Yearly Archives: 2014

Un moment commun

Marie visited a few days ago with her photos place-marked into How Many Roads? Not so many minutes after we started going over them we were laughing so hard we were almost crying. Our parents must have been so proud of us! Here she writes:

Pourquoi ai-je été aussi touchée en voyant les photos de Jonathan?

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Posted in Québec
Tags: ,

Where there’s a crowd there’s a photo

I’ve always liked photographs of crowds. Cameras are great at recording a lot of detail quickly and for me they give a way of studying the people, and seeing how I do (or don’t) fit in. I remember when I first came to Quebec I took so many pictures of people on the street,

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Posted in Mexico, Photography, Social Documentary
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Minor White

From Fall, 1970 through the following June I was a student of Minor White’s. Though I was chronologically an undergraduate he placed me in his graduate program. It’s people from that class that you see in the circle above.

If history is written by victors it also contains a good measure of current social mores.

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Posted in Artists, Woodstock

The Other Hagop

I’ve been reading Paris 1919, a multi-threaded account of the six month period at the end of World War One when the French, British, and American leaders met in Paris to sort out the debris from the war and set the way forward. Nobody comes out looking too good.

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Posted in Middle East

Hagop the optician

Hagop the optician
A large number of Armenians lived in Damascus, including this man with his two sons. I felt a connection to Hagop because his family endured the same Turkish/Ottoman exodus that had engulfed my mother’s side of the family. Added to that connection was his name –

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Posted in Middle East, Social Documentary

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How Many Roads? is a book of photographs by Jonathan Sa'adah, available for order, offering an unglossy but deeply human view of the period from 1968 to 1975 in richly detailed, observant images that have poignant resonance with the present. Ninety-one sepia photographs reproduced with an introduction by Teju Cole, essays by Beth Adams, Hoyt Alverson, and Steven Tozer, and a preface by the photographer.
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