Europe’s Wild Men, photographs by Charles Fréger, text by Rachel Hartigan Shea
Europe’s Wild Men is a collection of Fréger’s photographs of men dressed in traditional costumes evoking spirits, monsters, and animals. The subjects of these photographs are apparently all men, but occasionally women do wear these costumes. Shea’s text explains some of the costumes and the history behind them.
Mahogany’s Last Stand, by Scott Wallace, photographs by Alex Webb
In this article, we look at the business of tree poaching in Peru. The primary target of these poachers is mahogany, but other trees are targeted as well. The government of Peru stopped mahogany logging in 2001 and has been including most mahogany forests in national parks and in reserves for indigenous people, in hopes of preserving them.
Apparently, the poaching of mahogany continued after 2013, because I found a Sierra Club article about mahogany with falsified documents being imported into the United States in 2015.
I’m just having the worst time getting my schedule back together. Let’s see if I can get this post out now and get my Manitowoc post written today. That’ll get me back on schedule.
Out of the Shadows, by Richard Conniff, photographs by Steve Winter
Out of the Shadows is about the increasing contact, and conflicts, between humans and leopards in places like India and Africa. All over the world, humans are encroaching on the territories that previously had been dominated by top-level predators such as leopards. Sometimes the predators retreat, but sometimes, as is happening with leopards, the predators adapt.
Conniff takes us to some places where leopards and humans are coming into conflict and lets us into some of the research on how these two species can coexist peacefully.
Personally, I am always struck by the camera trap photographs of big cats. In the December 2013 issue, we had the article Ghost Cats. I had the same experience there. For some reason, the automatic cameras they use in their camera traps make the cats seem to look almost like they are taxidermied. Are the shutters of the cameras that fast? Or is there some other mechanism at work that makes the cats look, not just like they are not moving, but like they are actually stationary?
Remnants of a Failed Utopia, by Rena Silverman, photographs by Danila Tkachenko
Tkachenko visits places that used to be communist and photographs the buildings and machines that they left behind. For this project, Tkachenko photographs these structures in snow, which diffuses the light, making for haunting images of a “lost civilization.” For some reason, the images chosen for this issue have almost no color (for example, there are only traces of color in the photograph of the Bartini Beriev airplane, which made me wonder at first if Tkachenko also used black-and-white film.