Jokers deliver flicker-free daylight to capture both stills and video on the same set, at the same time. They
work just like a flash head. Their light shapers are incredible, and Jokers adapt to most of the reflectors you’ve
been using. Jokers are in rental across North America:
Calgary –– The Camera Store
Chicago –– Dodd Camera – ProGear
Cleveland –– Dodd Camera
Dallas –– Bolt Productions
Los Angeles –– Jaman – Milk – Pier 59
– PIX – Siren – Samy’s
Miami –– OneSource
Minneapolis –– Flashlight Photorental
New York ––
– Drive In – Headlight – K&M – Milk
– Pier 59 – Root – TREC
Orlando –– Central Florida Strobe Rental
Phoenix –– Loft 19
San Francisco –– DTC Berkeley
Toronto –– S1 Group
Vancouver –– Beau Photo – Flashpoint
Light Once. Shoot Twice.
PDN Classified 17a.indd 1
The newest of the Joker generation of daylight fixtures, the
Joker 1600 is comparable to over 6000W of quartz fixture
output and produces twice as much, or one full stop more
light, as our Joker 800.
NEW Joker 1600 – Not Just Another HMI
3/12/12 4:26: 22 PM
Hand-drawn Clipping Path
· Precise hand-drawn clipping-path, masking,
outline service
· 6 years in service to the industry
· Reliable quality
· Low price
· Fast turnaround time
More samples on our website
Telephone:626-300-5989
Email: proknockout@proknockout.com
www.proknockout.com
EXPOSURES
Young APCLS rebel, Lukweti to Pinga road, Masisi Territory,
North Kivu. Photographer’s own sunglasses.
custom film holders that would accommodate the
9. 5 x 20-inch Aerochrome rolls. He also worked with a
wood 12 x 20 camera to create panoramic landscapes.
Beyond its odd color palette, Aerochrome appealed
to Mosse as a symbol of “twentieth century cold war
military surveillance technology.” By applying a tool
of military surveillance to documentary photography,
Mosse hoped to “create sparks of meaning between
the overlay of forms.”
When he first traveled to Eastern Congo, Mosse
knew no one, didn’t speak the language (French) and
had very little money. He spent his first trip in Catholic
missions, frustrated at his inability to get around.
Eventually he stopped leaving his room. The frustra-
tion of being unable to engage with the story was part
of the point of being there, Mosse says. “Conflicts very
rarely manifest or arrange themselves in the concrete
ways that the camera’s lens requires. Congo particu-
larly, the more I read around the subject, I realized how
opaque the conflict is, and how byzantine, convolut-
ed, repetitive, incomprehensible.” The complexity of
the conflict there would be a constant reminder “of
my own inadequate capacity for representation,” he
writes in the book.
As journalist and author Adam Hochschild writes in
an essay for Infra, the reason the West largely ignores
the Democratic Republic of Congo is that the multiple
armed factions vying for control make the war there
so difficult to understand. “Americans, in particular,
prefer foreign conflicts where there seem to be clearly
identifiable heroes or villains,” Hochschild writes. “But
Congo’s multisided war does not offer this, and as a re-
sult it has received remarkably little press coverage for
a conflict with one of the highest death tolls any where
since World War II.”
“I was attracted to this lack of being able to get my
