POYi winner Balazs Gardi, who was one of the featured photographers in the 66th POYi Exhibit last year, returned to the Space to present an insightful and heartfelt lecture on marginalized communities facing water crisis.

Balazs, whose works are mostly independent, started his presentation with his images documenting conflict situations in Afghanistan. His presentation also covered communities experiencing water related crisis in Australia, Dubai and even Las Vegas.

Balazs is known for using photography as a base but layering it in way that reaches out to people. His unique presentation was a multimedia feature that included audio, still images and motion graphics.

At the end of the lecture, Balazs shared his views on modern social utilities, such as Twitter, as an independent voice and alternative to traditional media outlets. Social media is a new way for like minded people to share experiences on water related issues that won't appear in traditional media sources.

The lecture was followed by some very pointed and interesting questions from the audience, fielded by an unflappable Balazs.

Despite the gravity of the discussion, the lecture was well balanced with fear, hope and even some humor.

One question in particular focused on the frustration of solving the problem of water crisis and whether an actual solution exists.

Balazs answered very adamantly with "I think every problem has an answer to it...

...I am a very optimistic person with a lot of cynicism."

(All Photos © Unique for the Space)

It's the end of an era.

In 2009, Kodak announced it would cease production of the chemicals needed to develop its popular Kodachrome film. Dwayne's Photo, located in rural Parsons, Kansas was the last lab in the entire world to develop Kodachrome. They took in their very last roll December 30, 2010.

Kodak gave its very last roll of Kodachrome (and rightfully so!) with 36 images to none other than Steve McCurry, who you may remember was featured in our Pictures of the Year International: The World. In High Resolution and was a lecturer for our IRIS Nights series in 2009.  Steve says that Kodachrome was the mainstay film of his enduring and prolific career in photography. What a fitting way to say adieu!

The images from that roll have now been made available and they're just as impressive as you would think. Frame 23, that of an elderly Rabari woman, is above.

Here is a snapshot of Steve from his IRIS Nights lecture last year talking about his iconic image, which was, of course, shot on Kodachrome film.

And below is frame 36, the very last frame Steve shot on that final roll of Kodachrome. It is of a statue located inside of a cemetery in Parsons, Kansas, not far from Dwayne's Photo.

It's like a final salute to Kodachrome!

Take a peak at some other images from Steve's roll on his blog.

By Brooke Shaden

When I picked up a camera for the first time it was not to experiment with photography. In fact, I didn't even like photography. Instead it was to very strategically turn my dreams into reality. The first time I picked up a camera I never doubted that I would be able to create my own dream worlds using this tool. To me, this was a fact and that fact has propelled me into creating my own unique worlds.

As most people do, I start with an empty frame in a camera. The possibilities of what I could fill that frame with are endless. I choose not to point my camera at the world around me and click, hoping to get something magical. Instead, I fill the frame with my imagination. I will not take a picture unless the scene in front of my camera is as surreal and whimsical, or dark and mysterious, as what I see in my dreams. My pictures are staged, very much the same way that a painter chooses his subject, composition, color palette and other aesthetic choices before picking up a paint brush. I make these decisions before a camera lands in my hands, often only taking about five pictures per photo shoot. Every detail is pre-conceived before a piece of equipment ever enters the picture. However, every detail could hardly be conceived of in the world of photography without technology. I am a girl of the digital age.

In my image "Running from Wind," I was able to carefully construct the details of the picture. The girls run in front of the camera, both looking back, insinuating that something is chasing them. Every detail speaks to a timeless scene, a world that is unique from our own yet still touches on reality, and a mood that is not of this world. All of this is possible because of the digital age. That picture was created on a very early, foggy morning, just me, a camera, tripod, and my friend. It was created in a day but conceived of for much longer. My dreams are my reality; I know them very intimately. The joy of living in a digital world is that dreams no longer have to be kept inside. They can be turned into new worlds; they can be our reality.

The journey from the moment I picked up my first camera to my current life has been one of rebirth. The technical pieces that I taught myself along the way are irrelevant compared to the way I have changed how I think. No longer do I imagine the world I want to live in, I live in it every day. To part with my camera now would be like saying goodbye to a piece of myself. The two have become woven together and intertwined, and there is no future for me without photography.

Brooke Shaden's photographs seem like little films, complete with character, tension and a lush visual sense that might easily be called cinematography. One of her exhibited photographs was recently selected by director Ron Howard as one of eight photos used to inspire a short film. See her work in Digital Darkroom which runs from December 17, 2011 - May 28, 2012.

Lynn Johnson, one of the featured photographers in our current exhibition, WATER: Our Thirsty World, was joined at the Space on Thursday by documentary filmmaker, Jim Thebaut.

The two environmental activists delivered a moving recount of the water crisis that included a blend of powerful imagery and stories of local heroes who act for change in their communities.

For what she describes as one of the most meaningful photographic works of her life, Lynn traveled on assignment for National Geographic to Kenya, Tanzania and Ethiopia to learn and document the stories of women and children and their struggle to gather water.

To find these stories, National Geographic partnered with WaterAid, an NGO nestled in the community - that has helped to implement responsible and sustainable solutions to overcome the crisis in these areas.

With the help of WaterAid, water committees made up of local constituents including women, have been established providing women the resources and education to organize and manage water and sanitation facilities.

Lynn's images depict the burden of water and the burden of violence as a connected conflict facing all women in these communities-

the sickness and disease experienced due to contaminated water and lack of hygiene education,

...inadequate human waste disposals due to water inaccessibility,

...and sexual violence and physical abuse due to long distance travels to find safe water.

While Lynn and Jim's lecture focused on the challenges of the water crisis,

it delivers a message of how individuals can create change with global impact right from their very own back yards.

To learn more about how you can create change visit WaterAid.com.