527. De fiesta

  PDF download   Photographies by Raúl Ortega Text by Elena Poniatowska   Learn not to photograph was one of the teachings that Raúl Ortega learnt from the indigenous. They prevented him to use the camera. “I traveled a lot, I negotiated endlessly, and sometimes, they didn’t let me take photographs. Some times, I was allowed to be a witness, but sometimes I couldn’t get even that.” Raúl got desperate. He was watching things that excited him, but using the camera was banned. It was demoralizing . One part of Raúl’s heart was happy to be there, but another was constricted because, in the end, the images are the photographer’s crop and they are hardly repeated. Does giving up make you grow ? Do we learn more from a failure than from a triumph? Could a pause in the path we are walking be beneficial? Could it be that we can achieve a better work by living together without looking for our own benefit, without judging based on our own standards? The answer is yes in Raúl Ortega’s case. When Raúl stopped taking photo- graphs, he built up his spirit, the learning strengthened him, he acquired a new way of being, and he was enriched. To be in contact with the Tzeltales, Tzotziles, Tojolobales, Choles and Zoques indigenous’ intimacy without asking them anything, but their closeness, made Raúl develop his tolerance, and a capacity to muse on things that he didn’t know he had. Before that, he could’ve died before not taking a good photograph. Now, he was letting pass all of those chances, and even though he had to bit his lips with anger, he learnt to wait.  

Thursday, 13 March 2003

529. Photography as a witness, to what?

    The long standing debates about photography being a reliable source of specific information, was laid to rest this past week, when Hans Blix, the Chief Weapons Inspector in Iraq, working for the United Nations, reported to the Security Council, with regard to the "evidence" that the United States Secretary of State, Colin Powell, had introduced a few days earlier.   The presentation of intelligence information by the U.S. Secretary of State suggested that Iraq had prepared for inspections by cleaning up sites and removing evidence of proscribed weapons program. "I would like to comment only on one case, which we are familiar with, said Hans Blix, namely, the trucks identified by analysts as being for chemical decontamination at a munitions depot."   "This was a declared site, and it was certainly one of the sites Iraq would have expected us to inspect. We have noted that the two satellite images of the site were taken several weeks apart. The reported movement of munitions at the site could just as easily have been a routine activity as a movement of proscribed munitions in anticipation of imminent inspection. Our reservation on this point does not detract from our appreciation for the briefing."     The issue I want to bring up, is that the subjective interpretation by either Colin Powell or Hans Blix, leaves photography as a reference, well, as it should be, as an instrument with which we can have multiple interpretations about it's content. In the digital era, much has been said about the manipulation of images and how that would cause photography to loose it's merit as a reliable source of documentation. Not enough has been discussed about the medium of photography as such, and how, as a matter of fact, it is unable to cope with such a responsibility. It has nothing to do with being digital or otherwise, it is that the medium is not a reliable witness to specific evidence beyond that which we subjectively wish it to be.   Precisely because photography has been heralded, time and time again, as such a reliable witness, it's been rolled out repeatedly over the decades, as a tool for manipulating information. I believe it is time, we understand that photographs have to be severely questioned in relation to what we are being told that they represent.   Until Hans Blix questioned the validity of the conclusions derived from the images presented by Powell, the media in general, assumed that the satellite pictures were sufficient evidence to what the Secretary of State had stated in his testimony before the Security Council in the United Nations.   It is time to conclude, that a photograph can not be a witness to itself. We require additional cross references to confirm if what we are being told by way of captions, is in fact correct. Photography is a wonderful tool for expressing our ideas, including stories made by photojournalists, but be clear, the pictures we get to see represent the point of view of the photographer beyond a factual reality. In addition, the reader gives his own interpretation according to his own reasons and these do not necesarilly have to do with the facts.   Pedro Meyer February 2003   Please share your comments on this issue with us in our forums.       You might wish to read 30-Year Anniversary: Tonkin Gulf Lie Launched Vietnam War Gulf of Tonkin sure looks calm         http://zonezero.com/editorial/febrero03/february.html      

Saturday, 01 March 2003

531. Anamitra Chakladar

  Date: Tue Feb 18, 2003 12:08:00 PM America/Mexico_City   Hi,   I am a Photojournalist based in New Delhi, India. I work in a 24/7 news channel. I have visited quite a few sites who cater to photographs... and I must say this site is very unique and inspiring. I would like to be put on the mailing list.   Thanks, Anamitra Chakladar ENG Cameraman NDTV New Delhi INDIA  

Tuesday, 18 February 2003

533. David Moore (1927-2003)

  Farewell to David Moore Australian Photographer 1927 - January 23rd 2003   There have been few individual photographers within Australia who have made such a contribution to the growth and development of the craft of Photography, as David Moore, who died on the evening of the 23rd January after a very private and stoic illness. It was just two days before his major retrospective show The Spread of Time was due to open at the National Gallery of Australia.   The legacy of his work will remain for many years to come. He leaves more than a dozen books, more than fifty years of professional work and the institutions which he either co-founded (Australian Centre for Photography, 1974) or worked within (Australian Institute of Professional Photography - AIPP.)David Moore was born in Sydney in 1927. In 1938 at the age of eleven, he was given a Coronet box camera. In one way or another he spent the next 65 years pursuing a journey of craft discovery and documentary record unmatched by any contemporary photographic practitioner. He spent a short period in the Australian Navy at the end of WW2, before starting architectural studies. Perhaps it was the disciplines of precision and exactitude that he learned there that marked out his careful and meticulous approach to his work throughout the rest of his life. Any photographic project with David was always one of making sure that the very best possible outcome resulted, through careful preparation and detailed completion. The strength of his seeing eye produced his exceptional work.   In presenting his two-hour perspective of photography to the AIPP convention in Alice Springs in 1989, he recounted an almost disastrous experiment in his first photography workplace, Russell Roberts' Studio, in which he almost demolished the facility as he experimented with some new chemical combinations that he felt would produce an interesting new print effect. Both he and the studio survived. (Interestingly when he gave the same talk ten years later at the Photographic International Educators Association convention in Sydney, he presented new insights acquired over that time, that resulted in a fresh and enlightened new view of contemporary influences in photography.)   After working with Russell Roberts, Moore moved on for a short period working with Max Dupain, bedding down his skills as a commercial photographer. At the same time he was constantly drawn back to the harbour of Sydney, a preoccupation that would continue for more than 50 years. Some of his documentary observations of the wharves and views around Sydney Harbour, Paddington and Redfern and Alexandria, made between 1947 and 1951 are amongst his most known and strongest works. He would return over many decades to the scenes of his earlier documentary work and re-record change. Like a conductor returning later in a career to re-record one of the great classics, David would instill a new insight into the flow of a changed cityscape.   He often spoke of the important influence that American photographers Walker Evans and Dorothea Lange had on his formative views of documentary record through photography. At the same time he was an avid collector of photographic books, often hard to obtain in post-war Australia. But as a result he knew that he wanted to tread the path of photojournalism and departed to Europe in 1951.In an interview with Nikon Light Reading in 1989 (Vol.4 No. 1), he was asked how he prepared for an assignment for a photo story. Moore stated: "Inevitably you have preconceived ideas about any subject you approach. But it's important not to let those attitudes and feelings override what the subject is going to say to you... Particularly in photojournalism, you can do your homework on what's going to happen in an event or situation, but you should also be free to let yourself go laterally if things don't follow the exact line that you thought they would. I think that's terribly important."   He put this thinking to work in his first Life magazine assignment, the Coronation of Queen Elizabeth II in 1953 in London. His image of the rejoicing crowd, taken from within the body of that crowd, looking up to a waving enthusiast mounted on one of Trafalgar Square's statues, set him up for many more assignments. In 1956 he again used his careful planning to place himself advantageously to make one of the most telling allegorical images of the period. The image is of the departing car of Soviet Foreign Minister Bulganin and Premier Kruschev, with two onlooking boys with toy pistols pointed squarely at the open window of the diplomatic vehicle. How times have changed.   After some varied assignments in the USA, Europe and Africa, Moore returned to Australia in 1958. Yet he continued to take assignments for US magazines while based in Sydney and joined the respected New York Black Star photo agency. There was a wonderful reunion of Australian Black Star photographers in 2000 in Sydney, on the occasion of the visit to Australia of John Loengard, the legendary photographer and pictorial editor with Life Magazine in the 50's and 60's. Moore had learned much of his craft skills by observing the likes of Loengard and Eugene Smith at work in one of the last periods when pictorial magazines broke key stories, prior to the dominance of television as the newsbreaking visual story teller. It was always one of Moore's regrets that the television age had resulted in print publishers moving away from strong pictorial documentary work.   Perhaps one of Moore's most important and lasting contributions to Australian photography was the work he did in the early seventies, working with Wes Stacey and others, that resulted in the formation in 1974 of The Australian Centre for Photography, based in Paddington, Sydney. In his submission to the Director of the Visual Arts Board of the Australia Council in 1973 he proposed the establishment of a foundation with the following objects: The foundation for Photographic Expression: A means of collecting, exhibiting, preserving and encouraging meaningful still photography, primarily from Australian sources. An establishment for the photographic medium, aligning it with the fine arts in helping Australians towards self-definition and development. In 1974 The Australian Centre for Photography was opened by Margaret Whitlam. It was fitting that it was David Moore himself who filled in for Margaret Whitlam on the occasion of the opening of the 25th Anniversary show at the ACP. It was an institution in which he retained an abiding and deep seated passion. Just a few weeks ago, in a joyous get together last November, he said to a group of us, "I think the ACP is going in the right direction and will be all right." In 2002 it taught over 1100 students and ran 9 international standard exhibitions.   Moore was a prolific published photographer, but he also felt very deeply that Australia as a young nation had an almost unparalleled photographic record of its history. Together with Rodney Hall, he set about compiling, in words and pictures, a project that became AUSTRALIA - Image of a Nation, published by William Collins in 1983. In concluding his preface he wrote: "This volume seeks to acknowledge and celebrate the finest photography of the past. Additionally it may provide a framework of understanding for the identity of Australia's future generations."   His work continued and his status as a 'collectable photographer" grew in the seventies and eighties. His two volume book - David Moore - Australian Photographer,. (publ. Chapter and Verse 1988,) established Moore as a broad-ranged photographer, exposing many to his more abstract work for the first time. The flow of Sydney Harbour ebbed through these volumes and was further explored in his 1993 Publication, also with text by Rodney Hall, simply entitled Sydney Harbour. It coincided with an impeccably curated show at the State Library by Alan Davies, to coincide with the book launch, involving an immersive 360 degree panorama of sunrise in the harbour shot in 1992, which appears as separate plates in the book.   Again his preoccupation with documentary record of the city of Sydney took him to the railway workshops in Everleigh, in a joint collaboration with the recently departed and much missed Caroline Simpson. Like Caroline, Moore was determined that visual records should be made of the changing face of his home town. Moore was always concerned that photography could play a vital role in providing evidence and record. He used his attention to detail to ensure that the record was an enduring one. In the same way, when the Glebe Island Bridge was constructed, he used his long-term commercial contract history with Baulderstone, the builder of the bridge, to document the entire construction, culminating in the outstanding book To Build a Bridge, published again by Chapter and Verse, in 1996.   In an interview with writer and broadcaster Margaret Throsby, for the Book Sydney People and Places, with photography by Graham McCarter in 1991, Moore stated about Sydney; " Sydney is a dramatic visual city, and there's a lot of pushing and shoving going on. Of all the places I have been, and I have been around a bit, I am pretty damned sure I wouldn't want to live in any other city in the world." Despite that, in recent years he set about making a hideaway for himself in Tasmania, doing much of the woodwork and restoration himself. He had built a boat, in a resonance of an earlier construction of a very unsafe canoe in which he had launched out into the middle of Sydney Harbour in the early' 40's.In 1989 he was inducted into an Honorary Fellowship of the Australian Institute of Professional Photography, while in 2002 he was awarded an Honorary Doctorate of Letters by the University of New South Wales. Returning to Sydney from the Uluru AIPP conference at which he received his Honorary Fellowship, four of us found ourselves stranded for a plane on the day before the Airline strike that paralysed transport for several weeks. The journey via Alice Springs and Canberra would eventually take over 12 hours. But the time passed as if in a flash, because David shared with us the beliefs and views he had about photography, while deeply engaging us by teasing out our own opinions. That same year I had the pleasure of working with him on the 1990 Nikon Australian Calendar, a project that produced a wonderful collection of 13 images, immaculately presented. His attention to detail ensured a perfect calendar, which hundreds of Australians treasure till this day.   Last week WriteLight Press released the first reprint and update in their series Contemporary Photographers: Australia. It was fitting that publisher, Paul Burrows, had selected David Moore as the first to be published in the series. It goes on sale next week at leading bookstores and galleries. David had been keen to add abstract work of a new dimension, which he had made in 2001, to the earlier published work. The series of six images, Moon Writing - camera in motion, 2001, hark back to another common thread of his life. He returned to earlier ideas always making new impressions on the work of earlier years.   On Saturday 25th January, The Spread of Time: The Photography of David Moore opens at the National Gallery of Australia. Senior Curator of Photography Gael Newton has assembled images from the more than 300 images contained within the NGA's collection, many of which were donated by Moore himself. In a few weeks, David Moore would have celebrated his 75th birthday. Nikon and Maxwell were honoured that we were able to support in part this wonderful exhibition which runs from 26th January until May 25th 2003.   To the end he was concerned for the rights of all creative artists. I remember well his outrage in the mid 90's, when he discovered that under Australia's Copyright laws, he had outlived his own copyright in his 1947 images of Pyrmont. Of all creative disciplines, photographs alone have a fifty-year copyright following first publication. In all other instances of creative endeavor in Australia, - painting, writing, music, copyright remains for fifty years after death. Perhaps his passing might be a catalyst for change in something which he so strongly believed was morally wrong and discriminatory.   David Moore became a friend and counsel to so many of us who shared the joy of discovery that is photography. His passion, his discretion, his private determination, all marked someone one was proud to have known and been fortunate enough to call a friend. His Christmas Cards were all wonderful works of creative thinking, every year a new drawing, etching or design, all with that carefully crafted hand written personal message of good wishes. For 2002 he wrote, in accompaniment to an image of a reindeer, "Soon we will be back in paradise Tassie with the reindeer. Have fun."   Wherever you are now David, we know that you'll quickly have the place organised to ensure a proper documentary coverage of all that develops in photography heaven from now on. To David's partner Toni McDowell, and to David's family we extend our sincerest sympathies.   As Martin Jolly wrote fifteen years ago in The Sydney Morning Herald: David Moore: Australia's first international photographer.   Valé David Moore, 2003 John Swainston, January 24th 2003   This writer expresses thanks to the many writers who have provided detailed written accounts of David's life. In particular I have drawn on Sandra Byron's words in her foreword to David Moore - Australian Photographer, Vol.1,published by Chapter and Verse, 1986. My thanks also to Gael Newton for her constant support and enthusiasm for David's work over many decades. Finally to Josef Lebovic, of Josef Lebovic Gallery, Sydney, who has done so much to establish the merit of David Moore's work worldwide.           http://zonezero.com/magazine/obituaries/moore/moore.html      

Thursday, 23 January 2003

535. 12 | 12 | 12

PDF download Photographs by Yolanda Andrade, Patricia Aridjis, Adrián Bodek, Marco Antonio Cruz, Maya Goded, Rafael López Castro, Eniac Martínez, Francisco Mata, Pedro Meyer, Raúl Ortega, Saúl Serrano, Enrique Villaseñor. Text by Elizabeth Romero   “I entered the chapel. I kneeled in front of Virgin of Guadalupe and, immediately, mi heart became a bird of fire that wanted to come out and fly towards her. Then, I began to cry as I had never done before, and she told me ‘Calm down, breathe, I am very proud of you, and happy with you’ and that is impressive”. Carlos Santana speaks, after visiting Autlán, Jalisco, his natal town, on December, 1999. He had already won a Billboard award and months later he would get several Grammy awards for the song “Corazón espinado”(Pricked Heart), as well as for his album Supernatural. Thanks to the musician’s fame, such a statement can be taken seriously and can be divulged worldwide. Some incredulous may doubt; some others can think that it is just an eccentricity of the rock star, but for many people this is a real experience. A believer talks to his god, kneels down, asks for something and offers something in exchange. He asks for health, for protection, for shelter, and he offers a prayer, an action, and a change of behavior. The believer thinks that, thanks to the kindness of his god and to the prayers offered to him, things change: the sick heals, the problem gets solved, the peace arrives. In Mexico –country and people–, there is a cult that, for its characteristics, its permanence and its extension, stands out in the Catholic world. Beyond the religious aspect, Virgin of Guadalupe has social and political meanings, which include concepts of race, territory, nation, identity, and idiosyncrasy. When Santana affirms that: “my heart became a bird of fire that wanted to come out and fly towards her,” he expresses what millions of Mexicans would like to say, but don’t get to verbalize: tears betray them, old men and children cry, and men and women who arrive to the altar to worship Our Mother. Pilgrims don’t cry because of fatigue and they’ve walked hundreds of kilometers; they don’t cry because they are hungry or cold, and they’ve been through freezing cold and they’ve been without food; they don’t cry because of the pain and their lives have been an eternal endure. No, their tears have other reasons, they cry for something they don’t understand, they cry because they’re standing in front of the Virgin, and something unexplainable happens: something really sweet seems to calm the heart, something so serene makes feel peace, while at the same time one can feel humbleness and power. In front of Virgin of Guadalupe we know that we are little -a single creature among millions- and we know we are big -a human being with all its abilities- for the single fact of recognizing  

Monday, 16 December 2002

537. Tonatzin-Guadalupe Volúmen I

  PDF download Photographs by Eduardo Aguilera, Lorena Alcaraz, Colette Alvarez Urbajtel, Yolanda Andrade, Bernardo Arcos, Daisy Asher, Ignacio Becerra Araujo, Lázaro Blanco, Adrían Bodek, Enrique Bostelmann, Alejandro Castellanos, Guillermo Castrejón, Mónica Cervantes, Carlos Contreras, Christa Cowrie, Armando Cristeto, Marco Antonio Cruz, Rogelio Cuellar, Gilberto Chen, Sergio Dorantes, Victor Flores Olea, Arturo Fuentes, Luis Jorge Gallegos, Andés Garay, Héctor García, Maya Goded, Vicente Guijosa, José Hernández Claire, Javier Hinojosa, Edgar Ladrón de Guevara, Jorge Lépez Vela, Darío López Mills, Verónica Macías, Eniac Martínez, Francisco Mata, Elisa Medina, Victor Mendiola, Marco Antonio Merino, Raúl Ortega, Pablo Ortiz Monasterio, Adolfo Patiño, Rubén Pax, Heriberto Rodríguez, Martín Salas, Saúl Serrano, Carlos Somonte, Pedro Valtierra, Miguel Velazco, Enrique Villaseñor. Text by José Joaquín Blanco   Were are refering to centuries ago. Something happened in El Tepeyac on December, 1555 if we are to believe in the Chimalpahin records and in the Franciscans, leaded by their provincial, Fray Francisco de Bustamante, who latter would collided in a furious. Inquisitorial combat against the Dominican Archbishop, Alonso de Montúfar.Who refuses to accept that the image was miraculously painted by the Virgin  herself, God, the angels and the saints, has the option of an early historical testimony which states that in the mentioned furious combat, someone speaks about a painting done by "the indigenous Marcos".  

Monday, 02 December 2002

539. About Photography Books II

  (this article contains a free gift)     We are about to close another tumultuous year, this time with a war in Iraq looming over our heads, according to the designs of the President sitting in the White House. It is anyone’s guess what the outcome will be. It can go anywhere from a short war to a major catastrophe involving the entire Middle East. At present, the United States is desperately trying to find an excuse to attack Iraq. We know from our history books, how many times such excuses were simply fabricated to fit into the designs of those who wanted to enact war. I hardly believe this time will be any different.   There is a saying, in reference to surgeons, that “if you have a hammer in your hand, everything looks like a nail.” I would imagine that the only remaining military super power on earth, with a military budget that exceeds the military expenditures of all nations in the world combined, finds it very tempting to have themselves a war that allows for the testing of all kinds of new armaments together with a new strategy called preemptive attacks. I am clear that testing armaments alone, would not suffice as a reason for an attack, but it certainly is no deterrent to those in power to know the military power that is at their disposal.   While the world at large is dealing with such major issues as military interventions that will inevitably affect all our lives, we kept on going with such mundane matters, as the creation of electronic photography books, aside obviously that of maintaining the production of new portfolios and gallery exhibitions here in ZoneZero.   In the last 30 days we have published three major books, and now we have in the works ten more titles, and under consideration an even larger number. We expect to increase the scope of our catalog considerably, to bring you an ever-larger diversity of choices. An additional topic to consider is the fact that we are committed that our books all come out in two separate editions, one in English, and the other in Spanish. We have also concluded that our books need be published with the different size of monitors in mind, as that will affect the resolution required and thus the size of the book that needs to be downloaded. Therefore, you will have four options per title, two for language and two levels of resolution.   I have been asked if these books can be copied, and the answer is yes of course. But then, why would anyone want to do so just to save a few dollars, knowing that the income derived from paying will feed both the structure as well as the photographers who bring you the works in the first place. I can understand someone making an illegal reproduction of a music CD, that costs fifteen or twenty dollars, when in fact the musicians get to keep very little and the majority of the money goes into the hands of rich corporations. However, this is not our case. The reason we have priced the books at such a low level, is to discourage the temptation of making illegal reproductions while at the same time encouraging the needed support for those of us who make it possible for you to enjoy these books. Maybe the music industry could take a cue from our efforts; I know a lot of musicians who are doing precisely what we are doing.   Jose Luis Bravo our webmaster over these past four years, has decided to take some time off to go to Spain together with his wife, where they will both pursue post graduate studies in their respective areas of expertise. We will miss Jose Luis’ considerable contributions to always keep the site in good shape, and send them off with our best thoughts in mind, as they embark on their new adventure. At this time, we wish to take this opportunity to introduce you to Benjamin Franco who has worked with us for some time and who will take over the responsibilities as our new Web Master. We are thus assured of a very smooth transition. In January we will present you with some exciting new exhibitions and of course books.   We hope you visit us often over the holidays and peruse some of the previous exhibitions which you might have missed, there is a lot of very strong and exciting work which is waiting for your attention.   We want to conclude our editorial, wishing you the best for the Holidays and the coming New Year. Your constant feedback and letters of support along the entire year have been an important source of inspiration both for the entire staff and me, and for that we want to thank you.   As a token of our esteem, we want you to have our latest electronic photography book (12-12-12) for free. You can download it at the address below, and you can do so as of today up to the 31st of December, after that date it will revert to its normal sale. We hope that you enjoy it and will of course welcome your feedback.   Pedro Meyer December, 2002     Photographic Electronics Books by ZoneZero Editions (All the books are in PDF format)   12 - 12 - 12 12 Photographers on the 12th Day of the 12th Month.   The work of twelve photographers on the “Day of Virgin of Guadalupe” and its celebrations in Mexico City is cointained in this book of 95 photographs distributed along 80 pages. The photos were taken on December 12th, 2002.   ________________________________________________________________   Tonantzin-Guadalupe A Day with Her   This book of 155 photographs and 91 pages, contains the collective and unpublished work of 50 Mexican photographers, who gathered together to photograph the events of the “Day of Virgin of Guadalupe” on December 12th, 1992, all over Mexico City.   ________________________________________________________________   Long Live the Little Dead Ones   This is the first electronic book published by ZoneZero Editions. This book of 70 pages contains 68 photographs of eight Mexican photographers about the “Day of the Dead” celebrations in Mexico City in November, 2002.           Please share your comments on this issue with us in our forums.         http://zonezero.com/editorial/diciembre02/december.html    

Sunday, 01 December 2002

541. Raffi Kirdi | Memo

  Date: Sun Nov 3, 2002 10:43:23 AM America/Mexico_City   Hello,   I am Montreal based photojournalist I stumbled to your site while researching some articles, I like the way it is done and gives you wide range of access to International photographers and review their portfolios. very weel designed, wonderful...   I would like to be on your mailing list.   best regards,   Raffi Kirdi Photojournalist Montreal, Quebec H3R-2J8 Canada  

Sunday, 03 November 2002

543. Secfotos

  Date: Mon Oct 28, 2002 7:14:19 AM America/Mexico_City   Buen dia, empezemos por lo importante, los felicito por la revista, debo confesar que era uno de aquellos fotografos que miraba con desden la fotografia digital y a partir de la lectura regular de sus articulos mi parecer ha cambiado, en mi trabajo de prensa usamos una Nikon D1 que cuando puedo la uso para algunos de mis proyectos personales. espero en un futuro proximo enviarles algunas imagenes para un portfolio   me despido reiterando mis felicitaciones.  

Monday, 28 October 2002

545. Thomas Crown

  Date: Wed Oct 16, 2002 1:20:08 PM America/Mexico_City   Thank you for the journey through the twilight zone of sight. 5 Stars Ciao. Thomas Crown   Beirut, Lebanon  

Wednesday, 16 October 2002

547. Juanjo Fernandez | Felicidades

  Date: Mon Oct 7, 2002 10:06:31 PM America/Mexico_City   Hace tiempo que sigo ZonaZero, y he visto como ha crecido y como se ha ido convirtiendo en un referente en el mundo de la fotografia en el mundo, y no exagero, creo que tenemos mas de un amigo comun, en Madrid, en Nueva York, en Praga.   Asi que repasando una vez mas vuestra pagina me he decidido a expresaros mi admiracion, y animaros a seguir creciendo.   Un cordial saludo Juanjo Fernandez (photographer)  

Monday, 07 October 2002

549. Rosetta | Saludos

  Date: Sun Oct 6, 2002 8:58:55 PM America/Mexico_City   Reciban un cordial saludo, es la segunda vez que entro a su página y siempre he encontrado artículos muy interesantes y polémicos, las fotos son muy buenas. Soy antropóloga, desde hace varios años tomo forografías; y, mi intención es hacer fotografía antropológica, especialmente ensayo fotográfico.  

Sunday, 06 October 2002