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Summer typhoons have compounded North Korea’s hunger crisis, as shown in photos taken on a government-monitored tour and released this week. Infants suffering from malnutrition rested in a hospital in Haeju Oct. 1. A boy stood in a blighted corn field Sept. 29 at the Soksa-Ri collective farm in the South Hwanghae Province of North Korea. Corn and cobs were the meal a North Korean woman prepared Sept. 30 in her tent in South Hwanghae Province; she lost her house in the summer’s flooding. |
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view Withering in North Korea as presented by: Wall Street Journal |
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10 years ago, on Sept. 11, 2001, terrorists seized control of four airplanes and crashed them all, bringing down the World Trade Center towers and ripping a hole in the Pentagon. Throughout this anniversary day, the editors at Photo Journal will be live blogging the memorial ceremonies and worldwide reactions through a curated series of photographs. The images are posted as they become available and do not necessarily represent the time they were taken. The historical photos you see are juxtaposed with images from today. Robert Peraza, who lost his son Robert David Peraza, pauses at his son's name at the North Pool of the 9/11 Memorial on September 11, 2011, in New York. Police officers from the United Kingdom march across the Brooklyn Bridge on the morning of the 10 year anniversary of the Sept. 11 attacks. A man wearing a fireman's hat stands while an American flag covers the field during a ceremony before a game between the Buffalo Bills and the Kansas City Chiefs at Arrowhead Stadium in Kansas City, Missouri on the tenth anniversary of the attacks of September 11, 2001. |
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view A Decade After 9/11 in Photos as presented by: Wall Street Journal |
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This gallery is a selection of some standout portraits from Review of the Weekend edition of the WSJ. The “Creating” section of Review is where artists and writers, choreographers and composers mingle with monster-truck drivers, magicians, whiskey distillers, tattoo artists and fashion designers. Each week features a fresh subject who divulges secrets to their creative process, along with often-surprising details of the trade and behind-the-scenes dishing. Read on as “Creating” photographers share details about the recent shoots. Tarina Tarantino, jewelry designer, Los Angeles, CA. Photographer Emily Shur: “Photographing Tarina was like shooting a modern day fairy princess with a wicked business sense. Her workspace was fun and whimsical, yet busy and organized. I like meeting and photographing successful women who seem to have fun at work and clearly are respected by everyone around them.” Marie Wright, flavorist, South Brunswick, New Jersey. Photographer Kyoko Hamada: “I had been warned that Marie’s lab might be a bit like Willy Wonka’s Chocolate Factory. Upon entering the lab, we were overwhelmed with the smells of bubble gum, lemon, coffee beans, chocolate, tangerine, and what I’m guessing may have been cupcake, soap, vanilla, banana and amaretto, all mixed together in what was an otherwise very stark and minimal laboratory. It was strange to think that the smells which were so omnipresent in the air were completely invisible to the naked eye. Rob Hall, owner of Almost Human special effects, Los Angeles, CA. Photographer Sam Comen: “Rob Hall’s studio was an embarrassment of riches when it came to props and scenic elements to inspire a portrait of the FX mastermind. Unfortunately, nearly all of those elements were very gory and realistic, and therefore very difficult to use in light current news focused on congresswoman Gabrielle Giffords’ shooting in Tucson just 5 days prior. So my plan was to showcase Rob’s special effects without being grim. I found my inspiration in the studio’s cramped and dusty loft: a set of giant insect legs peeking out behind a foam-rubber human torso. I added a colorful fly swatter, explained my idea to Rob, had my assistants perch on a ladder with the giant legs, and after some work we had our shot.” |
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view Favorite Creating Portraits as presented by: Wall Street Journal |
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Kidnapping Central American migrants who cross Mexico on their way north is one of the latest rackets of organized-crime groups. Neighbors and relatives mourn the husband of Marlene, center. He was killed in a brutal August 2010 attack by the criminal group Zetas. Jose Castro, from Honduras, walks across the ‘arrocera’ in Chiapas, an area where migrants are often robbed and attacked by criminals. Just this year, more than 4,000 immigrants have been rescued by Mexican security forces from their captors. People cross the Suchiate River on a raft. Many migrants cross this river, which separates Guatemala and Mexico, on their way to the U.S. |
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view New Threat on The Way North as presented by: Wall Street Journal |
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These remarkable photographs came to our attention after we published several postcards from a new book on the atomic age in a recent weekend edition, including one that featured a colorized version the atomic bomb test of shot Charlie that you see here. Mr. Verdooner sent us these images after seeing the vintage postcards published in the WSJ newspaper. We were struck by the beauty of the images, and were delighted when he agreed to be interviewed about his experience shooting them. Sergeant Marcel Verdooner was 24 years old on April 22, 1952, when he witnessed an atomic bomb detonation reportedly 10 times more powerful than the one that hit Hiroshima. He was a member of the 301st Signal Photographic Company detachment of 21 photographers assigned to Yucca Flats, six of whom are still living today. Mr. Verdooner describes what he saw as shot Charlie was dropped, in his position about ten miles from ground zero: “The first photo here was taken after the initial fireball was burned out and the stem of the mushroom started to develop from the sand on surface of the desert. The colors in the fireball were indescribably beautiful. This image shows the shock wave traveling across the desert. After I took this photo I had to kneel down, turn my back to the shock wave and brace myself. The fireball was followed by the forming and rising of the mushroom cloud in the second photo. The vacuum created by the fireball sucked material inwards, which creates the mushroom shape.” Shot Charlie was the first public and televised atomic bomb test in the US. |
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view The View from Ground Zero as presented by: Wall Street Journal |
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Ezra Shaw, a Getty Images photographer, shoots divers at the 14th FINA World Championships: “Like any event, I am always trying to get something a little different each day. We had just got a 800mm lens shipped in from London and I decided to take it over to the diving pool and see what I could get. I set up down on the pool deck for the men’s 3-meter springboard prelims. After the first diver went, I realized it was going to be much more difficult to capture the type of images I wanted because the divers were jumping so fast, and the 800mm lens was so tight. However, I started to get the hang of it, and by the end of the session, I got a handful of pictures that I really liked showing the different faces of the divers.” |
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view Into the Deep as presented by: Wall Street Journal |
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Here’s a look inside the Shelton Conn., factory responsible for every single Wiffle Ball that has sailed across backyards since the factory opened in 1959. Their product is so iconic that a few years ago, the Mullanys trademarked the bright yellow color of their bats, much the same way Tiffany & Co. protects the particular shade of blue on its jewelry boxes. Wiffle Ball, Inc.’s one and only factory is located in Shelton, Conn. Here, plastic Wiffle Balls before they are heated and molded. The top floor of the two-story cinderblock building is devoted to packing and storage. The ground floor has an old office with five desks. And in the next room lies the heart of the 15-employee operation, where two injection-molding machines hum along to produce thousands of Wiffle Balls every day. |
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view The Making of an Iconic Toy as presented by: Wall Street Journal |
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Norwegian photographer Espen Rasmussen spent six years photographing refugees in eight countries (Afghanistan, Bangladesh, Democratic Republic of Congo, Colombia, Georgia, Norway, Syria and Yemen). In 2004 Rasmussen discovered a common theme in the stories of refugees he found himself covering in places as disparate as Chad and Serbia, and decided to follow in the footsteps of displaced people the world over. Rasmussen writes about this remarkable opening image: “I took the Janjaweed picture during a trip to Chad in 2004. I stayed in the border areas with Sudan for two weeks, documenting the lives of tens of thousands of refugees fleeing the violence in the Darfur province in Sudan. Many of them lived in huge camps, others were forced to live in dry rivers, so that they could water their livestock. I crossed the border into Darfur together with a local town leader, and after a drive of some hours, we saw a group of armed men riding towards us in the desert. We stopped and talked with them, presenting me as a reporter. After following the Janjaweed group for a few hours, I returned to Chad with a set of images. The next day we got news that the group had crossed the border into Chad and attacked a local village, burning down the houses. The Janjaweed militia is responsible for massive violence in Darfur, and is accused of being armed by the Sudanese government.” You can see the impressive results of Rasmussen’s years covering refugees in his brand new book Transit, or on Transit’s interactive online pages. In addition to the book, the Transit photos are also the subject of a current exhibition at the Nobel Peace Center in Oslo, Norway. |
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view In Transit with Espen Rasmussen as presented by: Wall Street Journal |
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