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Huck Issue 62

Huck is inspired by DIY culture, featuring people who make you think, who challenge the system, who strike out on their own. Packed with intelligent journalism and stunning photography, it covers the people and the places that are shaping culture all over the world.

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United Kingdom
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6 Ausgaben

in dieser ausgabe

1 Min.
rule breakers

Every non-fiction storyteller, whether they use images or words, enters the world on a sham. They burst out of the gates, all curious and bright-eyed, salivating after ‘The Truth’. “I’m a messenger!” they declare. “A conduit, a vessel, an impartial observer. Feed me the world in all of its chaos and I’ll feed you nothing but fact!” The delusion sets in hard and fast, but it only lasts so long. Once they see themselves in the stories they tell, slowly the spell starts to break. Howard Zinn once said “it’s impossible to be neutral,” and he couldn’t have made it any more clear. “Why should we cherish ‘objectivity’, as if ideas were innocent, as if they don’t serve one interest or another?” And yet, the self-deception lingers on. There is no…

13 Min.
the rules are there to be broken

The real stories of our time aren’t always plain to see. They’re shaped by invisible forces, unfold behind closed doors, and are conveniently erased from collective memory. But in the blizzard of fake news and manipulated truths, these are the stories we need to see and hear. The only way to tell them is to take a few risks, break all the rules, and pioneer a new way of seeing the world. In 1955, 36-year-old photographer William Eugene Smith travelled to Pittsburgh on what was meant to be a three-week assignment, but which became a year-long, amphetamine-fuelled photographic binge. He came away with 17,000 images. Later he relocated to Japan, documenting the consequences of devastating industrial pollution, in the process facing extreme violence from the corporate wrongdoers he exposed. He was, in…

1 Min.
pivot points: stories of change

“If the world can see, the world can change.” © 2017 Huck Magazine. Licensed TM by Bullitt from KODAK: KODAK, EKTRA The Kodak and Ektra trademarks, Kodak logo and trade dress are used by Bullitt-Group under license from Kodak The world has never been so challenging. And in this age of deepening divides, photography has never been so important. With more images being made than ever before, photographers who choose to place themselves at the pivot points of change – capturing grassroots movements as they form and rise – help us all bear witness to the stories that really matter. By placing themselves out on the frontlines, they undergo a metamorphosis of their own, taking invaluable lessons from every story they experience, capture and share. Pivot Points: Stories of Change is a brand…

4 Min.
01 s.j. ‘kitty’ moodley who i am

In 2011, a box of old photographs changed my life. I spend every summer in South Africa but this particular one was difficult because I experienced a lot of violence, including a carjacking which caused damage to one eye. People in New York wanted me to come home but I knew from experience that something good usually happens in the last week of every visit. I had bought a stack of photographs in Cape Town and my friend’s daughter said,“You know what? I have this collection of negatives I should give you.” They’d been sitting in a garage for 15, 20 years. I pulled out a few, held them up to the light and started freaking out. They were so strong, even in that form. We’re so familiar with the importance…

4 Min.
02 cristina de middel the afronauts / muchismo

The biggest change in my life came from boredom. I was flirting with depression, a midlife crisis, and came to one of the best positions you can have in life: to have nothing left to lose. It was hard for me to get into the photojournalism world, especially as a woman. I was one of the last staff photographers to get a contract at a newspaper in Spain. On my holidays I would go to Syria or Bangladesh – anywhere that I could experience the drama of life. But after a decade, I grew tired. Newspapers are very cyclical; it’s the same thing over and over again. I wasn’t satisfied with how the world was being presented to me: simplifying and reinforcing stereotypes and clichés to direct the opinions of people. I…

4 Min.
03 guy martin the parallel state

Before this project, I wasn’t using photography: photojournalism was using me. I often think about how I ended up on that street in Misrata. I think about how – to the microsecond – fate put me in that position. These forces of drive and determination, wanting to be the best at something: when you’re covering conflict, there’s a culture of having to be the first on the frontlines. You put yourself at insane risk. This project in Turkey was about redressing that balance, representing people in a different way and taking back some power. I was doing okay at these things – covering war, protest, revolutions – but was frustrated that publications weren’t interested in nuance. I was beginning to pick up on things that alluded to a deeper story, but you…