September 15, 2017

Photojournalism Now: Friday Round Up - 15th September, 2017

This week on Photojournalism Now: Friday Round Up - a special feature on Photoville New York, plus The Aftermath Project 10th Anniversary.

Special Feature:
Photoville 2017

(C) Kisha Bari

Since its inception in 2012 Photoville has become the largest annual photographic event in New York City, with more than 90,000 attending last year. The festival features exhibitions in and on more than 55 shipping containers in Brooklyn Bridge Plaza, as well as night projections, workshops, debates, and a mini-trade show with vendors, publishers and gear demonstrators. Free of charge and open to the public, Photoville is unlike any other photo festival in the world.

This year Photoville runs over two (unofficial) long weekends 13-17 and 21-24 September.

Newest Americans, a storytelling project about immigration and American identity, kicked off Photoville this week with a live projection in the famed Photoville Beer Garden, in collaboration with Talking Eyes, VII and Rutgers University-Newark. Newest Americans chronicles the immigrant experience using documentary film, photography, fiction and nonfiction essays, podcasting and interactive storytelling, to present "fresh narratives on the emerging majority-minority population and the nation it is transforming."  

(C) Ed Kashi 

(C) Ron Haviv

(C) Julie Winokur

Kisha Bari - ReSisters: Behind the Scenes of The Women's March

Australian Kisha Bari's exhibition ReSisters: Behind the Scenes of The Women's March, is a project that has seen Kisha cover the Women's March movement since January this year. There are some fantastic images in the show and Kisha has captured wonderful, candid moments. 

"I am honored to present some never before seen imagery of the lead up to the Women's March on Washington from NYC to D.C," says Kisha. "The work presented captures this awesome women-led movement and celebrates the political power of diverse women and their communities to create transformative social change.”

(C) All images Kisha Bari

Panel Discussion: Reclaiming Photography
(C) Danielle Villasana

This should be a great talk (wish I could be there for this alone) featuring founding members of RECLAIM: an alliance of The Everyday Projects, Native Agency, Majority World, Women Photograph, Minority Report [renamed from Visioning Project], and Diversify Photo.

Panelists are:
Laura Beltrán Villamizar (Native Agency)
Shahidul Alam (Majority World)
Daniella Zalcman (Women Photograph)
Brent Lewis (Senior Photo Editor ESPN’s The Undefeated)
Tara Pixley (Scholar/Filmmaker/Photographer)
Austin Merrill (Everyday Projects)

For more details check out the link here.

Random images from exhibitions you should check out if you're lucky enough to be in NYC!

Insider/Outsider - Women Photograph 
(C) Abbie Trayler-Smith 

The Blood and the Rain - Magnum Foundation
(C) Yael Martínez

Carbon's Casualties: How Climate Change is Upending Life Around the World
New York Times (C) Josh Haner

We Have Experienced Calamities
Médecins Sans Frontières (MSF)
(C) Juan Carlos Tomasi

Visit the Photoville website for all the details.

War is Only Half the Story
The Aftermath Project 10th Anniversary
(also exhibiting at Photoville)

(C) Stanley Greene

War is Only Half the Story is a ten-year retrospective of the work of the groundbreaking documentary photography program, The Aftermath Project.

Founded by photographer Sara Terry to help change the way the media covers conflict – and to educate the public about the true cost of war and the real price of peace – The Aftermath Project has run a grant program for the past decade, supporting some of the best documentary photographers in the world working on post-conflict themes. You can check out the project at Photoville.

Juan Arredondo/Finalist, 2016 “Everybody Needs a Good Neighbor”
Angél, 14, and Daniel (right), 16, members of the ELN Che Guevara Front pose for a picture at their camp in Chocó. The Che Guevara front operates on the Pacific coast of Colombia patrolling important corridors to allow the export of cocaine to the Pacific Ocean and into Mexico. February 17, 2014.

Isabel Kiesewetter/Finalist, 2013 “Conversion”
Fusion Festival, Larz Former Rechlin-Larz military airfield
1933 - 1945: Main testing ground of the Third Reich’s Luftwaffe
1945 - 1993: Used by the 19th Fighter Bomber Regiment West of the Group of Soviet Forces in Germany

Stanley Greene/Grant Winner, 2013 “Hidden Scars”
A scarecrow and his guard dog watch over the village of Bamut, which was always a rebel stronghold, and was the last village to fall to Russian forces. The entire village was leveled by the Russian military. Bamut is near the Chechen border with neighboring Ingushetia, which lies to the west of Chechnya. In April 2014, Chechen President Ramzan Kadyrov sent forces on a cross-border raid into Ingushetia. A few years previously, he sent forces on a similar raid into Dagestan, to the east. Kadyrov’s pan-Caucasus ambitions are making his neighbors uneasy. Bamut, Chechnya, 2013. 

The tenth anniversary book, which is co-production with Dewi Lewis Publishing, takes a completely new approach to presenting the work The Aftermath Project has supported. Rather than a chronological order, photographs are curated under five themes, defined by the poetry of Nobel Laureate Poet Wislawa Syzmborska:

“All the cameras have gone to other wars…”
“After every war someone’s got to tidy up…”
“Perhaps all fields are battlefields…”
“This terrifying world is not devoid of charms…”
“Reality demands that we also mention this: Life goes on.”

There is a Kickstarter project to fund the book.

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September 08, 2017

Photojournalism Now: Friday Round Up - 8th September, 2017

This week on Photojournalism Now: Friday Round Up - Getty Images announces grant winners at Visa Pour L'Image, Vlad Sokhin wins for Warm Waters and Head On Photo Festival 2018 calls for submissions.

Getty Grants for Editorial Photography 2017

Five photojournalists have been awarded a grant of $10,000 each in this year's round of Getty Images Grants for Editorial Photography which will enable them to continue working on, what are, extraordinary and important stories.

Hugh Pinney, Vice President of News, Getty Images said the winners were photojournalists “working at the cutting edge...ensuring that often ignored global issues are brought to the forefront of public consciousness. The projects selected explore a range of complex and thought-provoking subjects and we are thrilled that, through the Getty Images Editorial Photography Grant, we are able to support such talent as they continue to shed light on some of the most moving and significant moments of our time.”

And the winners are:

Alejandro Cegarra for Living with Hugo Chavez’s Legacy

'In the latter years of Hugo Chavez’s presidency, Venezuela enjoyed an oil-fueled economic boom that made his vision of a more equitable, wealthier and safer society seem almost attainable. But by the time of his death, in 2013, he left his successor an economy in shambles, tenuous political support, and rising violence. Four years on, the country has been plunged back into a state of poverty and conflict, with citizens struggling to afford food and the youth clashing with the security forces on a regular basis. This project seeks to give a voice to the frustrated and disappointed people of Venezuela who feel consistently ignored by those above them." Alejandro Cegarra.

(C) Alejandro Cegarra

Paula Bronstein for The Cost of War 

"Following the US-backed military operation against ISIS in the Iraqi city of Mosul, the threat to civilians in the region remains high. The use of mines in the city poses a serious problem for civilians, who are the most common victims of such devices. More worrying still is the revelation that, according to the Mines Advisory group, these mines contain 60 times more explosives than a standard anti-personnel mine, drastically increasing the likelihood of death or severe and permanent injury. This project aims to document the silent victims of a conflict that has claimed thousands of lives and left many more maimed." Paula Bronstein.

(C) Paula Bronstein

Antonio Faccilongo for Habibi 

"The Gaza Strip and the West Bank are typically portrayed as places ravaged by conflict, however for the citizens of these regions they are also home, a place where they must build a life amidst the turmoil. This project focuses on the phenomena of ‘sperm smuggling’ by Palestinian women, a practice which allows them to conceive children with their husbands who are serving long term sentences in Israeli prisons. Family remains the most important social structure for many Palestinians and for many of these women this is their only hope for a family." Antonio Faccilongo.

(C) Antonio Faccilongo

Barbara Peacock for American Bedroom 

"The transformation of the pedestrian into objects of artistic merit has long been one of the aims of photography and it is this tradition that the project seeks to continue. In focusing on the commonplace this project hopes to unveil the idiosyncrasies latent in everyday life. The expansive nature of the project invites us to introspect on the complexity of humankind in the west, particularly in America." Barbara Peacock.

(C) Barbara Peacock

Alessandro Penso for The Deal

"The refugee crisis in Europe has dominated the media over the last few years, with xenophobia and closed mindedness often leading the debate. It is therefore vital that we ask, what are the consequences of such attitudes? This project explores the way in which EU regulation has failed to adequately welcome refugees by depicting the exploitation and long-term displacement faced by many of these already extremely vulnerable people." Alessandro Penso

(C) Alessandro Penso

Since its conception in 2005, Getty Images Editorial Grants program has provided grants in excess of US$1.4 million. Congratulations to the winners!

Vlad Sokhin wins Visa d'or France Award for the Best Digital News Story

Big shout out and congratulations to Vlad Sokhin for winning this award for his work, Warm Waters. I've interviewed Vlad a few times over the years and he's doing some brilliant work on important topics and drawing global attention.

This year's jury members were: Dimitri Beck / Polka, Samuel Bollendorff, photographer and president of the jury, Agnès Chauveau / INA, Pascal Delannoy / franceinfo, Olivier Laurent / Washington Post, Benoit Leprince / Paris Match, Marie Sumalla / Le Monde and Marie Valla, FRANCE 24. The Award is sponsored by rance Médias Monde, France Télévisions, Radio France and INA.

Some other photos from Vlad's Warm Waters series:

Call for Submissions:
Head On Photo Festival 2018

Australia's largest photography festival, Head On, held annually in Sydney, is calling for submissions for exhibitions. Check out the link here

September 01, 2017

Photojournalism Now: Friday Round Up - 1st September, 2017

Stop press: This week Photojournalism Now was ranked number ten on the Top 50 Photojournalism Blogs in the World by! Thanks to everyone for your support.
Special Feature:
29th Edition of Visa Pour L'Image

The International Festival of Photojournalism, Visa Pour L'Image starts in Perpignan, France tomorrow and runs until the 17th September. All exhibitions are free and there is once again an amazing diversity in the works on show. 

Here is a curated selection of what’s on offer. Congratulations to Jean-François Leroy and his team for another amazing festival program. But most importantly, thank you to the extraordinary, dedicated photojournalists who bring us these stories often at great personal cost.

Lu Guang
Development and Pollution

Today China is the world’s second largest economy. Its rapid growth has come with a high environmental toll, China’s seven great rivers poisoned by industrial waste, pastureland destroyed by open-pit mines, and villages turned into death traps. Curated by Jean Loh, this exhibition features images from Guang's 12-year study.

Men at work in the dust. Energy-intensive, polluting industry has been transferred from the east to the central and western regions. Wuhai, Inner Mongolia, 2006. © Lu Guang / Contact Press Images

The main industries in and around the city of Holingol are coal, power and chemicals, causing pollution rendering nearby grassland unfit for grazing. Local authorities have replaced the livestock with sculptures. Inner Mongolia, 2012. © Lu Guang / Contact Press Images

Farmer Li Mingzhu has a cornfield near Tengda lead and zinc smelters. The soil has high concentrations of heavy metals and last year’s crop produced no grain. Jinjiling village, Jiahe County, Hunan Province. March 2010. © Lu Guang / Contact Press Images

Daniel Berehulak
They Are Slaughtering Us Like Animals

Australian photojournalist Daniel Berehulak’s latest Pulitzer Prize winning work saw him spend five weeks in Manila covering the aftermath of President Duterte’s murderous drug crackdown. Working with a local reporter, Berehulak covered 41 crime scenes, and 57 fatalities, his documentation going beyond the crimes to uncover the innocents and the families, revealing the other side to the official story. 

Jimji (6), in anguish screaming “Papa!” before the funeral of Jimboy Bolasa (25). His body, showing signs of torture as well as gunshot wounds, was found under a bridge. The police said he was a drug dealer, but according to his family, Bolasa had surrendered earlier, answering President Duterte's call to follow what was supposed to be a drug-treatment program. Manila, October 10, 2016. © Daniel Berehulak for The New York Times

Relatives overcome with grief seeing the bodies of Frederick Mafe and Arjay Lumbago sprawled in the street. Manila, October 3, 2016. © Daniel Berehulak for The New York Times

Michael Araja (29) was one of a number of people gunned down at a “sari-sari” street kiosk. Neighbors said he had gone to buy cigarettes and a drink for his wife when he was shot dead by two men on a motorcycle, a “riding in tandem killing” which is a common modus operandi. Officers from SOCO (Scene Of the Crime Operations) are gathering evidence. Manila, October 2, 2016. © Daniel Berehulak for The New York Times

Stanley Greene

Last time I was in Perpignan, in 2013, I had the honour of meeting Stanley Greene. He graciously signed my copy of Trolleyology - “To Alison, be safe in the life!” - this might have been his standard line, but he was generous with his time and interested to hear what this Australian thought of Visa. We talked about his eWaste project, and how he had fallen ill shooting in the toxic environs. In this homage, there is work that spans his career, from the early days of fashion photography through to his profound images of the conflict in Chechnya.

The old souk in the Old City of Aleppo, a UNESCO World Heritage site: once the most charming 4,000 square meters in the Middle East, the most famous postcard in Syria, a vertigo of voices, of tales and colors, overflowing with life. Now all that remains is rubble. April 2, 2013 © Stanley Greene / NOOR

Grozny, Chechnya, January 1995. “Death in Grozny.” Outline of a body in the snow, after a Russian rocket attack: black ash, dark snow, shattered glass, trees now ragged stumps, their branches snapped off by the blasts. The streets of Grozny were a no man's land. © Stanley Greene / NOOR

Downtown Grozny, Chechnya, April 2001. Since the death of her child Zelina often stares into the distance, her eyes seeking something far away, so elusive. She says she is already dead, and if only time would hurry up. © Stanley Greene / NOOR

Meridith Kohut
The Collapse of Venezuela

This distressing, but important body of work from this year’s winner of the Chris Honduras Fund, shows the ravages of the economic collapse of Venezuela on its population. Struggling to survive on meagre rations, Kohut captures a country on the brink of devastation. Her intimate images are raw with emotion, the insights and depth of her storytelling the result of her immersion in the culture; she has lived in Venezuela since 2008.

Omar Mendoza suffers from schizophrenia, and also from severe malnutrition: he weighs only 35 kilos [77 pounds]. The state psychiatric hospital where he is has been crippled by acute shortages of food and medicine. August 25, 2016. © Meridith Kohut for The New York Times

Leidy Cordova (37) with four of her five children: Abran (1), Deliannys (3), Eliannys (6), and Milianny (8). The family had not eaten since lunch the day before, and that was “soup” made by boiling chicken skin and fat. The refrigerator is not working, and contains the only food in the house: half a bag of flour and a bottle of vinegar. June 16, 2016. © Meridith Kohut for The New York Times

Family and friends mourn at a group funeral for four young men who were tortured and killed by members of the Venezuelan armed forces. Capaya November 29, 2016. © Meridith Kohut for The New York Times

Zohra Bensemra
Lives on a Wire

Algerian photojournalist Zohra Bensemra focuses her gaze on those whose lives have been shattered by war. She says her objective is simple: to show that all human beings, no matter their religion or nationality, are the same. 

After fleeing a village controlled by Islamic State fighters, a boy and his family are in a bus that will take them to the refugee camp in Hammam al-Alil, south of Mosul, Iraq. February 22, 2017. © Zohra Bensemra / Reuters

The mother at the funeral of Mohammed Ali Khan (15) who was killed in the massacre when the Army Public School he attended was attacked by Taliban gunmen who took hundreds of students and teachers hostage. Peshawar, Pakistan, December 16, 2014. © Zohra Bensemra / Reuters

Voting in the country’s first democratic elections for almost a quarter of a century. Al-Fashir, Northern Darfur, Sudan, April 11, 2010. © Zohra Bensemra / Reuters

Ed Kashi
CKDu - In the Hot Zone

American photojournalist Ed Kashi reveals a deadly epidemic sweeping the Middle East, Asia, South Asia and Central America. CKDu, Chronic Kidney Disease of unknown origin, affects mainly farm workers and their families, the poor and the young. Travelling to Nicaragua, El Salvador, India and Sri Lanka, Kashi has documented the ravages of this fatal disease and its multi-generational impact. 

Jorge Martin Bonilla (29), the youngest of six brothers, three of whom are also suffering from CKDu [Chronic Kidney Disease of unknown origin], worked on sugarcane plantations for five years before contracting CKDu in 2004. He died this morning. Chichigalpa, Nicaragua, April 30, 2014. © Ed Kashi / VII

At Narayana Medical College, Nellore, Andhra Pradesh, India. January, 2016. © Ed Kashi / VII

Mass screening is conducted by a local CKDu organization, with support from the government. Here, in this CKDu-affected town, 342 secondary school students are lining up for blood tests. Rajanganaya, North Central Province, Sri Lanka, June, 2016. © Ed Kashi / VII

Visit the website for more information

August 25, 2017

Photojournalism Now: Friday Round Up - 25 August, 2017

This week on Photojournalism Now: Friday Round Up - my musings on the 2017 Ballarat International Foto Biennale which opened last week and FotoEvidence and World Press Photo join forces.

Ballarat International Foto Biennale

Last Friday I headed to Ballarat for the launch of the 2017 Ballarat International Foto Biennale. The festivities kicked off on Friday night with the opening of the blockbuster David LaChapelle exhibition at the Art Galley of Ballarat. The festival has clearly pinned its hopes on this show with the city's mayor revealing they hoped to attract 50,000 this year to the festival when the last one in 2015 drew an audience of 15,000. You have to admire their ambition and I hope it is a success. But with pretensions to such grandeur, there are some concerns with the festival that need to be aired.

In general I was underwhelmed by the core program, and thought the use of venues could have been better. In particular the Tell exhibition in the Mining Exchange seemed swamped by the size of the venue. And the exhibitions in the little ante rooms or alcoves in the Exchange were so poorly lit and presented that they might as well have been hung in the bathroom - in fact the lighting was better in there! There are some highlights of course. Ich Werde Deutsch (I become German) is an interesting show, and the Post Office Gallery is one of the better venues. Also the group show Rearranging Boundaries has an impressive international line up of documentary photographers, but the lighting of the show was disappointing and I was particularly irritated by lamps clamped to the top of photographs.

So let's cut to the chase. The biggest problem I have with this year's festival is that it promotes a facade of international standing, but underneath is wracked by amateur practices. There, the elephant in the room is now visible!

This is especially evident in the hanging of the Martin Kantor prize (above a photo I took of one of the finalists). With a first prize of $15,000, it's no measly photo comp. It was revealed to me today that 18 of the 27 finalists have penned a letter to the festival organisers to complain about the way their work was treated. Hung on industrial wire fencing, without any covering, you could see the backs of images, as above. The lighting was awful, and there was no information about the photographs save for a few scrappy pieces of paper marking the numbers and names, which we were told to give back as they didn't have enough. It was amateur hour! And knowing the efforts and expense photographers went to in order to put forward their best work, framed and delivered, it is no wonder the majority of entrants were furious.

This amateur approach is also evident in the lighting of the fashion retrospective Reverie Revelry which featured the amazing work of the late Robyn Beeche and Bruno Benini amongst others. I was horrified at how badly lit this show was, the high ceiling fluorescent lights throwing an awful, flat cast over the dim room. I've seen Beeche's work before and it is transformational when handled properly. I was also one of the last to interview her before her untimely death and know she would have been incredibly disappointed.

It is difficult enough for photography to hold its head up in the art world without these kinds of impediments. For all the bluster of the festival and its new direction, some money should be spent on curators who have training and know how to hang and light a show. Curating is an art in itself.

And lastly, there is the trend for festivals to charge photographers several hundred dollars to enter the Fringe. These photographers pay for the privilege of hanging their works in cafes and businesses where it is virtually impossible to view them with any semblance of sophistication or respect and that is infuriating. This grab for money at the expense of the artist is an age old rort and quite frankly photographers deserve better.

One Fringe exhibitor confided that the venue where their work was to be exhibited was less than cooperative, charged them the full rate for catering (they were encouraged by the festival to hold an opening), plus there was no hanging system and no lights. After the festival had taken their money there was no help forthcoming either. It's no wonder that after that experience, this unnamed photographer won’t be exhibiting at the next festival.

I'm always hopeful that things can change. Let's see a festival in the future that is more about celebrating the actual photographs and showing respect to the photographers, than talking a good game and coming up short.

FotoEvidence and World Press Photo join forces

It was announced yesterday that FotoEvidence and World Press Photo Foundation will collaborate on the annual FotoEvidence Book Award which will be known as the FotoEvidence Book Award with World Press Photo.

As a previous jury member for the FotoEvidence Book Award I am very excited about this collaboration and the opportunity for even more people to see this important work. It's great news!

The annual FotoEvidence Book Award recognises one photographer whose work demonstrates courage and commitment in the pursuit of social justice. From 2018 the newly named award will see the winner and two other selected finalists also exhibit their work during the World Press Photo (WPP) exhibition in Amsterdam where the winner’s book will be featured. Additionally, the book will be shown at various other WPP events around the world.

This is a great achievement for Svetlana Bachevanova the publisher of FotoEvidence who has worked tirelessly to bring these important stories to publication.

She says: “We at FotoEvidence are excited about our partnership with the World Press Photo Foundation because of our shared commitment to excellence and new initiatives in documentary photography and photojournalism. After seven years and sixteen FotoEvidence books, we expect the FotoEvidence Book Award with World Press Photo to expand our reach to a worldwide audience, strengthen our mission promoting social justice, and increase our support for photographers who demonstrate courage and commitment in the pursuit of human rights.”

Lars Boering, managing director of the World Press Photo Foundation also commented: "We’re delighted to be working closely together with FotoEvidence on the book award. The World Press Photo Foundation is expanding all areas of its activities, and as part of that we’re more committed than ever to promoting visual journalism that addresses social justice. We understand that photo books which address these topics occupy a special but challenging place in the photo book market, and we want to bring this work to our large global audience. The FotoEvidence Book Award with World Press Photo will build on the commitment of Svetlana and her team and help to further our joint mission.”

August 18, 2017

Photojournalism Now: Friday Round Up - 18th August, 2017

This week on Photojournalism Now: Friday Round Up it's all about the 2017 Ballarat International Foto Biennale.

Special Feature:
2017 Ballarat International Foto Biennale

(C) Meg Hewitt Tokyo is Yours - Fringe

Opening tomorrow in the Victorian regional centre of Ballarat, an hour's drive from Melbourne, the 2017 Ballarat International Foto Biennale (BIFB) runs for four weeks. Its expansive program promises to showcase work that appeals to a broad audience and the success of the festival is largely pinned on its major drawcard, the blockbuster David LaChapelle exhibition at the Art Gallery of Ballarat.

This exhibition, which is ticketed (a first for the festival), has received considerable publicity and is advertised on billboards, trains and in the media showing a new level of promotion for this regional event.

LaChapelle's celebrity profile is clearly a great asset for the festival, and his works, some of which you can see in this post, are larger than life, drawing on religious art history tropes and celebrity tackiness. His photographs are lauded in the art world and if nothing else, are most definitely eye-catching, although this type of photography doesn't interest me, as my readers know! Nor does some of the more conceptual photography on show, much of which leaves me cold.

But there are most definitely exhibitions which have caught my attention and for those documentary lovers you won't be disappointed having made the trek to Ballarat. From the Core program my top pick is Rearranging Boundaries, a group show curated by Australian documentary photographer Aaron Bradbrook and featuring the work of Zanele Muholi (South Africa), Tanya Habjouqa (Jordan), Abbas Kowsari (Iran), Wei Leng Tay (China) and Remissa Mak (Cambodia). You can read my feature article on this exhibition in Saturday's Australian Financial Review Weekend.

There are also a number of exhibitions in the large Fringe program which are worth checking out - Lloyd Williams Rustic Remnants, MAP Group's Beyond Borders 2017, Meg Hewitt's Tokyo is Yours and Helga Leunig's Three Weeks in Havana, Tony Evans' The Faces of Sovereign Hill - to name a few. In fact, the Fringe has more appeal for me than the Core this time around.

This year's BIFB is headed by new festival director Fiona Sweet, who has swept into the job, and Ballarat, after a successful career in design and I suspect her background is reflected in the choice of some of the exhibitions such as Reverie Revelry: Fashion Through Photography and LaChapelle. Sweet's agenda, to take the festival from its regional roots and elevate it on the national arts calendar, is ambitious as it is hard enough to get audiences to galleries in the capital cities let alone country towns. Let's hope the program with its stars and its breadth heralds success.

If you're in Melbourne, then it's an easy drive down the highway. For those interstaters, make a weekend of it. I'm sure you won't be disappointed by the program, or by Ballarat, which is one of the most beautiful Victorian country towns, its Gold Rush architecture a visual treat in itself. There's good coffee and food to be found too. So do your bit and support the Arts, because they are vital to the health of our society and shouldn't be undervalued or ignored.

BIFB in pictures - a random selection

Core Program

Rearranging Boundaries
Ballarat Trades Hall

(C) Abbas Kowsari

(C) Remissa Mak

(C) Tanya Habjouqa

(C) Wei Leng Tay

(C) Zanele Muholi

Reverie Revelry: Fashion Through Photography
Ballarat Mechanics Institute

This group show features the work of Robyn Beeche, Noé Sendas, Prue Stent and Honey Long, Nancy de Holl and Matthew Linde.  

(C) Bruno Bernini

(C) Robyn Beeche

(C) Honey Long and Prue Stent, Wind Form 2014

David LaChapelle
Art Gallery of Ballarat

(C) David LaChapelle

(C) David LaChapelle

Fringe Program - a selection
(C) Meg Hewitt Tokyo is Yours

(C) Helga Leunig Three Weeks in Havana

(C) Helga Leunig Three Weeks in Havana

(C) Lloyd Williams Rustic Remnants

(C) Lloyd Williams Rustic Remnants

(C) Tony Evans The Faces of Sovereign Hill

Ballarat International Foto Biennale
19 August - 17 September