Northern California
ERB
Gun Violence
Wow.
Art meets ARTchitecture In The Concete Penthouse Of Christian And Karen Boros | Photography: Ailine Liefeld
The Bunker, this historically significant Second World War building was originally constructed for the German railway company by reinforced concrete, and was used as a shelter to protect travelers who arrived at the Friedrichstrasse Railway station from air raid attacks. Architect Karl Bonatz was commissioned by Nazi Germany the architectural design of The Bunker; the building had a capacity which could shelter up to 3,000 passengers in five floors. Of the original unique characteristics of this historical building were the up to two meter thick walls, as well as the three meter thick concrete roof. The original interior spatial layout has an axially symmetrical layout; while the exterior façade on all four sides is identical – made of raw concrete and accentuated by fine details.
(Source: cjwho, via allthethingswelove)
Great news: I’ve won the 2013 Aperture Portfolio Prize! I owe enormous gratitude to everyone on staff at Aperture, especially Lesley A. Martin, who described my project with kind words in a wonderfully-written statement that can be read here. Thank you, Aperture!
Congratulations Bryan, continuing the massive success this body of work deserves.
Tropical Storm Andrea
The Back Roads
Tropical Storm Andrea
Bryan Derballa photographed a rehearsal of the Tony Awards for a Backstage Pass feature in The Wall Street Journal.
The unfortunate fate of the Chicago Sun-Times’ fulltime photography staff makes me think about how photography’s value has changed since I first started making photographs as a 14 year old in 2003. The photographers may stay on as freelancers, but the fact remains that the newspaper doesn’t value the use of photography to the point where they are not willing to invest in human beings with office hours, editor feedback, and regular paychecks.
As a college student I came to understand photography’s ability to tell a story, in such a way that differentiates a journalist’s still images from the still images of amateurs. This is where I learned value was created, how I was going to earn a living and be rewarded for good work.
The unanswered question in my mind is whether the public’s idea of value in photography has changed, or if it just the old white men in rooms trying to figure out how a struggling major metro newspaper is going to survive to the next Christmas advertising season. Could it be a little of both? Both that the crusty old journalism establishment still hasn’t figured out how the internet works (PEOPLE LIKE PHOTOS, LOTS OF EM), or that photojournalistic images are just easier to get from other sources besides a newspaper. But what do I know? I’m just a butthurt ex-newspaper photographer.
While Boston.com’s Big Picture, Time’s Lightbox, and the New York Times’ Lens, show that storytelling photographs remain popular, I still have yet to be convinced that this public interest is monetized to the extent necessary to support the masses of professional photographers like myself who want to tell stories, but instead do something else “more valuable.”
Anyways, here is a photo I took at the CMA Music Festival of the front row of a concert. Seriously, is this how regular people enjoy a concert?
Unicycle
Karen
