Have you ever tried to take a picture in a night club? They always turn out crapy. People move to fast, the light is bad etc. And if you show up with a huge camera and some proper flash light people are usually to frightened to get good pictures.
I stumbled on a club photographer called billa recently. He is mainly documenting the Nu Rave scene in England.
I really like his pictures and they give you insight in what seems to be some serious partying.
He has had his photos published in Disorder, i-D, Super Super, Clash, Time Out, XLR8R, Numero Tokyo, Sportswear International and Vogue.
Here is a selection of photos he took at Super Super Tuesday club night, I ? Niyi at Punk, Soho on May 6 2008. Head to Billa's online photostream and check out over 1000 pages of party photos and documentary shots.
www.flickr.com/photos/billa/
www.shitbilla.com
I came across the toofuckinglate blog recently. It's a very interesting blog to read.
The party pictures they have are absolutely fantastic! I have never seen party pictures like these. Wish I could take such pictures. I mean look at the Round Table Knights picture - fantastic isn't it? They are taken by a Jan Vorisek .
Rebuild is a collection of work by students from Tufts University, New York University, and Kosovo, who participated in a week-long journalism workshop in Kosovo in 2005. With guidance by Mort Rosenblum and Gary Knight, twelve students worked in tandem as photographers and writers to document the complex issues facing a country coping with the repercussions of war.
Foreword by Philip Goldberg.
Numerous contributing photographers and writers.
published by de.MO, Millbrook, 2006. 160 pp., Numerous illustrations throughout, 8x8". ISBN: 097428369X
http://www.de-mo.org
Albania is the poorest country in Europe. It was one of the last to emerge from communism and in only two years made the difficult and rapid transistion into a multiparty democracy.
In January, 1997, a pyramid scheme collapsed and thousands lost their life savings. Riots broke out. The military was helpless as army supply camps were looted. Gangs took over entire cities and turf wars over drugs and weapons escalated beyond control. Many of the weapons looted in Albania were smuggled into neighbouring Kosovo, to the almost two million Ethnic Albanias living under the tyranny of Slobodan Milosevich, who was desperate to keep Kosovo united with the fragments of former Yugoslavia. The volatile mixture of ethnic tensions and fresh supplies of weapons gave birth to the Guerrilla army known as the Kosovo Liberation Army, KLA. When NATO started bombing the Serbs in 1999, the largest exodus in European history since World War II began. Almost one million went into exile and sought refuge in neighbouring countries. On their return three months later, the refugees exacted a gruesome revenge, killing innocent and aged Serbs who had had no connection with the war.
Joachim Ladefoged began documenting the story of the Albanians in 1997. His ongoing work in the region culminated in 2000 with the release of his book 'The Albanians'.
Book: "The Albanians by Joachim Ladefoged" published by Nyt Nordisk, 2000.
The International Court of Justice for the first time has declared that the massacre of Bosnian Muslims at Srebrenica in 1995 was an act of genocide. The same ruling, however, determined that Serbia can not be held liable for the crime, although it did aid ethnic armies who carried out the massacre.
Amid the numerous photographs of the conflict in Yugoslavia, Ron Haviv's work stands out as a unique record of the conflict, from its beginnings in 1991 to the hostilities in Macedonia. From the front-line trenches to the refugees behind them, his images of poignant immediacy capture both the urgency and tragedy of war. Not only are they a powerful testimony to the suffering of the Balkan people, but also their importance is also historical.
http://www.viiphoto.com/frame-movie.php?vID=9
Book: BLOOD AND HONEY: A Balkan War Journal by Ron Haviv (published by TV Books; November 15, 2000)
Essays by David Rieff and Chuck Suddetic, Afterword by Bernard Kouchner
"I was never concerned with making a conventional travelogue. I wanted the viewer, like me, to feel they sort of understood it, but didn't. They recognised something but could not quite figure it out."
http://inmotion.magnumphotos.com/essays/tokyolovehello.aspx
