Archive #11 - July-September 2002
Women of Film Exhibition
images copyright Cat Jimenez/WIPI 2002
February 7, 2002 marked the opening of Great Women of Film, a photographic exhibition showcasing and celebrating the incredible talents of 30 women in a wide variety of professions and crafts in the motion picture industry. The exhibitions co-creators Helene Lumme, author and filmmaker and Mika Manninen, director, photographer and cinematographer were both present and excited at the feedback and turnout for the opening held in Beverly, Hills, CA at the Academy of Motion Picture Arts and Sciences.
of interviews conducted with the women were included as part of the
text for the show. In depth interviews can be found in the companion
book. The book also contains an appendix of Organizations, Schools,
and Resources with background information, websites, e-mail, addresses
and phone numbers.
Great Women of Film photographic exhibition runs through April 21, 2002 located in the lobby of the Academy at 8949 Wilshire Boulevard. Los Angeles
more information contact: Leslie Unger, firstname.lastname@example.org
Judith Diana Winston
Diana Winston is a visionary artist and writer. She is the author of
the book, MEDITATIVE MAGIC: The Pleiadean Glyphs. This
oversized workbook is an easy-to-follow guide to meditation. Each of
the “Glyphs” is accompanied by a page of interpretation or “expanded
definition” and is reproduced on 8”x8” removable meditation card. The
Glyphs are geometric patterns that came to Judith Diana over a three
and a half year period during meditation She was guided to draw the
first of these on graph paper and use it as a focus for meditation.
Over the years she was shown sixteen symbols or Glyphs. She was also
given specific information on each one, how it worked, and how the Glyphs
work as a whole. Each of these geometric configurations has a name describing
it’s function and the particular “attribute or pattern of consciousness”
with which it works.
through 1989 I was literally, propelled forward to make a number of
journeys to various sacred sites all over the planet. I found myself
particularly drawn to the ancient megalithic (great stone) sites built
by man. This included such places as the Egyptian Pyramids and Spinx,
Machu Picchu, Peru, Tiahuanaco, Bolivia, Stonehenge, The Myan Pyramids,
and Easter Island. Out of this grew two bodies of work. The first is
EARTHWEAVER, a novel-in-progress based on my personal journey
of self-discovery which includes twelve hand-painted photographs. The
second is an in-camera color-manipulated, single and multiple image
photographic series, MONUMENTS TO MAGIC. As I studied these enigmatic
sites, both visually through the lens of my camera and by reading various
texts, I was struck by the emphasis placed on geometric forms and by
the importance of specific reoccurring numbers and proportions encoded
in stone. I found this to be a common thread running throughout the
various sites regardless of location.
I was intrigued
by this rather sage advice, but not entirely certain what it all meant.
I began a search, which continues to this day, for materials on the
subject that I could relate to and that were written in a simple, non-
technical language. I discovered that the concept of the metaphysical
effect of particular geometric shapes as well as the study of the esoteric
meaning of numbers was a part of all of the ancient mystery school teachings.
This includes the Hebrew alphabet in which the symbols are both letters
was how, upon my return, the very first of the symbols, which later
told me that they wanted to be called Glyphs came forward. This is the
Glyph called “EKR” ATONEMENT or AT-ONE-MENT. I was later to learn that
this symbol works directly on the pituitary and pineal glands and I
now realize that it acted as a doorway for me. After meditating on “EKR”
for about a month and a half other Glyphs, along with their names and
definitions began to come through clearly, cleanly, and systematically,
I have discovered that if a Glyph is “communed” with on a regular basis
it not only puts one in a relaxed “alpha” state but, it also creates
a deep experiential understanding of the specific energy.
simple terms, the Glyphs are frequency modulators They are tools that
adjust our energy patterns to a more balanced, more honest, and more
love-able rate of vibration. Quantum physics tells us that there only
“appears” to be a place where we end and everything else begins. In
fact we are in a constant dance of energy exchange with our environment.
As we use the Glyphs we begin to strengthen and stabilize the more harmonious
and life enhancing patterns within our own personal vibrational field.
In the very process of living our lives, day to day, we broadcast these
patterns, much like a radio station. We heal by our presence alone.
this time of great change and great challenge, it is certain that taking
responsibility for the energy that is “us” is not only an act of personal
upliftment, but one of Global importance. As we change ourselves, we
change the world, one by one.
Diana Winston may be contacted at: email@example.com
©Judith Diana Winston
Beverly Pettit - Photographing in Asia
As a photographer
living and working in Hong Kong I was faced with a number of challenges.
Aside from being detained by communist military for photographing at
the abandoned US Air Base in Danang, Vietnam, I think my most momentous
photographic experience was trying to complete an assignment at a wildlife
preserve in India the morning of a shootout between tiger poachers and
park guards – resulting in two deaths, one poacher and one tiger.
arrival in Hong Kong I was anxious to learn the ropes on photographing
around Asia. It’s sometimes hard to make contacts in a foreign culture
so finding groups of other like-minded individuals is a good route to
take. Almost immediately I was introduced to the Women in Publishing
Society. WIPS was a group consisting of entrepreneurial women from all
over the world who were living in Hong Kong and working in publishing.
Some were newspaper reporters, others editors, magazine writers, illustrators
and/or photographers. We supported each other, networked and provided
learning opportunities through formal meetings and casual get-togethers.
I gained many lasting friendships through this group. They also helped
set me well on my way to many years of freelance work in photography
area of photography that I dearly love is candid portraiture and photographing
people going about their daily lives. Even though I didn’t speak the language
in these Asian countries, I found it easy to communicate. People generally
speak with their eyes. When photographing candidly (or on the street)
I find that by taking my time and moving about calmly, quietly and softly,
and by approaching people with a smile and a polite nod before raising
the camera then I’m able to get a more meaningful picture. And I found
that the farther I got away from the cities I got the more approachable
also enjoy creating graphic or abstract images around a location. I
often get in very close to my subject and look for shape, form, texture
and color. For example, by photographing closely a section of a time-beaten
ancient temple’s brick wall I hope to better show its centuries of wear,
or by getting right in on the food being sold in a local market, cooking
utensils, or a torn away poster revealing layers of past and forgotten
events I’m able to tell a more complete story when combining these with
images of the local people. Each single image then supports the others
and gives a great sense of place for the viewer.
me, photographing the subjects I love is one of the most rewarding things
about photography. If I’m not absorbed in the subject, the picture is
less likely to have impact. I often lose track of everything going on
around me and stay only aware of what I am seeing through the lens or
anticipating ahead of me around the next corner when I’m scouring a
hutong (back alley) in China or a fishing village in Mexico. I believe
that if a photographer starts out with a passion for their subject they
are sure to make an insightful, significant and beautiful image.
Asia I moved to London, England in 1996 where I worked for the next
three years as Publications Manager for a large American investment
bank. Now living in Southern California with my adventuresome husband
I continue to enjoy my passion for freelancing in photography, photo
research and photo editing.
Palm Island, Queensland, Australia
by Stephanie Flack
Palm Island, Queensland, Australia Series by Stephanie Flack, 1999
All photographs copyright Stephanie Flack
As an Australian,
I only began to understand and appreciate the rich culture of the indigenous
people of my country after I moved away and started photographing other
cultures. Two years ago I returned home to Australia, to Palm Island,
an aboriginal community located off the coast of far north Queensland.
With a population of about 3,500, Palm Island is the largest aboriginal
community in Australia.
"Bringing Them Back Home' found the policy of forced removal to be "genocide" and called on the government to issue a formal apology and create a tribunal to determine levels of compensation. The Federal Liberal Government, led by Prime Minister John Howard, ignored the recommendations of the report and, to this day, has taken no action to remedy the plight of the stolen generations. It was in this political climate that I came to shoot the story of Palm Island.
I am currently working to expand upon this project. The Aboriginals are cautious in granting me access. Yet permission is a prerequisite for work of this kind.
from the "Palm Island, Queens land, 1999" series were published
in USA Black and White Magazine: For Collectors of Fine Photography
For articles, see f2 eZine Archive 11 - July - Sept 2002