What are the differences between photographs that are WINDOWS and MIRRORS?
“The two creative motives that have been contrasted here are not discrete. Ultimately each of the pictures in this book is part of a single, complex, plastic tradition. Since the early days of that tradition, an interior debate has contested issues parallel to those illustrated here. The prejudices and inclinations expressed by the pictures in this book suggest positions that are familiar from older disputes. In terms of the best photography of a half-century ago, one might say that Alfred Stieglitz is the patron of the first half of this book and Eugène Atget of the second. In either case, what artist could want a more distinguished sponsor? The distance between them is to be measured not in terms of the relative force or originality of their work, but in terms of their conceptions of what a photograph is: is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?” — John Szarkowski, 1978
Photographs used as “windows” provide an overview into the world, culture, or experience of another person, serving as an open doorway that allows the spectator to learn more about something they are not familiar with. The viewer’s awareness of different lives, habits or locations is broadened by these photographs, which frequently depict situations, people, or settings that are outside of their own world. In this sense, “window” photos provide the audience a chance to see something different and give them an idea of parts of the world that they might not normally see, frequently with a feeling of curiosity or indifference.
On the other hand, “mirror” photos create a feeling of familiarity and connection by reflecting the viewer’s own identity, experiences, or feelings. These pictures create an emotional connection with the audience, frequently bringing out aspects of their own surroundings, culture, or emotions. A snapshot that serves as a mirror strengthens the viewer’s sense of self and helps them comprehend their own identity or experiences on a deeper level. “Mirrors” reflect the familiar, giving the observer a sense of being seen or understood, whereas “windows” provide new perspectives beyond oneself.
Richard long – A Line Made By Walking, England, 1967
A Line Made by Walking downplays the artist’s physical appearance while hinting at Long’s previous involvement in performance art. It demonstrates the duration of time it took for him to develop a visual way to express his enduring concerns about reality, movement, and impermanence.
Bill Brandt – Nude East Sussex, 1968
This picture, following his previous wide-angle nude works, positions the naked figure at the front with her body stretching into the background. The camera is positioned near the model’s face, causing the viewer to feel unsettled as they are aware that the nude is the focal point of the photo and must see the scene from the nude’s perspective. We are observers of the image while also being the focus of it.
Eugene Atget – Street Musician, 1898
This change in how Atget’s work was seen started towards the end of his life, when he became acquainted with Berenice Abbott, a young American photographer working in Paris for Man Ray. Following his passing, Abbott acquired his archive’s remains and started to advocate for his work. She was captivated by the unfamiliarity present in Atget’s photographs, finding within them a Surrealist element along with a steadfast commitment to accuracy and a genuine affection towards the subject itself.
This photograph is included in a collection Abbott printed and released to honour Atget’s centennial birth anniversary. An edition consisting of 100 sets, each numbered, was released.
Robert Rauscheneberg – Windward, Oil And Silkscreen In On Canvas, 1963
Robert Heinecken – Figure Sections (Multiple Solution Puzzle), 1966
Nan Goldin – Nan And Brian In Bed, NYC, 1983, Cibachrome
Goldin’s art is inspired by her personal life, and this image deeply captures the emotional intensity of her own love story. The artist reclines on a bed, looking at Brian – her lover – with a blend of desire and acceptance while he looks away from her. A gentle yellow glow envelops the setting, evoking the fading warmth of a setting sun and a declining bond. “The Ballad of Sexual Dependency, a collection of over seven hundred colour slides accompanied by a soundtrack, features Nan and Brian in Bed, New York City as part of Goldin’s significant work.” The slideshow, lasting forty-five minutes, is named after a song from The Threepenny Opera by Kurt Weill and Bertolt Brecht, providing a close, emotional look at a marginal group in 1980s downtown Manhattan. Goldin has characterized The Ballad as “the diary I share with others”; the casual snapshot approach of her photos gives their personal narratives a strong feeling of being in the moment. Although the work depicts the collective experience of a generation affected by drug abuse and AIDS, its main focus is on the passion and intensity found in romantic relationships – both the peaks and valleys.
Garry Winogrand – Los Angeles, 1969, Gelatin – Silver Print
This photograph, similar to many of Winogrand’s finest pieces, is extremely unsettling. The photographer utilized a wide-angle lens to capture the people and their surroundings in great detail, and added another level of distortion by tilting the camera. The primary focus of the image is three women casting a brief glance at a man seated in a wheelchair with a begging cup in his lap. The bending of light in the middle of the picture highlights the outlines of the women’s legs, creating lengthy shadows. The contrast between the woman’s sexuality, youth, and mobility is juxtaposed with the man’s poverty and lack of mobility. The camera’s placement makes the viewer feel like they are on the street, adding a sense of urgency to the scene.
William Eggleston – From Memphis, Tennessee, Dye Transfer Print, Early 1970s
I really like the final outcome of my zine layout. The images are lade out nicely and each page shows different angles of the same place we went to. Decided to add some information about the marine since the whole photoshoot is about the harbour and the marine is one of the most important things of the harbour, also decided to write a bit about Brian Nibbs because he was the one showing us around the harbour and telling us more about it since he is one of the well known person that knows about the harbour.
I decided I am going to talk about the Jersey marina since that’s the main important thing about the harbour.
Also decided to add a bit of information about Brian Nibbs since he is the CEO of Jersey harbour.
paper layout:
This is the type of set up I want to do for my zine. Still deciding which images to use but I think that will use most of them above just maybe in a different order that makes more sense and has a better understanding of the harbour.
We went to Société Jersiaise Photographic Archive and St Helier Harbour to take pictures.
For this edit I wanted to try and leave it black and white but also add some colour to it to see how it turned out. I edited it by decreasing all the colours on HSL saturation and luminance expect orange. I also decreased the contrast, highlights and the shadows.
For this image I decided I wanted to make it have a high contrast and shadows and decrease the white and black in the image which I think turned out really nice. The black and white in this image makes it looks more interesting and detailed with all the mix shadows and shaded of black and white. I would say it’s my favourite image.
Since I really liked the black and white version of this image I wanted to try out giving it a bit of colour by using HSL which was quite interesting. I was hoping that all of the top part of the mountain would turn green but only most of it did but didn’t turn out as bad as i thought because it lightens up at the top and blends in well with the whit and black.
These are the best edited images I have. I edited all of the best images to black and white because I love the way it looks and how there is so many different shades of black and grey. The black and white photos makes the imagine looks more dramatic and with black and white images it’s never has over-expose highlights, makes the image more exiting in a way because of the dramatic dark colours in random places in the photos. Coloured images are beautiful most of the time but so is black and white images, and in black-and white it expresses reality better.
Narrative is essentially the way a story is told. For instance, you have the option to narrate various versions of the same tale. It is a highly subjective process with no correct or incorrect answer. Whether your photographic story is of good quality is a different question.
A narrative takes shape as you establish connections between multiple images (and/or text) and display them together. The way you choose and arrange images in a story is crucial for shaping the narrative. The photo-zine’s structure and design also reflect this idea. Yet, it is crucial to determine the nature of your story before deciding on the approach you want to take in conveying it.
How to Plan:
Create a detailed specification outlining your approach and strategy for exploring A Love Story. You must plan to complete a minimum of 3 photoshoots within the next 2-3 weeks, which may involve specific photo tasks. What kind of appearance and atmosphere do you want your images to have? Incorporate artists and photographers’ visual references regarding style, approach, intentions, aesthetics concept, and outcome. Keep in mind that the end result should be a 16-page photo magazine, so you must edit a final set of 12-16 images that, when sequenced together, form a story that visually represents your love story.
Lewis Bush discusses various books he has created that offer diverse narrative structures, ranging from straightforward to avant-garde. Books that reinterpret the stories from other books, books that allow for reading in both directions, and books that have no predetermined storyline. I am currently developing a narrative that moves back and forth in time simultaneously, as well as another book that will not be real, meaning its narrative will not exist either.
‘One story can spawn many narratives, a fact that, in contrast to photography, is well understood in literature and cinema….when I say ‘I’m going to tell you a story’ I actually tell you a narrative of that story.’
In a follow article titled ‘Photographic Narrative: Between Cinema and Novel,’ Lewis Bush discusses various examples from cinema, literature, and photography, identifying the unique strengths and weaknesses of each medium.
In Bush’s view, photography’s narrative strength is:
‘It’s sheer power of description.’ A single photograph can depict a scene with a verisimilitude which pages of written account would still fail to capture. It is this quality which led photography to be first employed for practices like crime scene and incomplete , in place of the unreliable memory and incomplete notes that had previously been relied upon.
MY STORY:
My story will be the looking at the history of jersey by looking at the photos and seeing how the harbour is now.
NARRATIVE:
Decided to keep most of the images black and white because it makes it look more interesting since the harbour is pretty old. For the second page of my booklet I’m going to talk a bit about Jersey Marina and on the 4th page I am going to talk a bit about Brian Nibbs who is the CEO of Jersey Harbours All the other pages are going to be portraits or landscapes of the harbour.
These are the images I am thinking to use: (10 – 16 pages)
Photographers try to Turn the ordinary to something extra ordinary when taking photoshoots.
FIXING THE SHADOWS
Photography was described as “fixing a shadow” before the advent of digital tools. A chemical combination used in the final steps of processing an image onto paper stabilized or “fixed” the image, neutralizing its sensitivity to light.
ABERLARDO MORELL
Abelardo Morell (born 1948, Havana, Cuba) is a contemporary artist widely known for turning rooms into camera obscuras and then capturing the marriage of interior and exterior in large format photographs. Morell began his camera obscura series in 1991. Transforming entire rooms into cameras by covering the windows and inserting a small hole, he photographed the outside world as projected onto various interiors. Morell is famous in the photography world for producing camera obscura images in different locations globally and capturing them. Morell received the Cintas Foundation fellowship in 1992 and the John Simon Guggenheim Memorial Foundation Fellowship in 1993. In 2011, he was also honoured with the Infinity Award from the International Center of Photography.
CAMERA OBSCURA
Describe how an image is produced using Camera Obscura?
They are simply a lightproof box or room with a hole in one side. Light from the sun reflects off objects outside the camera obscura and passes through the hole and lights up the surfaces inside the room with an upside down but clear image of the outside view.
Examining eclipses without having to look directly at the Sun was done with the camera obscura. As a drawing aid, it allowed the tracing of the projected image to produce a highly accurate representation, and was especially appreciated as an easy way to achieve proper graphical perspective. A camera obscura with a very small hole is sometimes referred to as a pinhole camera, although this more often refers to simple (homemade) lens less cameras.
PINHOLE
What is the principle of pinhole camera?
The camera obscura is frequently referred to as the pinhole camera principle. Pinhole cameras operate based on the concept of rectilinear light motion, which explains that light moves in straight paths. The reason for the inverted image produced by a pinhole camera is the direct path of the light. Many centuries ago, humans found out that by directing light through a narrow opening, a reversed depiction of the surrounding environment is cast onto the opposite end of the opening. Pinhole photography is essentially a miniature version of this concept, where a small aperture captures and projects images onto film.
What is special about pinhole camera?
The pinhole camera is the simplest kind of camera. It does not have a lens. It just makes use of a tiny opening (a pinhole-sized opening) to focus all light rays within the smallest possible area to obtain an image, as clearly as possible. The simple image formed using a pinhole camera is always inverted.
NICEPHORE NIEPCE
Nicéphore Niépce (born March 7, 1765, Chalon-sur-Saône, France—died July 5, 1833, Chalon-sur-Saône) was a French inventor who was the first to make a permanent photographic image. Niépce conducted photographic experiments with the goal of meeting the increasing demand for inexpensive pictures by copying prints and capturing real-life scenes in the camera. In 1816, he created temporary camera images, which he referred to as points de vue, at his family property in the nearby village of Saint-Loup-de-Varennes. During the following ten years, he experimented with various chemicals, materials, and methods in order to improve the process that he later named héliographie, meaning ‘sun writing.’
What was Joseph Nicéphore Niépce development of photography?
Niépce named his technique heliography, deriving from the Greek word helios which means ‘creating images using sunlight’. In 1826, Niépce utilized this method to capture the oldest surviving ‘photograph’ depicting a scene outside his Chalons-sur-Saône home, with an exposure lasting approximately 8 hours.
HELIOGRAPHY
What does heliography mean?
An old method of photography, héliographie, creates photoengravings on metal plates coated with asphalt. In general, it is considered a form of photography.
Heliography, from the Greek words helios (meaning “sun”) and graphein (meaning “writing”), was introduced by Joseph Nicéphore Niépce around 1822. This process was used to create the first surviving photograph from nature, View from the Window at Le Gras (1826 or 1827), and was also the first instance of using photoresist to reproduce artworks by inventing photolithography and photogravure. Niépce created the heliograph by mixing light-sensitive bitumen with oil of lavender and spreading a thin layer on a polished pewter plate. He placed the plate inside a camera obscura and placed it close to a window in his upper-level work space. After being in the sun for days, the plate showed a representation of the courtyard, outbuildings, and trees. In December 1827, Niépce admitted in his writing that his process needed enhancements but saw it as “the initial uncertain move towards a brand new path.”
LOUIS DAGUERRE
Louis-Jacques-Mandé Daguerre was a French artist and photographer known for creating the daguerreotype process of photography. He gained recognition as one of the founding figures of photography. While he is primarily known for his achievements in photography, he also excelled in painting, creating scenic designs, and innovating the diorama theatre. Louis Daguerre’s birthplace was in Cormeilles-en-Parisis, Val-d’Oise. He learned architecture, theatre design, and panoramic painting from Pierre Prévost, the pioneer French panorama painter, during his apprenticeship. Extremely skilled in the art of theatrical illusion, he gained fame as a theatre designer and went on to create the diorama, which premiered in Paris in July 1822.
How did Louis Daguerre change the world?
The invention of the daguerreotype allowed for the image produced by a camera obscura to be recorded and saved as a physical item. It was the initial usable method for taking pictures and brought in a fresh era of visual potential. Louis Jacques Mandé Daguerre (1787–1851) invented the process in 1837.
DAGUERREOTYPE
The daguerreotype is a method that produces a detailed image on a copper sheet covered in a thin layer of silver, without needing a negative. The procedure necessitated immense caution. The copper plate coated with silver had to be thoroughly cleaned and polished to achieve a reflective surface.
Why is daguerreotype so important?
The daguerreotype technique allowed for the reproduction of images from a camera obscura and their conservation as physical objects. It was the initial functional method of photography and marked the beginning of a fresh era of visual potential.
How do you tell if a photo is a daguerreotype?
Daguerreotypes can be recognized by their mirror-like, well-polished silver surface and their dual negative/positive appearance when seen from various angles or under raking light. Daguerreotypes are commonly stored in small cases with hinges, which are constructed from wood and wrapped in leather, paper, fabric, or mother of pearl. Unlike photographic paper, a daguerreotype is rigid and heavy. The daguerreotype is precise, intricate, and focused. It possesses a reflective exterior and is extremely delicate. Because of its high susceptibility to damage, most daguerreotypes are displayed in a protective casing.
HENRY FOX TALBOT
William Henry Fox Talbot was an English scientist and inventor known for creating the salted paper and calotype processes, which were early forms of photography used in the 19th and 20th centuries. His research in the 1840s paved the way for the development of the photoglyphic engraving technique, which eventually evolved into photogravure. He owned a contentious patent that influenced the initial growth of commercial photography in Britain. He was a recognized photographer who also played a role in the advancement of photography as an art form. He released The Pencil of Nature (1844–1846), featuring unique salted paper prints from his calotype negatives, and captured noteworthy early images of Oxford, Paris, Reading, and York. Talbot developed a method for producing moderately light-resistant and long-lasting photographs that was the first one accessible to the general public; nevertheless, it was not the initial process of its kind invented or publicly disclosed.
CALOTYPE
What is a calotype in photography?
The process designed by William Henry Fox Talbot, known as calotype or “Talbotype,” involves both negative and positive stages. This technique involves creating a print with a paper negative that results in a softer and less crisp image compared to the daguerreotype. However, the advantage lies in the ability to produce multiple copies due to the negative.
How long does a calotype take? Under near-total darkness, the sensitive calotype paper was loaded in the camera. It was exposed to the scene, sometimes for as little as ten seconds, usually for a time closer to a minute, and sometimes for tens of minutes.
ROBERT CORNELIUS
Robert Cornelius, born on March 1, 1809, was an American photographer who was a trailblazer in the development of photography. His self-portrait captured via daguerreotype in 1839 is widely acknowledged as the earliest photographic portrait of an individual in the United States, marking a significant milestone in the realm of self-portraiture. Between 1840 and 1842, he ran some of the first photography studios in the US and introduced new methods to greatly decrease the time needed for portrait exposures. He was a creator, entrepreneur, and producer of lamps. In 1843, he invented and obtained a patent for the “solar lamp”, which provided a brighter light and enabled the use of less costly lard instead of the pricier whale oil as fuel.
What is Robert Cornelius best known for?
Between 1840 and 1842, he ran some of the first photography studios in the United States, introducing new methods that greatly decreased the time needed for portrait exposure. Philadelphia, Pennsylvania, U.S. He was an inventor, businessman, and maker of lamps.
SELF-PORTRAITURE
The study of self-portraits, known as self-portraiture or autoportraiture, focuses on the history, methods, distribution, reception, styles, and interpretations of self-portraits. Originating in Antiquity and gaining popularity during the Renaissance, self-portraiture is a growing field of study despite being relatively new.
Ana Peraica discussed the topic of self-portraiture today, focusing on the increase in the creation of self-portraits, especially selfies. Self-portraiture extends beyond the realm of just visual arts. Research comes from different fields, like Philosophy. The growth of language is ever-changing and factual. For instance, the word selfie was only coined in the 1980s.
Who took the first selfie?
In 1839, Robert Cornelius, a photographer from America, captured a daguerreotype of his own image. Captured a couple of years post the introduction of the daguerreotype and shortly after Daguerre unveiled his invention to the public, the picture is believed to be the earliest self-portrait and one of the initial photos of an individual.
JULIA MARGARET CAMERON
Julia Margaret Cameron, born Julia Pattle on June 11, 1815, was an influential English photographer known for her portraits in the 19th century. She is recognized for her blurred close-up images of well-known Victorians and for illustrative depictions of characters from mythology, Christianity, and literature. Originally from Calcutta, she first gained a foothold within the Anglo-Indian high society before relocating to London, where she networked with the cultural elite. After that, she established her own literary gathering in the coastal town of Freshwater, Isle of Wight. Cameron started doing photography when she was 48 years old, following a gift of a camera from her daughter. Swiftly, she generated a plethora of portraits and crafted symbolic pictures influenced by tableaux vivants, theater, 15th-century Italian artists, and modern creators. She collected a large portion of her work in albums, one of which was The Norman Album. Over a span of 12 years, she captured approximately 900 photos. Cameron’s work sparked controversy during her era. Critics criticized her gentle, blurred images, deeming her illustrative photos amateurish. Nonetheless, her depictions of figures like Henry Taylor, Charles Darwin, and Sir John Herschel have received consistent acclaim. Her pictures have been praised as “exceptionally strong” and “completely unique”, and she has been recognized for creating the initial close-up shots in the field.
What was Julia Margaret Cameron criticized for?
Cameron frequently received criticism from the photographic community in her time due to her perceived lack of skill: some of her photographs were blurry, her plates occasionally had cracks, and her fingerprints were frequently seen.
PICTORIALISM
Pictorialism was a global style and aesthetic movement that was prevalent in photography in the late 19th and early 20th centuries. The term doesn’t have a universal definition, but generally it describes a style where the photographer alters a regular photo to create an image instead of just capturing it. Usually, a visual image seems to have a blurry focus, is produced in colors other than black-and-white, and may display brush strokes or surface alterations. To the pictorialist, a photograph was a means of conveying emotional intent to the viewer, much like a painting, drawing, or engraving.
Pictorialism flourished from around 1885 to 1915, with certain individuals advocating for it until the 1940s. It started as a reaction to the idea that a photo was just a basic reflection of reality, and evolved into a movement to elevate the recognition of all photography as a genuine form of art. Painters, photographers, and art critics have been discussing conflicting artistic philosophies for over thirty years, leading to the purchase of photographs by numerous prominent art museums. Pictorialism lost its popularity slowly after 1920, but it remained popular until the conclusion of World War II. In this era, the trend of Modernist photography became popular, and people became more interested in highly detailed images like those found in Ansel Adams’ work. Many influential photographers from the 20th century started out using a pictorialist approach but shifted to more defined, focused photography by the 1930s.
HENRY MULLINS
Henry Mullins was the most productive among the initial Jersey photographers in the mid-1800s. Between 1848 and 1873, he created numerous portraits of locals at his thriving studio in the prestigious Royal Square, St Helier. As a professional photographer, he always welcomed the fast technological advancements that coincided with his career. Despite the establishment of several photography studios in St Helier during the 1850s and 1860s, Henry Mullins remained the preferred photographer for prominent individuals in Jersey society and prosperous local and immigrant families. Mullins’s work quality matched his productivity level, as demonstrated by the detailed portraits of Victorian islanders found in his photo albums.
CARTE-DE-VISIT
Carte-de-visite was originally a visiting card, particularly one adorned with a photographic portrait. Highly favored during the mid-1800s, the carte-de-visite was promoted by Parisian portrait photographer André-Adolphe-Eugène Disdéri, who patented the technique in 1854. Disdéri employed a camera with four lenses, producing eight negatives measuring 3.5 × 2.5 inches (8.89 × 6.35 cm) on a single plate. The big print created from the plate was divided into small portraits and each one was individually placed on cards sized around 4 × 3 inches (10 × 7.6 cm). These cards were cost-effective compared to other portrait options, as they allowed for eight different poses in one session and needed no editing.
Saint Helier Harbour is the main harbour on the channel island of Jersey. It is on the south coast of the island, occupying most of the coast of the main town of St Helier . It is operated by Ports of Jersey, a company wholly owned by the Government of Jersey.
A Short History Of The Development Of St Helier Harbour
Early beginnings
Since its first settlement, St. Helier, the capital of Jersey, has had a strong marine history. Soon after the Normans occupied the island in the tenth century, the strategic significance of St. Helier’s natural harbour was acknowledged. However, major port developments did not start until the 17th century.
The French & English Harbours
The construction of French and English Harbours in 1700 marked a significant development in marine infrastructure. Both of these harbors, featured on early maps and illustrations, are some of the oldest constructions solely for maritime purposes on the island. For more than one hundred years, they acted as the primary harbor for the larger ships of Jersey, enabling trade and maritime business between Jersey and the mainland.
Enlargement in the 18th Century
As maritime commerce expanded, the constraints of the current harbors were revealed. Construction of the North Pier began in 1790 to support the growing maritime activity. This advancement was essential for increasing the port’s capabilities and safeguarding ships from turbulent waters. It took more than 30 years to finish building the North Pier, which was completed in 1821.
19th and Early 20th Century Developments
During the 19th century, St. Helier Harbour continued to be enhanced with the building of more piers, quays, and the integration of modern shipping amenities. The port became a crucial center for commerce, sightseeing, and ferry services, linking Jersey with other harbors in the Channel Islands and continental Europe.
The Second World War
Throughout World War II, Jersey was taken over by German troops, resulting in major alterations to the harbor’s activities and structures. Post-war reconstruction aimed at renovating and updating the docks to bolster the expanding post-war economy.
Modern Era
During the second half of the 20th century and continuing into the 21st century, St. Helier Harbour has experienced ongoing modernization. The upgrades involve creating new ferry terminals, upgrading cruise ship docking facilities, and improving recreational areas for leisure activities. Presently, St. Helier Harbour is an important connection for both trade seafaring and tourist activities, playing a crucial role in Jersey’s economic infrastructure.
Etymology
Saint Helier Harbour is dedicated to Helier, a 6th-century hermit from Belgium known for his ascetic practices. His martyrdom is commonly believed to have taken place in the year AD 555. The annual municipal and ecumenical pilgrimage to the Hermitage falls on 16 July, which is his feast day. If you are interested, you can find more information here regarding the expansion of St Helier.
The Elizabeth Harbour
The Elizabeth Harbour includes a ferry terminal, two roll-on/roll-off ferry berths, and a trailer park for shipping containers, all managed by Elizabeth Harbour. High-speed vessels use them to travel to Poole, Guernsey, and Saint-Malo, while traditional ferries are used to reach Saint-Malo, Guernsey, and Portsmouth, and foot passenger ferries provide service to Granville, Barneville-Carteret, and Sark.
Main harbour
The main port offers deep water docks for commercial ships next to Victoria Quay and New North Quay. Victoria Quay is home to fish wholesalers like Fresh Fish Company and Aquamar Fisheries. Albert Pier has transformed from a ferry terminal into new docks for big boats and yachts. Check out the latest news on this subject and don’t forget to browse through ED.EM.04 – Victoria and Albert: on the Piers, a photo-zine created by the SJ Photo-archive.
