invited guest: Bartek Góraczyński - Kinderstube

trying to capture the emotions on the negative, keep the memory of what’s passing away. The moment is worth capturing and registering on the negative just when it is genuine and frank, when nothing is hidden – the only place I meet this is world of children – it’s pure and frank.

Bartek claims that he’s just a family chronicler, an amateur who felt in love in BW analogue photography and registering life of his family, world of his children and their friends, tiny people who are frank, pure, spontaneous and natural. World as it is, without pretending something else.

Pictures presented here were shown in the Bartek’s exhibition organized in frame of 3rd Gliwice Month of Photography, October 2008.

invited by Marcin

Times Gone Past

polaroid inbox: Kamila Kulik

Darek Siatkowski polaroids Wire Factory in Gliwice

Wire Factory, Gliwice, exhibition of Ami Vitale, somewhere in background one of th F Blog authors :)

Polaroid 440 /664 by Darek  Siatkowski

Polaroid inbox: Sarah loves polaroids

photographer: Sarah Belkhokh

Polaroid inbox: Modern Tokio by Skorj

Type-665 (expired). Polaroid 600 SE.From the Modern Tokio series. Arigato!
photographer: Skorj
- check the previous one

Polaroid inbox: Alek Lindus

photographer: Alek Lindus
check the previous one

Study of a Lonesome

photographer: Antoine Merrien

Anton

photo: abeku

exhibition

Opening Friday December 19th, 2008
4:00 to 8:00 PM
20 December to 1 January 2009
Sat. to Wed. from 11:00 AM to 7:00 PM
Thur. from 5:00 to 8:00 PM

112, Lavasani (Farmanieh) St. Tehran, Iran
tel:+98-21-22727010
fax:+98-21-22727011
www.silkroadphoto.com

just a reminder: gruppo F love polaroids

Gruppo F love polaroids. Don't we? Its time for a new miniproject. Search for your old polaroids. If you still have some film, get out and take some new pictures. Genre doesn't matter, this time we only care about the media - polaroid film.

Scan and send your polaroids to: gruppof-inbox@googlegroups.com.

FOTOreAKCJA

Andrzej Górski, Si Vis Pacem Para Bellum, 1972

Group of wonderful people led by Kasia Kalina (know as informal group SODA) decided to use the power of photography and equipped with this tool - to help to those who needs that. First FOTOreAKCJA is a charity action to help school in Bytom educating disabled children. Enthusiasm of those young people allowed to collect unusal and rare collection of photographs (sometimes wonderful signed handprints)  from photographers connected with Gliwice and Upper Silesia (PL). Those photographs will be sold and money gained that way will be used for disabled kids. 

Jerzy Lewczyński, Letter, 1960

Paweł Pierściński, Earth, 1967

Michał Sowiński, Multiplications, 1970

Rafał Milach, Vanishing Circus, 2007 (WPP 2008)

photographers taking part in this FOTOreACTION:

Aleksander Prugar Andrzej Górski Jerzy Lewczyński Jerzy Malinowski Marek Gerstmann Maciej Głowaczewski Marcin Górski Michał Machelski Michał Mrozek Michał Sowiński Michał Szlaga Norbert Dorobisz Paweł Pierściński Piotr Muschalik PoznajGliwice.pl Radosław Kaźmierczak Rafał Milach Rafał Nowakowski Sławoj Dubiel Stanisław Skoczeń Staszek Heyda Tomasz Sinek Tomasz Zdulski Waldemar Jama

more info on FOTOreAKCJA site > (in polish)

The action started today and will last for a week.

- Home in the harbor -

another kind of portrait

© jeanne wells

Lasse

photo: abeku

ops! - ordinary political statement

image © Jan Buse

Thanks, Jan -- political can mean so many things!

gruppof inbox: paolo saccheri

Photo: Paolo Saccheri.

Touchdown in Värsås

Wrong season for early mornings...

...and tomorrow it is exam time...

Trees (by Tamara Reynold)

All photographs © Tamara Reynold

Face to face (by Missy Prince)

All photographs © Missy Prince.

invited photographer: erik lindegren

"If slaughterhouses had walls of glass, the whole world would be vegetarian." (Linda McCartney)






Walls of glass
Erik Lindegren is the photographer who decided to trace back the journey of a shrinkwrapped steak. He photographed dismemberment procedures, the scalding of the dead animals, the cut throats and the actual killing. There, on the other side of the food chain, he met the pigs full of despair in their waiting. The reality of the slaughter houses shocked him and made him change his eating habits. Now he exhibits his work so that more people will get a closer look at how their dinner is produced.

Frustrated, shocked and angry. That’s how photographer Erik Lindegren describes his feelings after his visit at the slaughter house. He had long since had a vague notion that something was not quite right, but he still ate meat and didn’t bother himself to think about it any further. Then suddenly he decided to find out how the steak gets to his plate.
- I was prepared for something without really knowing what it was…I suppose that at some level I wanted to prove to myself that it is wrong to take their lives. I’ve always had a strong feeling about what is right and wrong, he says.

But he couldn’t just step into a slaughter house and pull out his camera. The first time Erik called to some of the slaughter houses in Sweden, they consequently said no. After having called Åke Rutegård, the managing director of the Meat- and Butcher association, and told him that he wanted to take pictures of slaughter houses for artistic use, he was referred to a contact at Dahlberg’s slaughter house in Bråvalla.
- I told him that I wanted to follow the production “from animal farm to table” and eventually I got permission to do that, despite the fact that the people at the slaughter house were very suspicious. I got to the see the whole procedure, starting at the end. The further back I got in the process, the more unscathed the pigs looked.

Erik Lindegren says that he will never forget the images of the slaughter house and the anxiety that prevailed there.
- It was very painful to be there and watch the pigs, realizing that they had given up completely. It was obvious that they somehow knew what was about to happen. They were steered in their corrals, refusing to move at their own will. A man was beating them with a stick and at one time he hit a pig so hard that it squealed loudly in pain. There was such an immense anxiety in there. On my part as well; it felt like the smell of the blood was penetrating my very soul.

In the slaughter house, the dead pigs were hung right above the pigs that were still alive – the ones waiting for their turn. Erik Lindegren stood next to them and saw how the throats of the dead pigs were cut and the blood was pouring out on the tiled floor.
- Many of the pigs that were waiting were caught by panic when they saw what was happening to the other pigs. Just as the dead pigs were hung in front of them, they backed away quickly. Some of them just stood there, paralyzed, breathing heavily.

When Erik Lindegren started his project his idea was to document the dismemberment process for his own sake; to get a clearer image of reality.
- But when I got there I was so shocked and I am still angry. I am angry because it feels like everything is fake. Humankind is so nice, people are supposed to be so nice, but apparently that does not include other living beings. Also, when I tell people about this no one wants to know, he says.

But the photographs from the slaughter house speak for themselves. After Erik Lindegren had put down his camera, emotions swept over him and he eventually called the Swedish animal rights association Djurens Rätt.
- I want these images exhibited so that everyone can see them. Everyone should know how animals are treated and how much suffering there is at the slaughter houses.

Written by Lina Flyrén.






All photographs © Erik Lindegren

For more information, please visit animalrights.se. You can find the whole series Walls of glass at wallsofglass.se.