© Evangelische Frauen in Deutschland e.V. - Oliver Weber

EFiD – Evangelische Frauen in Deutschland // Protestant Women in Germany just published a Double Postcard for the annual bible motto 2012:

“My power is made perfect in weakness.” (2 Kor 12,9) // "Meine Kraft ist in den Schwachen mächtig." (2 Kor 12,9)

And I feel very honored that one photograph of my series “Havana” was selected for an edition of 10000 postcards.

Evangelische Frauen in Deutschland (EFiD) encourages women to live as christians in a modern society. From a female point of view the umbrella organization deals with questions of christian religion, spirituality, social charity and politics – committed to gender equality and social justice. 40 member organisations and institutions with approximately three million members themselves belong to EFiD.

Order the Double Postcard (with envelope):

01-49 postcards: 0,65 € / postcard
50-99 postcards: 0,60€ / postcard
100 and more postcards: 0,55 € / postcard

plus shipping.

via This e-mail address is being protected from spambots. You need JavaScript enabled to view it or via evangelischefrauen-deutschland.de

© Marx Marketing - Oliver Weber

In mid October, a new coffee label will be available. The HUGO.MANTACCO Premium Espresso.

And I am very delighted that a part of my La Gente series will adorn the packaging. Perhaps this could be one reason that the espresso tastes a bit better… ;-)

Pre Orders (german only) can be done here.

Link: HUGO.MANTACCO Premium Espresso

© DIE ZEIT - Oliver Weber

The Online – Edition of the German nationwide weekly newspaper DIE ZEIT published today my “Peninsula Series” (German only):

Porträts aus Spanien - Sommergesichter

DIE ZEIT – Redaktion: „Oliver Weber ist nicht nur Fotograf, sondern auch Arzt. Vielleicht ist das der Grund, warum ihn die Menschen so nah an sich heran lassen. Wir zeigen Porträts aus Spanien. Península – Halbinsel – nennen die Spanier ihr Festland. Klingt in diesem Namen die selbst im Hinterland gefühlte Nähe zum Meer an? Península heißt auch die Serie von Porträts, die der Fotograf Oliver Weber auf dem spanischen Festland aufgenommen hat. In seinen Bildern scheint das Meer nicht weit. Die Gesichter sind rau und wettergegerbt. Sie spiegeln die Ruhe heißer Tage. Und ein Spanien, von dem man nicht erwartet hätte, dass es so noch existiert.

Oliver Weber: "Analogue – Photographs // Interviews" ist in limitierter Auflage bei VirgenBooks Inc., New York, erschienen. Format: Hardcover, 72 Seiten. Nummer 1 bis 20 sind ausverkauft. Nummer 21 bis 100 erhältlich für 39 Euro.“ © DIE ZEIT

Link 1: Porträts aus Spanien
Link 2: DIE ZEIT - Redaktions Empfehlungen: Die besten Fotostrecken

© DIE ZEIT - Oliver Weber

© THIAPS Magazine - Oliver Weber

I was recently interviewed by one of the editors of the THIAPS Magazine, The International Analogue Photographic Society, Frans Peter Verheyen. THIAPS features an interview series with contemporary photographers in an effort to inform and inspire emerging photographers who are interested in developing careers in photography.

You can find the interview below or an illustrated version on The International Analogue Photographic Society:
Frans Peter Verheyen talks with Oliver Weber

Frans Peter
Do you consider yourself as a "street" photographer or a portrait photographer who works on the streets?

Oliver
Offhand, I would say neither. I am especially interested in documenting the totality of the experience of being human. Essentially the "lives of humans". I would like to show with my photographs how they really live. I am interested in telling the personal stories of my subjects with sympathy and understanding. When I first came to La Gomera, to live and work, I was mainly interested in documenting the natural surroundings of the amazing Canary Islands. Gradually I moved away from scenic natural photography to the photography of the lives of humans. Well, so actually I'm a portrait photographer of the human condition. On the streets, in the personal environment and in the larger landscape. I am a documenter of people.

Frans Peter
How do you decide on locations & subjects? And what kind of look do you try and create in your photos?

Oliver
As a general rule, I merely drift around amongst the street creating peripatetic postcards. Images don't come to me at a hectic pace or in a rush. Photography is not actually at the forefront of my consciousness; rather it's about engaging with other humans. The image through the viewfinder creates a sense of eagerness in me, as well as a sense of relaxation at the same time. Everything comes down to a single moment. Since 2002, I've pursued photography seriously. The "street photography" has arisen through my creating different cycles. It comes to life through spontaneity through feeling and through the recognition of moods and situations. You never know what will happen next. The key is to quickly to grasp the moment and shoot, before the moment is lost. If the subject moves me, I am inspired to speak through photography. I concentrate upon the motifs that interest me personally. I seek the feelings, the environments that expose the core of the individual, making my image only when the precise moment has come. I have chosen to limit the influence of other photographers on my work. . By placing such limits I am more successful at fulfilling my own vision.

Frans Peter
I am intrigued by your Matanza "story". Can you talk me through the process of this ritual.

Oliver
The ritual of slaughtering a pig (Matanza) was once of great importance for the rural populations of Spain. This annual event would ensure the larder was stocked with meat for the coming year, and that the calories needed to carry out all that hard manual farm work were at hand. Taking place in winter when the cooler weather allows for less haste and less bacteria, the Matanza is a family event with everyone coming together to work and feast together over a number of days. Neighbors will also join together, helping each other out in return for an armful of chorizo or morcilla. The men are responsible for killing and butchering the pig, whilst the women take care of all the preparation. The animal is killed in a humane way. When the Matanza is dead, the hair is removed with a gas-powered paint remover. Every part of the animal is carefully collected and used, nothing goes to waste. Wooden fires are started up, and huge kettles of water at set upon them to boil. With around 10 people the whole process takes around 5-6 hours. And the reward to all the people who helped is a grand meal. As a long time resident of La Gomera, I have made many good friends and have formed strong relationships with my neighbors. . At least once a year it is customary to slaughter a pig. All the people in the photographs are both my neighbors and good friends. I feel a great sense of connection with the simple and honest lives of the people here. It's my great pleasure to share through my photographs, the humility and inherent goodness of the people who live in the mountains of La Gomera. Following the work of the pig slaughter, there is music and dance and much drinking of wine together. I enjoy this time with my friends. I hope to convey through my photographs this close connection to tradition and celebration.

Frans Peter
In all your work you are very "close" to the people you take photos of. Not only in a technical way but also almost as a friend, a part of the group, how do you do this, do you speak Spanish, Arabic, Russian?

Oliver
Again, I merely drift around amongst the street creating photographic postcards. I speak Spanish quite well in addition to German, English and Italian. But often it's merely camera and movement. What I want to say is, some situations demand interaction and time and others are merely reaction. Looking through my view-finder I am filled with an eagerness to create, as well as the clarity that comes from being "in the moment". Capturing that moment perfectly creates something special. My photos reveal the deep insights that come from within the small stories of human lives. I don't feel like an intruder or an outsider. My compassion for my subjects seems to put the individual at ease. Photography is the universal language. This ability to transcend language barriers is a large part of why I am so passionate about photography. My photography is extremely important to me and I happily spend most of my time engaging in my art. I shoot photographs because of the final image, because of what I see, and how I feel. I am fascinated to discover what motivates people and how they interact within the street environment and natural environment.

Frans Peter
We all have people that influence us, what are yours? I know cliché question but still....

Oliver
Well, this is a very difficult question. There are a lot of photographers who have inspired me. I occasionally feature photographers on my blog whose work I admire. Most of them are young photographers. Young photographers often have a similar aesthetic and point of view as me. Recently I have featured work from: Lorenzo Moscia, Christopher Anderson or W. Eugene Smith. Another excellent photographer is Andy Spyra and his powerful work about Kashmir. And I love the "Country Doctor Story" by W. Eugene Smith. I'm also a doctor and I have a lot of fun with these wonderful pictures. And of course I'm inspired by the photographers on "Magnum". Here I find the greatest photographers of our time, like a Robert Capa und also many young photographers as Martin Parr.

Frans Peter
I really don't like talking about gear, but can you tell us what camera's lenses and film you use. And do you do all your own darkroom work?

Oliver
35 mm: My big love is my "Konica Hexar" and my little new love is an "Exakta" from Dresden in Germany. Or I take photos with a "Canon 1". 6x4, 5: Usually with my "Fuji GA 645 Pro" 6x6: My new love is here one "Praktisix" also from Dresden. Films: Kodak TRIX (BW) and Fujicolor Reala (Color) My favorite lens is a 35 mm focal length. I make all my prints here in my own darkroom, (my prestigious "loo" darkroom). Photography is a visual language that speaks to every person, everywhere. This makes it valuable as well as inimitable and this is why I love it in such a way. I take a great deal of time for photography. I am very serious about it. Primarily analogue with different cameras, sometimes in black-and-white or also in color. The analogue process is obviously more time consuming than digital. This time informs my art and allows me greater objectivity. A successful photograph lies not superficially in controlling the photography method, but through process. Experimentation through the application of the recording device is important to my growth as an artist.

Frans Peter
What do you see yourself doing in the future?

Oliver
As an amateur photographer and "autodidact" , photography is my passion, an addiction of which I pursue very seriously when my occupation as a doctor gives the time for it. I intend to continue pursuing photography as a passion and engaging hobby. My vocation as a physician and my passion for photography are a dream combination. There is nothing better than connecting work and hobby. For me personally, there is no end goal. I am content as long as I have ideas in my head and the power to implement the ideas. Photography has become my elixir of life. It gives me strength, feeds my personal happiness and allows me to share this joy with the world. My first calling is medicine. I often photograph my patients and their families when I am making house calls here on Gomera. My patients have become my friends and my work has melded with my art. Several major projects are planned for this year. I'll make one project on Qatar. I intend to publish a new book. And I will present two exhibitions with my "lives of human's" photographs.

Frans Peter
Thank you for your time talking to me Oliver.

© Unless You Will Journal - Rip Hopkins, romanian rip

Unless You Will is a new online journal, founded and curated by Heidi Romano. Heidi is a fine art photographer and art director from Melbourne, Australia. Unless you will is a monthly published journal and showcases a vision within photo based art. The goal is to bring together a collection of notable photographers from around the world and present their work. The current issue No.4 is a double issue in collaboration with Fabio Severo and includes 10 photographers from around the world.

Heidi Romano runs also a Blog called Tales Of Light. And I am happy to be part of her project with some photographs of my Marrakech series.

© Oliver Weber

Once a year will be held a procession in honor of Nuestra Sra. de Guadalupe in Guará high up in the mountains of La Gomera.
A wonderful event in which friends and families come together to celebrate the ceremony.
Well -  a small series was born - Campo Santo:

© Harry Dubin - The Kisseloff Collection

Via DVAFOTO I found an article by M. Scott Brauer which is worth a look:

"Dubin at Work is a such a strange and unexpected set of photos, I almost don’t believe they exist. Harry Dubin took his teenage son around the streets of 1940s New York to take pictures of people working. Only, they didn’t photograph the workers. Instead, Dubin asked the workers if they’d be willing to lend him their uniforms and then posed as the workers. There’s Harry Dubin as a street sweeper, then as a hansom cab driver, then as a blind beggar on the street, then as a railroad worker. In each photo, he’s fully transformed as the worker and the results are a beautiful artifact of a time gone by.

The photos, 30 in all, are finding their way online by way of Jeff Kisseloff, a historian and writer, who met Dubin while researching a book on television. Dubin was the subject of a 10-page New Yorker profile (PDF) in 1947 (well worth a read) as one of the first families in the city to own a television set. Kisseloff was intrigued by the article and on a whim decided to look for Dubin in the NYC phonebook, thinking he might still be alive. Dubin agreed to an interview. When Kisseloff arrived for the interview, Dubin asked if he could reread the New Yorker piece and handed Kisseloff a small photo album titled “Dubin at Work” to look through while he waited. That happenstance turned into a 1996 special exhibit at the Museum of the City of New York. Kisseloff also wrote an article about the photos for American Heritage (PDF)."

© T.J. Kirkpatrick // ZUMA Press 

Stories that need to be told: Help in Hell published by ZUMAPRESS

The Democratic Republic of Congo is home to the deadliest war since WWII, with an estimated 5.4 million deaths since 1998. The International Rescue Committee estimates that as many as 45,000 people die each month in the Congo. Many of these deaths are not due directly to fighting, but rather to a number of easily preventable conditions that are consequences of a collapsed healthcare system and crippled economy.

The essay on zReportage.com