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| 1. |  | 2007, Fall Daylight Magazine - Issue 6 Magazine front cover Daylight Magazine The publication explores photographic representations of nuclear technology. It features photo portfolios by: Harold Edgerton, Robert Del Tredici, Carole Gallagher, Chris McCaw, Pierpaolo Mittica, Jurgen Nefzger, Simon Roberts, Richard Ross, Paul Shambroom, Ramin Talale, Hiroshi Watanabe, and Yosuke Yamhate. Daylight is now available as a free downloadable video podcast with an original soundtrack and narration by the photographers. From the Editors: Considering the danger posed by thousands of active nuclear weapons spread around the world, it is not surprising that the specter of nuclear-induced destruction remains at the back of our minds. Indeed, atomic disaster may be the single largest threat to human existence.In this edition of Daylight Magazine we have compiled the work of several photographers concerned by the use of atomic technology and its implications for the future. |
| 2. |  | 2006, Spring Daylight Magazine - Issue 5 Magazine front cover Daylight Magazine This edition of the magazine explores the role humans play in producing, selling, and distributing a number of 'Global Commodities.' The publication features work from: Adam Broomberg, Oliver Chanarin, Ali Chraibi, Kadir van Lohuizen, Heidi Schumann, Allan Sekula, elin o'Hara slavick, Ian Teh, Heinrich Voelkel, and Michael Wolf. |
| 3. |  | 2006, Spring Daylight Magazine - Issue 4 Magazine front cover Daylight Magazine In August of 2005 Israel relinquished control of the Gaza Strip and finally removed the settlements which had so infuriated the Palestinians. The pullout was relatively peaceful and hopefully represents the beginning of a long-hoped-for future of Palestinian autonomy. This issue of Daylight Magazine, one year in the making, compiles a number of photographers examining the situation in Israel and Palestine. The nuances of this highly complex and volatile relationship could only be conveyed by a number of photographers examining parts of the whole. From the dwindling nomadic Bedouin population to the interiors of homes in the West Bank, we hope that this issue provides a unique perspective on a small, contested area of land fraught with religious, social, and economic tension. In the second half of the publication we set aside space to present a number of self-representative photographic projects currently taking place around the world. These projects were made possible by Daylight Community Arts Foundation and our amazing Project Coordinators who are helping us share the power of photography with a number of diverse communities. We invite you to have a look at these projects and to help us continue this programming by making a donation or, better yet, spearheading a project of your own. Corresponding with Issue #4, Daylight will launch a new website that will host an online magazine, an interactive forum, and portfolios from partner projects that have joined our organization. While we will continue to print one to two issues per year, our revamped website will serve as the nexus of Daylight Community Arts Foundation. By embracing the accessibility and emerging dominance of the internet we hope to engage with our readers and further the dialogue of visual communication and understanding, while saving on printing costs. -The Editors |
| 4. |  | 2004, Fall Daylight Magazine - Issue 3 Magazine front cover Daylight Magazine The relationship between humans and the natural environment has been the focus of an astoundingly large breadth of contemporary art. This body functions as an open set; its boundaries are limitless, as all artistic statements, at some fundamental level, confront what it means to be human. Since the 1970s photography's participation in the discourse has been remarkably one-sided. The once limitless landscape had been altered, denigrated by industrialization, sprawl and vapid consumerism. Photography recorded this transformation with stark, menacing minimalism as the world continued to explore definitions of "documentary photography." The legacy of "New Topographics" has dominated photography's reaction to the ecological repercussions of modernity. It has drawn what seems to be an enduring line between humankind and nature. Perhaps this duality no longer serves as an appropriate model. It has given birth to an era whose art more readily indulges in the hyper-real consequences of consumerism than in proposing alternatives. In exploring issues of "Sustainability," this edition of Daylight suggests that the dualistic representation of humans and nature can change, and that documentary photography's role in this transformation can range in scope from the immense landscape as seen in David Maisel's stunning aerials of a breathing, living Los Angeles; to the intimate images of people embodying lifestyles of low environmental and economic impact, as seen through the work Joel Sternfeld and Leonie Purchas; to the Daylight-initiated self-representative documentary work of domestic renewable fuel producers. Sustainability measures progress not in trajectories, but in cycles. Technology buttressed by reason was the motivating factor in modernity's march toward our present ecological and societal maladies. They will now aid us in rebuilding. Cycles of consumption and excessive waste are brought into balance through grassroots industries like biofuel production. Alternative lifestyles have increased exponentially in popularity. To strive toward sustainability is to maintain hope. Confronted with the plethora of problems our civilization has faced and will face, the simple choice to sustain may one day lead to substantial change in the political interactions of nations. The question this issue of Daylight addresses is not so much "What is Sustainability?" but, rather, "What can Sustainability be?" Photography is an indispensable tool in grappling with this question. The photograph, by framing a specific section of this earth, intimates a vast system of connectivity. It can be a snapshot from a disposable camera or a carefully composed image from a large-format view camera: it is simultaneously high and low art. We hope you enjoy this issue of Daylight. We hope it raises new questions about humans' role on this earth and photography's part in shaping that role. And we hope you will join us in this ongoing exploration. -The Editors |
| 5. |  | 2004, Summer Daylight Magazine - Issue 2 Magazine front cover Daylight Magazine The current situation in Iraq is the central issue within contemporary international politics. If Iraq becomes a successful democracy, will a positive example be set for other politically unstable Middle Eastern nations? While initial U.S. justification for aggression against Iraq was the search for "weapons of mass destruction", it has yet to be legitimized. However, Saddam Hussein's regime was undoubtedly despotic and reinforced a number of dichotomies within the Iraqi populace. As Iraq's election-day fast approaches, the Iraqi public will soon be expected to represent their own political views in the voting booth. Perhaps, Iraqis will finally be in a position to pick up the pieces of their confused society, rebuild war-damaged mosques, rectify deep-rooted human rights abuses, and find closure where necessary. In this issue of Daylight Magazine, Iraq is presented from a number of perspectives. As individuals living far from the front lines, images we foreigners see on television and in newspapers define our perception of the current situation in Iraq. For many of us, this is an armchair war consisting of images released by corporate-controlled media conglomerates and government censors with undeniable agendas. This issue of Daylight presents the work of photographers who have spent time in Iraq working to present their audience with an individual perspective of the region. What a photographer chooses to capture reflects a personal interest or desire to share a very specific moment with the universal spectrum of potential viewers. Susan Meiselas' images of the Kurdish mass graves in southern Iraq came to light ten years ago when the burial sites were exposed to the world. These images have gained contemporary relevance as they are once again being reproduced and reviewed as evidence in the current legal case against Saddam Hussein. Sean Hemmerle's photographs concentrate on landscapes of war-damaged Baghdad. These, and other, images will be on display in June 2004 at the Open Source International gallery in Manhattan. What is the human story of Iraq? What would Iraqi citizens choose to show us, the foreign public of a country occupying their homeland? Inspired by these questions, our organization sent ten disposable cameras to correspondents in Iraq. These cameras were distributed to Iraqi civilians with the hopes of offering individuals an opportunity to share imagery of their lives with a foreign audience. Each person who received a camera was offered these words: "This is an opportunity to show the American public what you want them to see". As the situation in Iraq continues to unfold, we are left with an increasing number of questions. When, and if, the fighting ceases, how will imagery continue to affect and inform the world perspective of Iraq? -The Editors |
| 6. |  | 2004, Spring Daylight Magazine - Issue 1 Magazine front cover Daylight Magazine Alec Soth's photographic narrative follows his journey along the Mississippi river; each image offering insight into the timeless traditions and ever-changing cultural and physical landscapes of the Mississippi. Soth is currently displaying this work in the Biennial exhibition at the Whitney Museum of American Art. Jen Szymaszek brings us the faces and words of surviving family members of forgotten World Trade Center employees. Szymaszek's photographs communicate the universality of human love and loss while simultaneously illuminating the tragedy of 'undocumented' W.T.C. workers and their remaining families. The individuals missing from each of these family portraits represent a much larger population of migrants lost in the disaster of September 11, 2001. Unlike the families of lost U.S. citizen W.T.C workers, none of the here-represented families have received financial support from the United States government. Szymaszek has recently formed a non-profit organization that seeks to uncover this tragedy and bring support to all of the families of "Los Olvidados". Tom Rankin is Director of the Center for Documentary Studies in Durham, North Carolina. His photographs herein, explore the relationship of man and wilderness as represented through the lives and surroundings of several individuals living in the Mississippi Delta. While much of Rankin's work depicts the communities of this region, his photographs in this issue are yet unpublished. Sara Gomez is a young artist living and working in central North Carolina. She recently returned to the United States from an extended stay in Northern India. There, Gomez lived and worked as a resident of Ahmedabad. Her photographs and words from this experience bring us breathtakingly delicate imagery of the children with whom she worked. Gomez is currently working on her book of these photographs which is expected to be printed within the next year. - The Editors |
| 7. |  | Simon Norfolk 2006 Daylight magazine: Issue 4 / 2006 - Example page spread for a portfolio by Simon Norfolk (p.6-7) Magazine spread Daylight Magazine © Daylight Magazine and the contributors Photojournalist Simon Norfolk wrote the text that accompanied the portfolio on p.6 of Issue 4 (2006) "The following photographs are part of a larger project attempting to understand how war and the need to fight war have formed our world how so many of the spaces we occupy, the technologies we use, and the ways we understand ourselves, are created by military conflict. I was astounded to discover that the long, straight, bustling, commercial road that runs through my neighbourhood in London follows an old Roman road. In some places the Roman stones are still buried beneath the modern tarmac. Crucially, the road system built by the Romans was their highest military technology, their equivalent of the stealth bomber or the Apache helicopter a technology that allowed a huge empire to be maintained by a relatively small army that could move quickly and safely along these paved, all-weather roads. It is extraordinary that London, a city that should be shaped by Tudor kings, the British Empire, Victorian engineers, and modern international finance, is a city fundamentally drawn, even to this day, by abandoned Roman military hardware. Which brings me to archaeology, since I have always seen myself as more of a discoverer of the hidden in a landscape than as any kind of "artist." Anybody interested in the effects of war quickly becomes an expert in ruins, detritus, artefacts, and these images are the result of a long fascination with ruins and their portrayal through the history of art. Some of the earliest photographers were ruin photographers and they drew on the devastation and decay in the paintings of Nicolas Poussin and Claude Lorrain, in the garden designs of Capability Brown, in the novels of Horace Walpole and Mary Shelley, and in the work of such poets as Percy Shelley and Lord Byron. The thinking that united these artists is fundamentally misunderstood the ruins in these artworks were not examples of dreamy-headed pictorialism but profound philosophical and political metaphors for the foolishness of pride; for awe and the Sublime; and, most importantly to me, for the vanity of Empire. Since Israel represents perhaps the purest form of the "soft imperialism" that America has used in the making of its global empire, it is a good place to meditate upon the brutality and arrogance necessary for that empire's construction and, in turn, what these new ruins might mean for all of us." © Simon Norfolk / Daylight Magazine (2006) |