a funeral monument for a sailor, staring out to the sea.
By his feet are red and yellow flowers, the same colours that the film packs used to have.
Thank you Kodachrome, we salute you!
xez
* all photographs copyright ©Steve McCurry, click to enlarge.
Follow Steve McCurry on Instagram @stevemccurryofficial and visit his website at https://stevemccurry.com to see and read more.
** Source for frame by frame slide background : Dave Friend, for Vanity Fair in Feb 9, 2011
Documentary by Nat Geo: https://www.youtube.com/watch?v=DUL6MBVKVLI
“Our hope is in the dark around the edges, not in the limelight of center stage.
Our hope and often our power.”
- from ‘Hope in the Dark’ by Rebecca Solnit
They say that the origin of the name “Ukraine” is derived from the Proto-Slavic word for “Edge”.
While looking at Christopher Nunn’s work, it feels to me as if the journey around the edge is an important element to his ongoing photography project in Ukraine.
Christopher’s grandmother was born in Ukraine, displaced by World War II to Germany and eventually England, and began to suffer from Alzheimer’s disease in 2013. As the edges of her memory started to fray, weakening the thread that is supposed to hold everything together, Christopher tried to find a way to remain connected to her by learning more about the place she was born in.
He traveled to her birthplace Kalush and from there, started exploring regions across west and east Ukraine over repeated trips- forming important relationships and connections along the way.
What started as a personal journey to the edges of his own family history, developed into an ongoing series about the people and places in Ukraine’s fragile east. When political chaos, revolution and war started to unfold in 2014, the global media machine and photojournalism industry focused solely on the conflict. It became increasingly important for Christopher to also show a more subtle, domestic and human side and he took a quieter look at the periphery of these events.
Nunn’s images are often framed by themes of friendship, escapism, unity, alcohol and faith- they are small stories that are part of a larger picture, they are stories about being human.
In an interview with Michael Segalov from Huck magazine, Christopher Nunn said:
“You have to take time to understand where you are, and the context of what’s going on.
I think ultimately what I was doing subconsciously, was trying to show a more human side of a place that I felt really connected to,
despite it being in our consciousness because of war.”
Ukraine is the largest country in Europe and will have elections again tomorrow.
The people of Ukraine are neither defined by borders nor by conflict.
Maybe they are better defined by the stories that are born on the edges, small stories and unexpected moments of connection- like the ones that Christopher Nunn captures so poignantly in his photography.
May these stories glisten as hopeful as the beautiful boys from Kurakhovo, Donetsk in the summer of 2015.
Thank you for sharing them, Christopher Nunn.
xez
* all photographs copyright ©Christopher Nunn, click to enlarge.
Follow Chris on Instagram @chrisnunnphoto and visit his website at http://www.christophernunn.co.uk/ to see more of his striking work.
In the introduction to his series ‘One Two Three’, Japanese photographer Shin Noguchi shares a quote by the late Jazz Saxophonist Eric Dolphy:
“When you hear music, after it's over, it's gone in the air. You can never capture it again."
After his father passed away and long forgotten photos from his own childhood reappeared, Noguchi began photographing his three young daughters Yumeji, Kotoyo and Hikono.
The ongoing project started as a careful attempt to ease his mother’s loneliness and to spend more time communicating with his children, while strengthening their self esteem in the process.
‘One Two Three’ shows us intimate, funny and touchingly tender moments. Brief moments, that Noguchi himself describes as gifts his daughters show to him. Gifts which he can’t help but “catch” once they appear. And to intuitively click the shutter at the exáct right moment..well, this feels to him like hearing the magical but fleeting Jazz improvisations Dolphy was talking about.
Earlier today, as I looked up Eric Dolphy’s original quote, I found it to be just a little longer. It turns out that Dolphy had spoken additional words:
“...But if you listen closely, you can still hear the echoes.”
To me, it’s in these hidden words that lies the core of Noguchi’s work.
He enables us to perceive the rare echo of truly beautiful and ephemeral moments.
They are the echoes of a feeling.
And this is a feeling that Shin Noguchi might have very well described when he said:
“I never called my photography ‘art’, but definitely, my daughters show me what I feel art to be.”
Thank you Mister Noguchi!
xez
* all photographs copyright ©Shin Noguchi, click to enlarge.
Please have a look at Shin Noguchi’s impressive and moving body of work here:
https://www.instagram.com/shinnoguchiphotos/
https://shinnoguchiphotography.com/photo/one_two_three/
Jonathan Bensimon is a Director and Cinematographer, that decided to go back to his old twin-lens Rolleiflex in 2015.
As a framework for himself, he made up a small set of rules and started the Chromasketch Project.
Always bring the Rolleiflex.
Shoot one roll of slide film, each week.
This means 12 images and hardly to no post production.
At the end of each year, share the giant contact sheet, to expose all photographs next to each other.
What I love and respect about Jonathan Bensimon’s filmmaking background, is that it made him a true storyteller. By showing us just one still image, he invites us on a much longer imaginary journey.
This first photograph is my favourite from the series and today, it made my thoughts wander...Looking at this lady with the dark hair and flowery dress, at the softness of her exposed back and that tiny rose- I’m curious where she is going, in that big city. Is she on a mission to give or to forgive, to celebrate or to create?
Thank you for making me wonder, Jonathan.
xez
* all photographs copyright ©Jonathan Bensimon, click to enlarge.
Follow Jonathan on Instagram here @jonathan.bensimon or please have a look at more of his work here:
http://www.jonathanbensimon.com/photography/
“When my mother and my grandmother would be parting at the end of the day, they always kissed. And they kissed on the lips, so that was very outstanding to me- something significant. I remember once, my mother was yelling my name...I was somewhere else, down the hall and they were about to say goodbye with a kiss and she knew I liked to photograph that, so she was calling me!”
- Arlene Gottfried
Mommie Kissing Bubbie, from the book Sometimes Overwhelming.
The way in which Arlene Gottfried has captured so many beautiful strangers on the streets, shows how bright and curious her eyes, and how open and warm her heart must have been.
But those pictures are for another day.
Today is for the intensely intimate photographs she made of the strongest and most important women in her life; her grandmother, mother and sister. “Mommie” is a portrait of these three generations of inseparable women, taken over the stunning course of 35 years and through the eyes of a daughter that loves them unconditionally. The pictures are so honest, pure and tender, that we can almost feel the strength of their bond.
Although life isn’t gentle to these ladies, they sure are gentle and loving to each other.
In Arlene’s own words about the series, “Part of it was trying to stop time...which of course, I couldn’t do.”
With “Mommie” she does however show us beauty in the ordinary, offers comfort through the pain and vulnerability of illness and ageing, and leaves us with hope for the future.
On this loving journey through time, we meet Arlene’s breathtaking grandmother- Minnie "Bubbie" Zimmerman, who was born in Odessa in 1897, came to the US all by herself at 14 years of age and lived to be 104 years old. She looks so lively, sweet and cheeky and it moves me to slowly notice her posture change, the frailty of her naked knees and her thinning arms.
Mommie Lilian has such a beautiful and strong sparkle in her younger eyes, but also has a fragile health and as she gets older, her suffering from diabetes deepens. The photographs show the ever increasing pain in her face, as well as the compassion and care in the expressions of those that surround her.
And sister Karen, is so obviously adored by young Arlene that it’s simply heartwarming. Over and again she catches her when looking her best, happiest and prettiest. As time passes, Karen even seems less reluctant to be photographed, while she now grows older and becomes a loving caregiver.
We follow the women through their lives together and ultimately through their separation by illness and death.
Bubbie and Mommie pass away close in time, leaving an empty house behind.
…We pause.
Then, although Karen doesn’t seem to be quite that young anymore, she gives birth to little baby Graham.
And while her eyes still show traces of grief, new life will gently ease the pain of loss.
A new generation has begun.
What touches me, is that the technical perfection of the photo’s always takes the backseat and intimacy comes first.
Because the pictures might not be technically perfect, but life isn't either.
Sometimes life shakes, blurs of blind us and we just don’t always remain well composed or have enough time to quickly adjust our focus.
Perhaps “Mommie” shows us, that in a way the best we can do, is to keep looking with a curious eye and a tender heart and to lovingly bear witness to one another.
We can’t stop time, but we can walk each other home.
And we can always, always leave with a kiss.
xez
* all photographs copyright ©Arlene Gottfried, click to enlarge
Visit the website http://www.arlenegottfried.com/ to see and read more about Arlene’s moving body of work.
It’s a Saturday night at the wrestling matches in 1974, when Scot Sothern takes the above picture in the bleachers.
Martha is married to this old security officer and tells Scot how much she just loves a man in uniform.
I love this picture- the blazing Kodachrome, the hard flash..but mostly I love Martha’s proud face.
Scot Sothern is best know for his controversial and haunting series about sex workers or for his portraits of those living on the streets that are often avoided and forgotten about.
The faces of the people in those series remain with me for days or longer...and perhaps that is why I have such appreciation for Mister Sothern’s hopeful photographs as well.
The young kissers, the old couples, the street huggers..they definitely aren’t the majority of his work.
But they’re out there as well.
xez
* all photographs copyright ©Scot Sothern, click to enlarge.
Follow Scot Sothern on Instagram @scotsothern and visit his website here to see and read more.
‘When I first met Dave Heath in the ’70s he struck me as the only human being I’d ever met whose vocal cords were tuned in the key of melancholy.’
- Michael Torosian
Philadelphia Born photographer Dave Heath, was abandoned by both of his parents at a very young age and spent his childhood in orphanages and foster homes. The emotional trauma of this loss, inspired in him what Heath himself called “a need of joining the community of mankind”- a yearning for human connection.
He looked at the people around him with extraordinary sensibility and attention, observing not voyeuristically but with deep empathy and respect, almost as if reaching out to them through the lens of his camera. Within the multitude of a crowd, Heath seemed to instinctively be able to spot and capture intimate, vulnerable moments of solitude. As there is rarely any contact between the photographer and subject, the connection remains forever one way- existing solely within the image, infusing it with a sense of longing and tenderness.
It is through this feeling, that we connect with these strangers and feel like we see our own deepest moments of isolation, uncertainty, beauty or hurt reflected in their faces and bodies.
Dave Heath’s incredibly sincere photographs remind us, that at a deeper level we are all connected.
Dave Heath reminds us, that we are resilient.
Heath's photographs are quietly beautiful and remarkably hopeful and I look at them while sitting in momentarily solitude too, with words by Cheryl Strayed on my mind:
“Most things will be okay eventually, but not everything will be.
Sometimes you’ll put up a good fight and lose.
Sometimes you’ll hold on really hard and realize there is no choice but to let go.
Acceptance is a small, quiet room.”
xez
* all photographs copyright ©Dave Heath, click to enlarge
Thomas Rousset grew up in a small mountain village near Grenoble in France, where he learned to entertain himself with very little but his imagination.
This hometown inspired his wonderful series “Prabérians”, in which Rousset takes us away to a fictional community in a dreamlike French countryside, a place where the everyday mixes with the surreal.
So, if the weather is as bad with you as it is over here, I encourage you to be inspired by Rousset’s world this weekend, create your own fairytale with what is available to you...use champagne bottle caps as jewellery, adorn your body with dog stickers, put a bucket on your head, carry the moon!
xez
* all photographs copyright ©Thomas Rousset, click to enlarge
Follow Thomas on Instagram @thomasroussset and visit his website at http://www.thomasrousset.com to see more of his brilliant work.
One of my favourite pictures by Belgian photographer Harry Gruyaert is a photograph of two young girls in Ireland. I probably love this photo most, because every element in it, reminds me of being that age myself.
I remember how much I loved a green visor and seeing it’s translucent colour in my shadow.
I can almost taste how sweet a cold can of coke was on a hot day and how it’s bubbles hurt my nose and brought tears to my eyes.
I know how that handle on the radio feels and how it sounds to turn the cassette tape around, or look for a radio station.
I can see how the straps on my sandals looked, with one very large hole in the leather, where the buckle went through.
And I recall the feeling of a sticky watch band, socks that kept sliding down and my fingertips touching a car bonnet heated by the sun.
Each of Harry Gruyaert’s photographs feels like a movie still, in which the deep Kodachrome colour palette carries you away to a different place. Though people are often present, they are just part of the overall scene…and maybe that’s the magic of Gruyaert’s work- they’re a part of a bigger story and you can easily take their place for a short moment.
Then you become the story.
xez
* all photographs copyright ©Harry Gruyaert, click to enlarge.
Follow Harry Gruyaert’s fan page on Instagram @harrygruyaert and visit Magnum’s website with his work at https://www.magnumphotos.com/photographer/harry-gruyaert/ to see and read more.
Photographer Peter Byrne found a true treasure at a car boot sale in York...
A box full of slides, taken by a couple living in New York during the 1950’s.
Only one of the slide boxes had a name on it: “Frank J Dominick”.
But each picture tells an entire story.
The boys and their turtle is my absolute favourite.
More from the amazing find below (click to see full size) and on Peters Blog: https://peterbyrne.co.uk/category/found/
xez
Javier Silva Meinel’s series “Piel del Amazonas” was developed in the course of several years in the Peruvian jungle.
Javier imagines wildly.
Gazes gently.
And collaborates with his subjects intimately.
The fabric background he incorporates in most of his images, seems to add a veil of separation from the normal surroundings- creating a new and safe space of rite.
xez
* all photographs copyright ©Javier Silva Meinel, click to enlarge.
“I didn’t want to work with these damn people who scribbled on my drawings. I liked to have control,” is what Gösta Peterson later said about quitting his job as an illustrator in the 1950's.
So he grabbed his Rolleiflex and taught himself photography.
A few years later, he was the one that captured the first ever American portrait of Twiggy and he was the one that shot Naomi Sims for the New York Times in 1967 (the first time an African-American model finally appeared on the cover of a national magazine).
He chose character over beauty and declined working for Vogue, because they wouldn’t let him choose his own models.
A bit of a badass, definitely original, independent.
An artist in fashion.
Tack ska du ha, Gösta!
xez
* all photographs copyright ©Gösta Peterson, click to enlarge.
"I used natural lighting. If it was good enough for Rembrandt, it was good enough for me."
S.A.
Slim Aarons became an army photographer at 18, during WW II.
After the war, he decided he wanted to turn his camera away from misery and be photographing “attractive people, who were doing attractive things in attractive places”.
So he started capturing the dolce vita of the jet setting High Society of the 1960's and 70's.
These stories, the vibrance, the optimism…all the 'bull' (as Slim called it himself) are still like taking a refreshing dip into the pool of a fantasy world.
Thanks for showing us a wonderful time, Slim.
xez
* all photographs copyright ©Slim Aarons, click to enlarge.
French photographer Claude Nori has an ongoing love affair with Italy.
And so do I.
Mister Nori decided to make a lovely book about it, a book about the sweetest “dolce far niente” on the Italian coast.
The photographs, taken in the 80s and 90s almost make you taste the salt, feel the sun, hear the Vespa’s.
Purrrrrr.
xez
* all photographs copyright ©Claude Nori, click to enlarge.
Follow Claude Nori on Instagram @noriclaude and visit his website at http://www.claudenori.com/ to see and read more.
“She pinched my butt, and that was that”- words that photographer Michael Northrup spoke about meeting his former wife and muse Pam, in 1976.
Michaels book ‘Dream Away’ is a document of their relationship- in all of its curious, sexy, beautiful, intimate, gentle and dramatic glory.
The marriage has long ended.
But the memory remains, in the tender and colourful melancholy of this wonderful tribute to a Love lost.
xez
* all photographs copyright ©Michael Northrup, click to enlarge.
Follow Michael on Instagram @michaelenorthrup and visit his website at http://www.michaelnorthrup.com/ to see more of his brilliant work.
Joan Colom worked as an accountant during the week and shot the Raval neighborhood of Barcelona on the weekends. Without aiming, he trusted his instincts and shot from the hip- collecting some amazing and touching moments.
* all photographs copyright ©Joan Colom, click to enlarge.
During her sadly very short life, beautiful Carol Jerrems documented Australia's seventies with a tender, yet strong and feminist eye.
Thank you, Carol.
xez
* all photographs copyright ©Carol Jerrems, click to enlarge.
![JavierSilvaMeinel[4].jpg](https://images.squarespace-cdn.com/content/v1/5b5871e29f8770cd5f4e7bcb/1541281794699-H774U5D97IGUUTK3HVGS/JavierSilvaMeinel%5B4%5D.jpg)
