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Of his Russian portfolio, Bruce Nixon of Leo Weekly, a Louisville publication, commented, “John Ranard’s sojourn through post-Communist Russia has been a journey among the damned…the images seek our compassionate response [but] their meaning is clear: You wouldn’t want to be there yourself. Not if you could help it…this is a descent into the underworld”. Sample portions of these portfolios appeared in Granta and Joyce Carol Oates’s Ontario Review. In Russia, Ranard began to photograph issues related to AIDS and published a photo-essay on this topic in the New York Times in 1997, accompanied by a text by Michael Specter. The photo-essay won First Place for an Issue Reporting Story in the 55th Annual Pictures of the Year Award by the National Press Photographers’ Association. Subsequently, in late 1998, John Ranard was given a full-year contract by the Open Society Institute (Soros Foundation) to continue photographing problems related to AIDs in Russia. He also worked closely with Médècins Sans Frontières (Holland) and the AIDS Foundation East\West for presentation and publication of his photographs throughout Russia in media campaigns. Ranard’s approach to the AIDs problem in Russia was quite different from his earlier work. He did not want to exploit the issue of AIDs through sensationalizing the conditions of its subjects in the characteristic “junkie hell” manner common to this photographic genre. His work on AIDS was objective and reportorial and possessed, as John Fitzgerald wrote in The International Journal of Drug Policy (Nov. 2002, Vol. 13), an unusual “stoicism”. .    When in his early 20s, Ranard underwent treatment for Hodgkin’s Disease. In 1991,  —Preceding unsigned comment added by Hsaya (talk • contribs) 16:54, 11 August 2008 (UTC)