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15 Photographers On Their Greatest Journeys

A journey implies a traversing a terrain, but photographs can also travel in time, transporting us to a distant past or an imagined future. Pictures can bring someone home, or closer to understanding themselves. Over the past sixty-five and seventy years, respectively, Aperture and Magnum photographers have demonstrated how photography moves across geography, time, space, and lives, both real and imagined.

This week, for five days only, get signed and estate stamped, museum quality, 6-by-6-inch prints by acclaimed Aperture and Magnum photographers for $100 each. Use  this link  to make your purchase and a proceed from each sale will support Aperture Foundation.

Jacob Aue Sobol, A boy does a somersault and lands in a deep pile of snow, Tiilerilaaq, Greenland, 2001 ©the artist/Magnum Photos

Jacob Aue Sobol

“I still recall my journeys to the East Coast of Greenland as the greatest and most fearless ones of my life. I was only twenty-three when I took this picture of a six-year-old boy jumping off the roof, making a summersault, and landing in a pile of snow. To me it became an image not only about the strength and courage of the children in this village, but also about what was happening inside myself. I had fallen in love with a local woman and [had] decided to live with her family to be trained as a hunter and a fisherman by the Inuits. I had started a new life, a new journey that made me feel exactly like that boy jumping off the roof.” —Jacob Aue Sobol

Hellen van Meene, Untitled , 1999 © the artist

Hellen van Meene

“The subjects of my photographs are at the cusp between childhood and adulthood. The girl here radiates a sense of ambiguity, of vulnerability, of soul-searching; it is in this fleeting in-between state of dramatic physical and emotional change, that these qualities become more visible. I’m interested in the tension between her teenage sweetness and awkwardness, made all the more palpable by her pose, and the contrasts between the textures. While this portrait shows a transitory moment of life, it is also timeless—a reminder that we are all in a state of change on life’s journey.” — Hellen van Meene

Todd Hido, Untitled, #2154-a , 1998 © the artist

“This particular photo has a special meaning to me, even though it hadn’t been published in my House Hunting series, where I explored the Bay Area suburbs at night. After the completion of a body of work, I will often find things that didn’t get published because there was certain hyper sense of uniformity that I was looking for when I was making my initial choices. However, once you are able to gain some space and time to reflect, gems like this emerge and you scratch your head and ask, why haven’t I used this one before?” — Todd Hido

LaToya Ruby Frazier, Pat Brunty, the caretaker, standing behind No Contest (1994). Noah Purifoy Outdoor Desert Art Museum, Joshua Tree, California , 2016 © the artist

LaToya Ruby Frazier

“I took a pilgrimage out in the Mojave Desert with sculptor/installation artist Abigail DeVille to pay homage and respects to our ancestor and predecessor, artist Noah Purifoy. Born in Alabama in 1917, Noah Purifoy, after serving in World War II, spent most of his adult life in Los Angeles as an artist, activist, and educator. In 1989, he relocated near Blair Lane in Joshua Tree, High Desert. For the last fifteen years of his life, Purifoy created nearly 120 sculptures, before he passed away at eighty-six on March 5, 2004. The caretaker of Noah Purifoy’s Desert Art Museum, Pat Brunty, a resident of Yucca Valley and also an Alabama native, worked closely with Noah during the final years of his life. She and her late husband Roger Brunty, under supervision of Noah, built his theater, Andrea’s Little Theater, in 2000. Pat is a passionate and dedicated caretaker of Noah’s work and is serious about maintaining the sculptures as he last saw them, from picking up trash to removing vandalism and greeting visitors. She believes visitors should encounter Noah’s works with an open mind of interpretation.” — LaToya Ruby Frazier

Olivia Bee, Pre-Kiss , 2010 © the artist

“This is part of my series, and book with Aperture , Kids in Love . It focuses on your internal universe expanding into the outside world, and experiencing things for the first time. They are real moments of my life that I treat with love and respect.” — Olivia Bee

Kwame Brathwaite, Bob Marley, Beacon Theatre , 1976 © the artist

Kwame Brathwaite

“I was backstage at Madison Square Garden when I first met Bob. We started talking about Marcus Garvey and Haile Selassie. He was a great storyteller. He had purpose. He talked about Rasta culture and knew a great deal about the African diaspora and the liberation struggles all over the world. Later, we spent time at his house on Hope Road in Kingston. He was great to be around and made everyone feel at home. His poetry and his music are still relevant today. He was a great voice for empowerment and freedom, and he was a friend.” — Kwame Brathwaite

Jamel Shabazz, A Time Before Crack , 1983 © the artist

Jamel Shabazz

“As the dark clouds of crack cocaine slowly casted [ sic ] their destructive shadows over America during the early 1980s, I saw the urgent need to take to the streets as a concerned citizen and documentarian. Already, a number of young men I knew personally were dying at the hands of other young men I also knew. I felt it was my duty both to warn the youth of the dangers that I foresaw, and to use my camera as a tool to engage and document. Anticipating more death and destruction, I found that photography was the key that allowed me entry into the lives of young people. I would venture out to the local high schools and shopping districts throughout the New York City area, searching for young people to speak to about this growing crisis. To my surprise, almost everyone seemed open to exchange thoughts and afterward stand for a portrait. Those images, in fact, became evidence of the countless exchanges I would have; many new friendships were also forged as a result of these interactions. In making these often-posed portraits, I wanted to capture a spirit of friendship and love. Today, these images serve as a constant reminder of a time before the great crack epidemic that would change life forever.” — Jamel Shabazz

Susan Meiselas, Shortie’s Dream, Barton, Vermont , 1974 ©the artist/Magnum Photos

Susan Meiselas

“The dream of the road: the place to escape, to wander, to encounter something beyond what you had imagined you’d find. That’s what led Shortie to leave home to strip in the Girl Show. We intersected while traveling through New England. Journeys are physical and emotional disruptions that involve both body and mind. For me, this journey also meant finding a new path. I followed the carnivals with the desire to make images and share the words of women whose working lives forced them to make extremely difficult choices to launch their dreams.” — Susan Meiselas

Zackary Drucker & Rhys Ernst, Relationship, #12 , 2008–13 © the artists

Zackary Drucker

“Before the prevalence of selfies, or the square files of Instagram, I photographed myself into existence to fill the void of feeling that gender outlaws had been erased or only rendered by outsiders. I don’t particularly like this self-portrait, but I acknowledge this past incarnation who exists within me, and honor them for delivering me here and now.” — Zackary Drucker

Leonard Freed, Divers on the banks of a canal near Dortmund, Dortmund, West Germany, 1965 ©the artist/Magnum Photos

Leonard Freed

“As a young photographer in the 1950s, Leonard left New York City for post-war Europe. He found devastated European nations that were in the process of rebuilding themselves. When in Rome, he met, and later married, a German woman. Together they would photograph Germans in Germany for the next ten years, creating two photobooks: Deutsche Juden heute (1965) and Made in Germany (1970).” — Elke Susannah Freed

Justine Kurland, Sea Stack, Double Mama, Ruby Beach, Washington , 2006, from the series, Of Woman Born © the artist

Justine Kurland

“After the birth of my son, Casper, in 2004, I began a series of photographs that juxtapose radical representations of motherhood with idealized views of the American West. The project was titled after Adrienne Rich’s seminal feminist text, Of Woman Born: Motherhood as Experience and Institution (1976), in which she analyzes the patriarchal construct of motherhood and discusses why it is such a problematic topic for many feminists. While some theorists would prefer to do away with the body altogether, Rich envisions a new rubric in which the libidinal value of ‘tits and ass’ is replaced by the uterus and clitoris, and women are positioned as the arbiters of their own bodies. This series was my attempt to visualize what that shift might look like—women and children wandering in blissful togetherness through the social space of shared landscapes. I made them mostly for myself during my first years with a small baby, because I couldn’t relate to the depictions of motherhood available to me. These photographs opened up space for me to imagine a different way of being a mother.” — Justine Kurland

Graciela Iturbide, Cemetery, Juchitán, Mexico , 1988 © the artist

Graciela Iturbide

“Midway between the documentary and the poetic, my unusual way of looking through the lens integrates what has been experienced and what has been dreamt, into a complex web of historical, social and cultural references. The fragility of ancestral traditions and their difficult survival, the interaction between nature and culture, the importance of ritual in everyday body language and the symbolic dimension of landscapes and randomly found objects are paramount to my career. My work is characterized by an ongoing dialogue between images, time and symbols, in a poetic display in which dream, ritual, religion, travel and community all blend together.” — Graciela Iturbide

Joel Meyerowitz, Scotty’s Drive in, Florida , 1967 © the artist

Joel Meyerowitz

“Here’s Scotty’s. Sometimes when you’re traveling in the car all day, on the lookout for life on the fly, a great thirst comes over you and that desire for the next event evaporates immediately upon seeing an old-fashioned diner, I mean the real thing, not some dolled-up imitation serving prepackaged crap, but a place where some degree of reverence for the past lets you know that a milkshake from childhood can be found there. And here’s Scotty’s. Mmmmmm.”— Joel Meyerowitz

Enri Canaj, Korçë, Albania , February 2015 © the artist/Magnum Photos

“This is from a journey backward, to my own homeland, to what I have kept in my memory, what I have forgotten, what I grew up away from. All of it slowly melting together into a light crystal snow ball, that I keep safe with me. To keep me safe.” — Enri Canaj

Jérôme Sessini, Caracas, Venezuela , May 27, 2013 ©the artist/Magnum Photos

Jérôme Sessini

“For most people, travel is synonymous with vacation, exoticism and relaxation. Or flight, to escape the quotidian. I understood by traveling, that there was no trip far enough to escape from oneself. Elsewhere becomes here when we are there.” — Jérôme Sessini

Support Aperture today through the Magnum  Square Print Sale in Partnership with Aperture , open online October 30–November 3, 2016.

Deana Lawson Guest Edits Aperture Magazine’s Fall Issue

The Exhibitions That Transformed African Photography

An Ardent Observer of Beirut

When Luigi Ghirri Photographed the Ferrari Factory

12 Graphic Designers on Their Favorite Books

Stephen Shore’s American Beauty

How Alex Webb Sees in Color

Dayanita Singh Finds Common Ground in the Work of Two Architects

Confronting the Legacy of Photography’s Anti-Blackness

Carmen Winant’s Powerful Homage to Abortion Care Workers

Celestial Journey

Low Light Photography

Balcombe, West Sussex.

Nikon D750 / Tamron 24-70 mm G2 / Move Shoot Move Star Tracker

Description

The spectactular Ouse Valley Viaduct (or Balcombe Viaduct), part of the main line from London to Brighton seen below our galaxy, the Milky Way. The lights of a train heading for Brighton can be seen on the viaduct and a small meteor is also visible just to the right of the Milky Way. This photo comprises of two rows of photos taken on location - 5 vertical photos for the ground and 5 for the sky. Ground settings: 90s, f7.1, iso 800, 24 mm. Sky settings: 100s, f4, iso 800, 24 mm.

Photographer

Michael Steven Harris

Social Media

Instagram: michaelstevenharris

Facebook: michaelstevenharris

Website: https://www.michaelstevenharris.com/

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Phoenix photographer pairs passion, personal experience to connect with young students

Buzzy Sullivan’s entire world expanded when he got his first bike.

At least once a week, he would journey deep into the natural landscape of western Montana.

“I would play this game in my head where I would say, ‘I’m gonna ride my bike as far away from home as I can until I feel scared,'" he said in an interview with The Arizona Republic.

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Looking back, Sullivan said the game was his way of checking in with himself to make sure he was still human, that he could still feel. As a kid navigating a traumatic family situation and unable to process his emotions, he spent a lot of time not feeling.

The connection his young mind made between landscapes and trauma only continued to evolve as he grew older, morphing into the foundation of his photography work: both how he creates it and how he teaches others to do so as well.

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Sullivan dedicates his photography to exploring areas of environmental trauma, such as Mount St. Helen’s, and uses them to illustrate natural responses to pain and destruction. He also teaches photography at Chandler-Gilbert Community College and through Kids in Focus, a nonprofit that pairs photographers with youth facing adversity.

When he moved to the Valley from Oregon in 2015, his personal experiences and professional growth drew him to Kids in Focus. Sullivan started mentoring kids in the program the next year.

“I was thinking of how to work with at-risk youth in Oregon through photography, and it kind of wasn’t coming together for me,” he said. “When I moved to Arizona, I was introduced to Kids in Focus, and I was like, ‘Oh my God, they’re doing the thing that I was thinking about doing.’”

Once a mentee, now a mentor

At Kids in Focus, middle school students are paired with mentors for a nine-week after-school program. They start by learning in a classroom setting but eventually start exploring their community through the lens of their camera.

“(The kids) sense of pride (in their work) draws attention to that in the community and really teaches them so much about the power of their own voices, the power of their own perspective and who they are and can be in this world,” said Ann Alger Piraino, Kids in Focus exhibits director.

By the end of the program, they get to keep the cameras and their photos are featured in an exhibit.

A Kids in Focus exhibit, which included Sullivan’s photos, was presented at Civic Center Public Gallery inside the Scottsdale Civic Center Library during the summer.

One of the major components of the program is mentorship and mentoring, according to Sullivan, is all about relating to the kids, using photography as the medium to build connections. His own experience in being mentored as a skateboarder taught him that.

“He knows the power that photography (and skateboarding) had on his life as a youth,” said Sullivan’s wife, Vanessa Sullivan. “Having those older mentors, whether official or unofficial, having those role models, he knows how important that was for him. So it’s really important for him to be able to serve in that way as well.”

Elliot Smith was one of those mentors.

Sullivan found photography on his own as a 28-year-old skateboarding around Portland, but Smith pushed him to pursue further education, Sullivan said.

Smith, a Portland Community College, was the one who snuck his friend into the school's darkroom when Sullivan was a broke amateur photographer looking for a place to get his film developed.

“He said, ‘If anybody asks you, just say that Smith is your teacher,’” Sullivan said. That's exactly what he did, until he was approached by an older woman asking whose class he was in.

“She came up to me, she goes, ‘Hey, I always see you in here. Whose class are you in?’” Sullivan said. “I said, ‘I’m in Smith’s class.’ She goes, ‘I’m Smith.’”

Assuming he was a student, Smith allowed him to continue to use the dark room, as long as he promised to take one of her classes next semester.

Thanks to a Pell Grant and a dedicated girlfriend, Sullivan found himself enrolled in three community college classes a decade after he graduated from high school. He took courses at the school for three or four years before Smith encouraged him to attend art school.

Sullivan went on to earn a bachelor's from Oregon College of Art & Craft and a master's in fine arts from Arizona State University.

A ‘wonderful example’ of Kids in Focus connections

Sullivan had barely graduated high school. He said he would have dropped out if it wouldn’t have broken his single mother’s heart. But his experience at Portland Community College completely changed his opinion on education — and his life.

His former disdain for education comes as a surprise to those who've only known him as an educator and mentor.

“He’s just a natural-born creative and educator. It comes from his art," Piraino said. “It comes from his experience, and it comes through his experience. It really is very soulful and yet fun. He’s fun and witty and engaging.”

Having worked with him for some time, Piraino described Sullivan as a “rare individual”, able to use his experiences to connect with middle schoolers about what they’re going through.

Kathy Sowden: Former LGBTQ activist gives back to her Bisbee community

That makes perfect sense to Vanessa Sullivan.

“He really, of course, is very much a photographer, but he’s also very much at his heart an educator,” she said. “It’s about making art and growing his craft but also about educating other people and sort of sharing the beauty of photography and the skill of photography and the experience of photography with other people.”

The combination of his passion and his desire to use it to relate to mentees defines Sullivan as a mentor.

“He has this real innate desire and talent with connecting with other people and with particularly seeing when there’s a spark in someone that they might not yet see for themselves,” Vanessa Sullivan said.

Piraino said Sullivan was a “wonderful example” of the connections at the heart of Kids in Focus.

“It’s really that process of seeing and observing and framing and reframing with that tool of the camera in a trusting environment and an engaging relationship with a trusted mentor and a trusted adult that just has the power to alter their perspectives on themselves, on the world around them,” she said.

Relationships run deeper than photography

Sullivan was raised in a dysfunctional home. He described himself as an angry kid who got in a lot of trouble. That helps him relate to the students in Kids in Focus on a more personal level.

“They have very different backgrounds than me in that they grew up in an urban environment, but there’s so many similarities. And I think that I can just put my life experiences to use to help them navigate the path that they’re on,” he said.

Even with the challenges Sullivan experienced when he was younger, he still is overwhelmed by the stories some kids share with him.

“It is hard to believe that some of these kids are dealing with what they’re dealing with within two miles of where I live. It’s heartbreaking. It’s heart-wrenching,” he said. “It’s a level of poverty that I can’t even relate to. So the thing that fulfills me the most about working with Kids in Focus is the little tiny steps I see those kids take to process things.”

Arizona stories: Vail resident born with a heart condition inspires others to thrive against all odds

Kids in Focus has also reframed his way of thinking about those around him, Sullivan said.

“I think by default we often define our community as pretty small. I’ve challenged myself in the last few years to define my community as large,” Sullivan said. “It’s different when you’re seeing these things that are going to have long-term negative impacts on somebody’s life. It’s different when you accept them as members of your community. You feel a need to like, ‘Oh, I have to help this person because they’re part of my community.’”

He said living in Portland, everything felt very compartmentalized. Phoenix changed that.

“What I love about Arizona, or Phoenix specifically, is all these different cultures, all these different people, are sharing space,” Sullivan said. “And really, it’s kind of beautiful.”

This article originally appeared on Arizona Republic: Phoenix photographer pairs passion, personal experience to connect with young students

Mexico 1921, A Deep Slumber Review: The Best Photography Game Since Umurangi Generation

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Stop Giving Games You Like Bad Reviews

Supermarket together: 8 beginner tips, hades 2 is giving people brainrot.

Mexico, 1921. The President has been murdered and you're on the case. Your office walls are plastered with photographs, suspects, alibis, and spiderwebs of red string connecting them all together. You have one man in custody, a journalist who published a strange report days before the assassination. You descend to the bowels of the police station to interrogate him.

The perspective shifts. Literally. Mexico, 1921. A Deep Slumber is all cinematic camera angles and aggressive cuts. The camera will switch from an over the shoulder perspective as you walk through the station to a side-on approach to show you flashbacks of the assassination in the rooms you pass by. It's clever in its execution, but just wait until you take control of the real hero of this tale and get to photograph it for yourself.

The art style is beautiful, a painterly PS2 aesthetic dripping in Mexican culture as young journalist Juan Aguirre - the protagonist and player character for every level after the opening scene - investigates illicit government goings-on under van Goghian skies. Every scene is a joy to explore, with plentiful collectables hidden in plain sight, each of which hydrate you with a juicy paragraph of cultural history when photographed or picked up.

Arming your protagonist with a camera is by far the best way to get your audience to take notice of this. And giving the camera some of the most satisfying, tactile controls I've used just makes you want to snap, snap, snap.

Juan is new to the reporting game, an office lackey promoted to do the dirty work at El Unilateral, a paper so embroiled in political bribery and fake news that it's only good for wrapping fish. But what Mexico's most corrupt newspaper didn't bank on was his nose for a story and heart set on the truth.

The story of Juan's investigation spans all manner of Mexican officials involved in a plot against the newly instated President. From the editor of the paper, to a shady union organiser, to the President's own right-hand man, everyone who's anyone in Mexico's high society stands to gain from this plot - and most of them are in on it. Juan must find out - and, crucially, prove - who is up to what inorder to publish his exposé. And it's your job to help him.

Luckily, that's simple enough. The detective mechanics are fun, but the gameplay straightforward. Collect all the clues in a level to progress, leading to a cutscene explaining exactly what Juan has deduced from this evidence. There's no chance of coming to the wrong conclusion, picking an innocent victim to suit your own ulterior motives - this is a game that wants to tell its own story.

I included Mexico 1921 in my list of 2024's religious indie games because I believed from the LudoNarraCon demo that the church would play a larger role in the conspiracy against the president. In hindsight, it didn't really have a place on that list, and Indika would have been a better shout.

Collecting aforementioned clues, however, is great fun. You might find evidence lying around, you might eavesdrop on conversations while hidden behind a printing press that recently amputated a colleague's finger, or you might take photos of illicit dealings.

Juan is also very open about his job. "I'm a journalist," he introduces himself to everyone, even when undercover, and then offers an interview for the paper. I suppose writing for El Unilateral means that even the most unsavoury characters believe they can bribe their way out of an awkward interview before publication. Interviewing involves asking a few questions to a suspect or witness, and their answers will be summarised in your notebook. Unfortunately, the choices all seem to lead to the same responses which is a little disappointing. The different questions give you a facade of agency, but the result is a little shallow.

I know this because I had to replay a couple of levels due to glitches. Mexico 1921 is a little bit janky, but (for the most part) in a loveable way. However, having to restart an entire level didn't feel great. Simply autosaving more frequently would all but eliminate this issue, without having to take action against the more complex bugs. With no option to manually save, I did get a little frustrated on occasion.

There are quite a few typoes which irked the journalist in me - although, in his defence, Juan constantly reiterates he's not very good at grammar - but this just means you should listen to the excellent voice work rather than read the subtitles. I would estimate that about two thirds of the conversations in the game are fully voice acted, so you can't rely on your ears alone, but the performances are great across the board.

I loved meeting some of Mexico’s most famous artists and revolutionaries, from Diego Rivera to Carmen Mondragón.

Any frustration was immediately alleviated when I entered a new level. Each beautiful playground was filled with people to talk to - some relevant to the case and others just for flavour - sights to see, and gorgeous photography opportunities. Mexico 1921 does an expert job of explaining the basics of photography, and the three settings on Juan's old-school camera are zoom, focus distance, and aperture. It will probably seem simplistic to a camera enthusiast, but it's the perfect level of complexity for a game like this.

Viewing the world through Juan's mirrored lens gives it new life. Adjusting the lighting to capture Lucia's final drag on her cigarette is satisfying and simple. Realising that your photograph unlocked a clue or collectable is gratifying. Mexico 1921 wants you to take photos, and rewards you for doing so. I easily spent twice as long as I needed to in each level because I was finding new angles and lining up new shots.

The last game that made me feel like this with photography was Umurangi Generation. Sure, New Pokemon Snap was great fun (and arguably the best Pokemon game on the Switch), but the photos only meant something because you loved the subjects. It was adorable seeing Bidoof in its dam and awe-inspiring to be underwater with Wishiwashi, but the photography itself was just okay.

On the other hand, both Umurangi and Mexico 1921 have more complex photography mechanics, giving you more freedom to take the exact shots you want. They're less reliant on timing and memorisation, and more about the artistry of the hobby. Alongside this, they both weave a strong, political narrative between every shot. Mexico 1921 is less subtle than Umurangi, but no less effective.

Mexico 1921. A Deep Slumber is a picture-perfect snapshot of Mexican political turmoil in the early 20th century. With mechanics as satisfying as the world is beautiful, it's a joy to watch this political thriller through Juan's viewfinder. If you have any interest in history, Mexican culture, photography, or good video games, this isn't one to be missed.

Mexico, 1921. A Deep Slumber.

Reviewed on PC

• Fantastic, tactile photography
• Beautiful art direction and level design have great interplay with the mechanics
• The historical and political narrative is intriguing and engaging
• Interviews would benefit from branching paths for agency and replayability
• A little bit janky

• Indie Games

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Desert Journey Into Wild Namibia

Saturday January 30, 2010 3:00 PM and 7:00 PM

Rio Theatre 1205 Soquel Avenue Santa Cruz, CA 95062 www.riotheatre.com

Tickets available at: Long Marine Lab's Seymour Center, 831-459-3800 Frans Lanting Gallery, 831-429-1331

$20 General Admission $15 Seymour Center Members

For a dowloadable version of our color poster to share with your friends, visit: http://www.lantingstudio.com/pdfs/namibia.pdf

For more information please call: The Seymour Center 831-459-3800 http://seymourcenter.ucsc.edu/calendar.html#Lanting The Frans Lanting Gallery 831-429-1331 www.lanting.com

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