#lebanon street photography

[nabeelyakzan]

Backgammon (Tawle) players on the sidewalks of Beirut - Fujifilm X-Pro3

Support my work through my Print Shop !

#photographers on tumblr #street photography #lebanon #lensblr #original photographers #streetphotography #50mm #film photography #artists on tumblr #fujifilm

[lawahiz]

Cars of Tripoli, Lebanon Summer 2022

#tripoli #lebanon #upload #cars #لبنان #middle east #levant #الشرق الاوسط #طرابلس #street photography

[postcard-from-the-past]

Street scene in Beirut, Lebanon

French vintage postcard

#carte postale #old #ansichtskarte #photo #vintage #postkaart #photography #briefkaart #postkarte #french #ephemera #scene #beirut #postcard #sepia #street #postal #tarjeta #lebanon #historic

[littlemantravels]

Have Camera, Will Travel - Beirut, Lebanon

Around the Armenian District, a city break with friends, many years ago (around October 2008).

In the city centre of Beirut are the archaeological remains of a great example of the Roman Baths showing the underfloor heating system.

Below, is the "Downtown" city district with its fabulous buildings and wide boulevard streets with pavement cafés as well as upmarket shopping.

Photography ©Shell Chapman (that's me)!

#photography #travel #havecamera_willtravel #architecture #travel destinations #travel photography #city break #beirut #lebanon #street photography #armenian #roman baths #archaeology #city center

[mondaydeadlines]

50 shades of gray

#beirut #lebanon #street photography #graffiti art #sidewalk #lebanese protests #revolution #selfie stick #street kid

[mimok]

Facing Future~ The Book is Here!

Facing Future~ The Book is Here!

Dear Friends, I would love to have your support for this important project. It has been urging to appear and to be put into into the world . I have spent the last few months working on curating the images of these amazing children. I have been reliving in the process the moments spent in those places, seeing the resilience, the hope and the strength in the faces of our future humans, how they…

View On WordPress

#book #book publishing #cambodia #child soldiers #children #exhibition #facing future #germany #goma #india #lebanon #mimo khair #photography #refugee #street photography #syrian #venice #xinjiang

[flowersfrommywrists]

Batroun - Lebanon

Behind the lens: Mohamed Mansour. Check out the full album on Behance:

https://www.behance.net/mohamedmansour54

#original photographers #photography #photographers on tumblr #street photography #lebanon #batroun #fujifilm

[poncevibe]

#skateboarding #street #art #photography #pennsylvania #lebanon

[rabbitcruiser]

National Stewart’s Root Beer Day

June 17 beckons you to celebrate the National Stewart’s Root Beer Day. Picture this: It’s a hot summer day with the sun beating down without mercy, but you have nothing to worry about as you have a cold pack of Stewart’s root beer to freshen you up. The frothy root beer, which the company sells in different flavors ranging from black cherry to orange and cream, is an old American favorite due to the nostalgia and the great taste attached to it. Stewart’s Fountain Classic also has a chain of restaurants in America.

History of National Stewart’s Root Beer Day

The National Stewart’s Root Beer Day pays homage to Stewart’s Fountain Classics. The company was started in 1924 as a small business by the American teacher and entrepreneur, Frank Stewart. Stewart wanted an extra source of income for his household, and this prompted him to start selling root beers from a drive-thru. The company started by selling only the original flavor of root beer, but as the business expanded and became popular, more flavors were added to the cart. Today, you can enjoy a birch root beer, or cream and soda, or if you are in the mood for something fruity, you can treat yourself to a grape or a black cherry root beer. At the core of it, Stewart’s Fountain Classics are the material for old-fashioned American nostalgia.

Root beer’s origins lie with the indigenous tribes of America. Indigenous people created the beverage using the root bark obtained from sassafras trees. The tribes used root beer for medicinal purposes and general drinking. It was after the arrival of Europeans on American soil that root beer started being sold as a commercial drink. The fermented creamy drink was sold as a dry mix by the American pharmacist, Charles Elmer Hires. The dry mix would have to be mixed with sugar, yeast, and water before being left to ferment and froth for a fixed period. Hires’ friend Russell Conwell, suggested that Hires create a liquid formulation for the beverage as that would lead to a better marketing strategy. Conwell proved to be right because root beer sales increased drastically after Hires introduced the new liquid formula in the market. With the influence of many cultures and cuisines, root beer has garnered a host of versions. You can make your own root beer too with the basic ingredients and a combination of your favorite spices, sweets, and herbs.

National Stewart’s Root Beer Day timeline

1860sRoot Beer Sold at Confectionaries

A version of root beer, inspired by the sassafras root beer versions, is being sold at confectionery stores.

1876Root Beer’s Commercial Introduction at Philadelphia

Charles Elmer Hires introduces his commercial liquid formulation for root beer at Philadelphia Centennial Exposition.

1924Stewart’s Fountain Classics’ Inception

American teacher Frank Stewart sets up his root beer company to increase his income sources.

1990Bottling Rights Acquired by Cable Car Beverage

The bottling rights for Stewart’s Fountain Classics are given to Cable Car Beverage Corporation.

How To Celebrate National Stewart’s Root Beer Day

Drink a Stewart’s classic

Customize your root beer

Make a root beer cake

Take a trip down memory lane by drinking Stewart’s root beer. You can try an old favorite, but you should also give other flavors a chance. You never know,  you might just discover a new favorite.

One great feature of root beer is how versatile it is. Try mixing spices and herbs like cinnamon, allspice, ginger, and dandelion root. If you like sweets, you can try root beer with vanilla ice cream and/or licorice.

If there’s anything we love more than cake and beer, it is a root beer cake. You can order one from your local bakery, or you can make one at home. Whatever you choose to do, it’s going to be a win-win situation because you’ll be getting the best of both worlds.

5 Facts About Root Beer That Will Blow Your Mind

Carcinogenic roots banned by the U.S.A.

Root beer nicknames akin to cows

Not popular in other continents

Franklin’s root beer breakfast

Root beer for water in Europe

The U.S. FDA banned the sassafras root, which is used to make root beer after it was discovered that the ingredient is carcinogenic.

Root beer floats are also known as brown and black cows.

Root beer has enjoyed exclusive popularity in North America, but it has failed to woo the masses on other continents.

Benjamin Franklin used to enjoy drinking root beer at breakfast.

When Europeans weren’t aware of proper sanitation, small beers like root beer and teas were consumed in place of water.

Why We Love National Stewart’s Root Beer Day

It’s a celebration of Stewart’s Fountain Classics, Nostalgia, root beer treats

It’s a celebration of nostalgia

It’s a celebration of root beer treats

Stewart’s Fountain Classics is a story of determination and willpower. From a small business in the 1920s, it has grown into a magnificent business empire today. It was also voted as the best company for root beers in 2006 during the World Cup of Root Beer.

Warm summer days call for a cold foamy and creamy glass of root beer. Millions of Americans associate their best times with Stewart’s root beer as the company has been around for almost a century now.

Whether you like sweets or you bend towards the savory more, root beer has got you covered. Enjoy it in the form of cakes or pies, or go ahead and try it by adding it as an ingredient to a savory dish like pasta or steak. The options are endless here, and we are pumped for it.

Source

#Route Beer 66 #Mr. C's Route Post #Lebanon #Missouri #Van Wert #Ohio #original photography #Black Cow #Root Beer Float #B & K Root Beer Stand #summer 2019 #2014 #tourist attraction #landmark #cityscape #Main Street #Lincoln Highway #street scene #I love Black Cow #StewartsRootBeerDay #National Stewart’s Root Beer Day #17 June #travel #vacation #St. Helena #Gott's Roadside #California #sign

[ouahibaaitelhaj]

Representation

Lebanon, 1983, by Jay Ullal ( Cairo Photo Week 2023)

This photo was mostly taken during the Lebanese civil war from 1975 to 1990, depicting a “Christian bride and Muslim groom walking through bombed Beirut, 1983” (Ullal, 2023). Jay Ulla captured the photo of a German Photographer whose pictures shed light on the humanitarian miseries and crisis in a variety of countries around the world, including India, Pakistan, Lebanon, Israel, the Philippines a myriad of other places ((Masih, 2023). This photo is an example of representation in photography. Representation is the act of using visual language to convey meaning and symbolism. It’s the number of decisions the photographer had to make to produce the photo, starting from making it a portrait or a landscape, colored or black and white, cropped, edited, or photoshopped in a certain way for a specific purpose. Representation in photography pictures the world and reflects it to the viewer as an imitation of reality by either giving a mimetic version or constructing a new reality that is not a copy of the physical reality (Sturken & Cartwright, 2003). In the photo shared above, it is evident that the photographer made a chain of decisions before taking the photo. It’s a mimetic version of the civil war in Lebanon and the destruction it created, in contrast to a bride in groom in their white wedding outfits walking between the shattered walls and the mess in the city. It’s not an ordinary scene, and the wedded don’t usually walk in the streets like that, let alone in areas that are not aesthetically pleasing and  witnessed a history of armed confrontation. This example resembles the representation in the  photo of Emmett Till, whose body deteriorated after a race crime, and the choice his family made to display his casket to mourners to convey meaning and tell about the reality of their tragedy (Sturken & Cartwright, 2003).

The Myth of Photographic Truth

Photo Story by Sahl Abdel Rahman (Egypt Press Photo 2023)

This photo was part of a project by Sahl Abel Rahman, where he featured kids from Harid village in Fayoum who work in the cotton field of the area. The caption and the rest of the photos of the project provide this information; however, the image alone has an entirely different meaning and interpretation that contradicts the truth behind it. It shows a kid taping on a white goat and hugging the animal while a big smile lightens his face. The photo looks like it was taken from a rural area where a kid is happy and cares for his domestic animal. The truth, however, is that the kid named Youssef bought the goat after saving for two months of working in the fields for 25 Le per day. Photography was always associated with objective seeing, as the camera takes photos of the object as it looks for evidence and illustration. The camera is not expected to lie or give a distorted and untrue image of reality, as it’s a reliable machine. However, technological advancement or even the ethical practice of the photographer is enough to lose trust in the camera  (Sturken & Cartwright, 2003). I will continue to argue that the myth of photography is not only a result of photoshop and unethical practices (such as those of Timothy O'Sullivan, who moved corps and arms on battlefields  (Sturken & Cartwright, 2003)), but also merges in the absence of captions that accompany the photo and provide accurate context about it. Perception can deceive; therefore, a connotative meaning that provides context is needed to avoid myth (Mistry, 2014). This results in the forming of countless myths and assumptions about a photo in the viewer’s mind, diverting them from the facts behind the photograph. If it were not for the caption, we would think the photo is about a happy kid in the countryside, while it is a victim of child labor, an alarming phenomenon in Egypt.

[imadsalha]

I keep my side of the street clean, you wouldn’t know what I mean! . .. . . . . . #snow #winter #nature #mountains #ski #photography #travel #skiing #landscape #mountain #snowboarding #christmas #love #naturephotography #winterwonderland #photooftheday #snowboard #cold #snowday #instagood #adventure #hiking #travelphotography #ice #picoftheday #neve #beautiful #alps #sky #landscapephotography (at Lebanon) https://www.instagram.com/p/CoZtr1UMEMF/?igshid=NGJjMDIxMWI=

#snow #winter #nature #mountains #ski #photography #travel #skiing #landscape #mountain #snowboarding #christmas #love #naturephotography #winterwonderland #photooftheday #snowboard #cold #snowday #instagood #adventure #hiking #travelphotography #ice #picoftheday #neve #beautiful #alps #sky #landscapephotography

[nabeelyakzan]

Sea Pairs - Beirut, Lebanon - Nikon D850

Support my work through my Print Shop

#photographers on tumblr #street photography #lensblr #original photographers #streetphotography #50mm #film photography #artists on tumblr #fujifilm #seaside #mediterranean #lebanon

[tsu1404]

Exposed: Two sides to a story

Michelle Ha

February 14, 2024

Photographing marginalized people walks a fine line between representation and exploitation. On one hand photographing marginalized people can represent marginalized groups on a higher platform, empower those within the marginalized groups and de-stigmatize them from the public; however, it can also cause the people involved to be exploited due to their vulnerability and photographing marginalized people could come off as apathetic. I chose four photos of different individuals from marginalized groups taken by four different photographers: Tom Stoddart, Bill Stephenson, and Tom Bowden. To support both sides of the argument.

Pitfalls in photography

Taking photos of marginalized people can be exploitative because they are usually going through times of vulnerability in their life. It can seem shameless to take photos of people when they are the most vulnerable. It's also exploitative when the photos are one sided, if the subject did not give direct consent or if the subject doesn't know that they are being photographed, which is prominent in street photography. It's taking advantage of one’s misfortune for the photographer to benefit off of the viewers sympathy. Photographs of marginalized people can also be misinterpreted by the viewers if there isn't any given context or story behind the photo.

Mother putting her baby in a grave during a famine. Africa. 1998. © Tom Stoddart

Tom Stoddart is a photographer that mainly focuses on capturing photographs during interesting world events. His photographs capture the raw moments during times of vulnerability in others' lives around the world. This photo above belongs in one of his galleries called Crisis. In my opinion, this photo is exploitative because it's capturing the moment where a mother had to bury her child. Even Though this captures the truth of what is happening in other parts of the world it also seems shameless at the same time because it felt like there was no respect for the deceased child or if prior informed consent was asked before this photo was taken. This seems like it is taking advantage of one’s misfortune in order to get a solemn and compelling photograph. 

Boy crying at a refugee camp. Lebanon. © Edward Thompson

This photo is a part of Edward Thompson’s project Syrian Refugees in Lebanon. This photo can be interpreted as exploitative due to how it was captured. The photographer's decision to photograph the boy without obtaining consent beforehand could be seen as exploitative. Additionally, the story of the photo could be misinterpreted and exploited because there was no context or story about the boy in the photo and what was happening in the background that the viewer doesn't know. 

Highlighting the unseen

Taking photos of marginalized people can be representative of the marginalized group, it highlights them to the public eye since marginalized people tend to be unseen in society; additionally, it represent them in a positive light which can help empower those who are in the same group and de-stigmatize those who are unfamiliar with them. Giving underrepresented people a voice helps bring awareness to issues that marginalized groups face. Lastly, it allows for authentic representation and allows for their voices to be heard and their stories to be shared. 

I chose photos taken by Bill Stephensen and Tom Bowden to support my reasonings on why photography featuring marginalized people is not exploitative because their approach to this subject is mindful of the marginalized people.

Héctor, HIV positive transgender sex worker. San Jose Hospice. April, 1994. © Bill Stephenson

Bill Stephenson is a photographer that mainly captures subjects who are invisible and underrepresented in mainstream society. His goal with photography is to record them at a point in time with compassion and accuracy, giving them a voice to be heard and highlighting the individuals to a wider audience. This project focuses on representing HIV/AIDS patients that have been forgotten and ignored. Each of the patients consented to being photographed and their stories were recorded to go alongside it. His photos give authentic representation to the issues at hand, told by the patients themselves and it can be empowering for those who are going through similar circumstances because there is representation about them in a realistic light that isn’t in a negative, shameful or fearful light.

Johnny (Jazanae), non-binary individual in the woods. Houston, Texas. 2020. © Tom Bowden

Tom Bowden is a street photographer that takes most of their photos in the United States. After reading some of his work and his street shooting tips blog post I believe that his photos do not exploit marginalized individuals. He takes his time with his photos, and he always approaches his subjects as if they are participants in taking the photo instead of just being a subject. Even when his participants are going through tough times, he makes sure to photograph his participants in the way that they want to be portrayed. He gets acquainted with most of the participants that take part in his photos and records a short excerpt of their life stories to go along with their photograph. This photo displays a homeless and queer individual that is different from how they are normally and stereotypically perceived as; usually, homeless people are invisible to the public eye, or they are photographed at a tent or sitting somewhere on the street. The context that goes along with the photographs he takes helps bring awareness to problems that people tend to dismiss such as sexual/gender identity and freedom to express oneself.

I think that both of these marginalized groups are often ignored by people due to the stigma and stereotypes around them. I use the word invisible for homeless people because we pretend, we don’t see them when they are around so that we don't have to concern ourselves with them or feel guilty when we do acknowledge them but not help them. I also used invisible for HIV/AIDS patients because they are issues that people overlook and do not think and talk about when it doesn't affect or concern them. 

References:

Cooke, A. (2020, July 20). A lot of street photography is just bad and exploitative. Fstoppers, Retrieved February 14, 2024, from https://fstoppers.com/originals/lot-street-photography-just-bad-and-exploitative-501115

Bowden, T. (n.d). Street shooting tips. TBOW. Retrieved February 14, 2024, from http://www.tbowphoto.com/read-me

Jones, R.C. (2018, August, 31) How Photography Exploits the Vulnerable New York Times. Retrieved February 14, 2024, from https://www.nytimes.com/2018/08/31/opinion/photography-exploitation-opioid.html

Photographers Without Borders. Code of ethics. Retrieved February 14, 2024, from https://www.photographerswithoutborders.org/code-of-ethics

Stephenson, B. (1994, April). HIV/AIDS Patients at The San José Hospice, San Pedro Sula, Honduras April 1994.  Bill Stephenson. Retrieved February 14, 2024, from https://billstephenson.co.uk/san-jose-hospice-san-pedro-sula-honduras-1994/

Stoddart, T. (n.d). Crisis. Tom Stoddart. Retrieved February 14, 2024, from https://www.tomstoddart.com/crisis

Thompson, E. (n.d). Syrian Refugees in Lebanon. Edward Thompson. Retrieved February 14, 2024, from https://edwardthompson.co.uk/Syrian-Refugees-in-Lebanon

[postcard-from-the-past]

Street scene in Beirut, Lebanon

French vintage postcard

#vintage #beirut #tarjeta #briefkaart #street #postcard #photography #postal #carte postale #sepia #ephemera #historic #french #ansichtskarte #postkarte #scene #lebanon #postkaart #photo

[talbottoarbus]

Robert Frank

Ella Caridi

Robert Frank is most known for his photography book "The Americas" This book is known and shown for de-romanticizing segregated America by portraying racism in small middle-American towns, at settings like beaches and diners. "For example, Photographs such as Chicago, 1956 in The Americans revealed Frank's mature style, characterized by bold composition and ironic, sometimes bitter, social commentary. Their publication established Frank as a major creative photographer, and the book was widely hailed as a classic." In his book "Come Again," the photos that drew me into Frank's photographs are showing destroyed buildings in Beirut, a city in Lebanon; what captured my attention was how Frank displayed the photos, how they were placed in the notebook, the material used to display the photos, and the way the photographs were taken, in addition to how Frank took photos of abandoned and destroyed buildings. The city was used as a battleground during the Lebanon War from 1975 - 1990. "Much of the work he did there, together with that of five other photographers with whom he shared the assignment, was put together in Beirut City Centre by Editions du Cypres in 1992." With his assigned work, he used a Polaroid to capture the city and what was left behind. He then stored the photographs away. "It was only many years later that he

Considered those images again and used them to create a sketchbook's worth of Polaroid collages. Come Again is a facsimile reprint of that notebook.”  For Franks's most famous book, The Americas, the equipment he used was a “Leica 3, manufactured in 1934. It is fitted unusually with a 50mm f/1.4 Nikkor s o lens” Frank’s inspiration came from the artist Henri Cartier-Bresson. “He also touches on how the equipment wasn’t as important as creating your unique work. Frank says: “To do good work, you need further intelligence. And you can’t just imitate a famous 35mm photographer. Cartier-Bresson won’t help; wide-angle lenses won’t help either.” He has come to break the stereotype that all photographers need professional equipment to shoot show-stopping photos; for Frank, the equipment is not the most important. You get the photos out of them and how well a photographer knows their equipment.  Frank's Photographic style and technique came from when he was a  young photographer; he shot mostly with a medium-format square-format Rolleiflex camera. However, Alexey Brodovitch, a Russian-born photographer, designer, and instructor, suggested he ditch the Rolleiflex for a 35mm Leica. Brodovitch suggested that the Leica could create more fluid, immediate images, whereas the Rolleiflex was much slower and bulkier. Furthermore, Brodovitch encouraged Frank to “unlearn his Swiss methodological habits and taught him to take risks.” You can see that Frank took up Brodovitch’s

advice by leaving his comfortable home of Switzerland to pursue photography in NYC.” This mentorship from Brodovitch had a strong influence on the young Robert Frank. From his work leading up to “The Americans,” he did very much that. He would often shoot at night using imprecise focus, incorporating blur into his work, and would use grainy film. Not only that, but Frank experimented with printing his photographs with extreme contrast (disregarding the need to create an image with good tonal range), printing in extreme shapes (trapezoids), and would crop. Frank was a commissioned photographer “but left feeling frustrated artistically in that role” He shot photographs on the street with his 35 mm film camera. He shot “Highways of America, where he honed his highly influential style of wandering, observational photography.” 

Frank's working method is shown by what he learned from Walker Evans Frank learned much of his photographic style while working with Evans during the making of "The Americans." He learned to be patient and take a simple, straightforward, and final approach to his compositions while photographing tools for Fortune alongside Evans. “Although Frank discovered the importance of being patient in his working methods, he was also more intuitive and photographed quite swiftly.” Before Frank started his production on The Americans, he photographed ” cowboys at Madison square garden or socialites at the toy ball; he had made many exposures of the people and the scenes that interested him, no doubt hoping that an editor would find one of use.” For his process for this project, “he took one, two, or three exposures, and then moved on, for he recognized, “First thought, best thought…When one releases a second time, a moment is already lost.” Over time when Frank worked on “The Americans,” his working style evolved into being much more graceful and casual. “Looking in” elaborates on this point. 

“In the coming months, as he gained more confidence in his new approach and worked himself into what he later referred to as a “State of grace,” Frank’s style became looser, more casual, even gestural, and all about movement. Frank said that to  “symbolize the alternatives of hope and despair to which mankind is forever subjected..” As shown through this work, Frank’s color platelet is black and white “He is neither highlighted with exhilaration nor shadowed with depression, but both are in his personality, as they are in his photographs.” This technique can be seen in his work in “The Americas” and “Come Again,” produced at two different times in his career. Still, the color pallet, shadows, and highlights come to life when a viewer looks at these images. They can see the seamless skill that is applied to them.

https://www.cameramuseum.ch/en/discover/permanent-exhibition/the-century-of-the-film/the-leica-of-robert-frank-and-the-Americans/#:~:text=It%20is%20a%20Leica%203,lens%2C%20bearing%20the%20number%20331845.

.https://erickimphotography.com/blog/2013/01/07/timeless-lessons-street-photographers-can-learn-from-robert-franks-the-americans/#:~:text=This%20mentorship%20from%20Brodovitch%20had,and%20would%20use%20grainy%20film. 

https://archive.aperture.org/article/1961/1/1/black-and-white-are-the-colors-of-robert frank#:~:text=Robert%20Frank%20has%20said%20of,the%20man%20in%20the%20street. 

https://archive.aperture.org/article/1961/1/1/black-and-white-are-the-colors-of-robert-frank

[latifakhalil]

📸12.03.2023 "Growing age can kill the beauty, not the style" 💚 -Amit Kalantri #art #feelings #beauty #photography #streetphotography #mobilephotography #blackandwhite #street #car #black #white #aging #beirut #walking #darkness (at Beirut, Lebanon) https://www.instagram.com/p/Cpsqo7VIM_q/?igshid=NGJjMDIxMWI=

#art #feelings #beauty #photography #streetphotography #mobilephotography #blackandwhite #street #car #black #white #aging #beirut #walking #darkness