Tag: Ken Light

Haunting Photos of Midnight Crossings at the US/Mexico Border During the 1980s — Blind Magazine

American photographer Ken Light looks back at his time at the US/Mexico border in the 1980s when The Border Patrol began hunting migrants in the dead of night.

via Blind Magazine: https://www.blind-magazine.com/en/stories/1237/Haunting-Photos-Of-Midnight-Crossings-At-The-Us-Mexico-Border-During-The-1980s

Documenting life on the US/Mexico border, from 1983-1987

With his photographs, taken during the 1980s, Ken Light wanted to reveal ‘the desperation, hardship, and struggle of people who want a better life’.

via Huck Magazine: https://www.huckmag.com/art-and-culture/photography-2/documenting-life-on-the-us-mexico-border/

I Was Just Following My Nose and Watching What Was Going On

Ken Light’s photographs of the United States 1969–74

via Medium: https://medium.com/vantage/i-was-really-just-following-my-nose-and-watching-what-was-going-on-46c673d0a457#.kft880jle

What’s Going On: America Then – Photographs and text by Ken Light | LensCulture

America in the late 60s and early 70s was an America full of fear and full of hope—a country at its worst and at its best and for all the difficulties, it was an America we should not forget

via LensCulture: https://www.lensculture.com/articles/ken-light-what-s-going-on

A Photographer’s Trail to Appalachia

Forty years ago, Ken Light was introduced to the power of photojournalism. His journey has taken him to Appalachia and other places.

via Lens Blog: http://lens.blogs.nytimes.com/2010/04/28/showcase-154/

From The Digital Journalist (link to gallery at bottom of page):

Ken Light, who teaches photography at the Graduate School of Journalism at the University of California, Berkeley, has five previous documentary books to his credit and also produced Witness In Our Time: Working Lives of Documentary Photographers (Smithsonian Press, October 2000). He prefers photographing with the medium format (but used 35mm for his book Texas Death Row, where he wanted the discretion and high film speed it allows). For Coal Hollow he used Mamiya 6s, a rangefinder camera with a 6 x 6 cm negative that handles like a Leica. Although working with an eye-level viewfinder, he often gets low with the camera, going eye-to-eye with a short dog or looking up at faces. His close-to-the-face portraits leave us no doubt that many of these people have had hard, damaging lives without decent medical care. All of the 82 duotones are full-square, and nearly fill their 11-inch square pages, allowing full appreciation of their rich tonality and detail. Some believe the square format is a difficult working space – the frame lacks a dominant direction, leaving a potential for static compositions. Ken is a master of the square composition and his images are alive with energy and dynamic interest. In addition to landscapes, signs, portraits, close-ups and environmentals, he records active situations including a tent revival and a wrestling match.

Here.