snapixel magazine
issue 6
Portraiture August 2010
Exploring Individuality
Contents
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Self
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Documentary
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Personal
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Artistic
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Travel
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EXtended
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Black and white
Portraiture
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ortraiture is all about the individual. This issue of Snapixel explores extreme variety in the style of capturing a person’s personality in photo: taking pictures of yourself, taking documentary pictures of another, shooting personal portraits of those close to you, taking pictures of people around the world, shooting one person for an extended portrait of multiple photos, or simply shooting in the classic black and white. It’s all about finding the most artistic expression of a person, and bringing it to the community.
Cheers, The Snapixel Team
http://www.keithtsuji.com/ Keith Tsuji Self Portrait, On the Cover:
Editor Kaitlyn Ellison
Art Director Adam Oliver
Chief Operations Officer Ivan Wong
Web Director/ Information Technology Florian Cervenka
Marketing Associate Daniel Israelyan
Photographers: Alexey Gulenko Alyssa Jones AngéLica Vis Ari Scott Bev C Blair Sneddon David Sanderson Eugene Reshetov Félix Bowles Giacomo Marini Ivan Herega Jared Harrel
http://angelicavis.nl/
Natalie Franco
Frost
Josh Rose
Angélica Vis
Josep Mosq Uea Keith Tsuji Lauren Randolph Malin Svensson Marko Leht Nicole Franco Richard Sparey Tk Harpene Zachary Winter
SelfPor
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Self Portrait Malin Svensson
www.malinsvensson.com
rtraits
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Ari Scott
www.ariscott.com
Le Vicomte
FĂŠlix Bowles
http://felixb.snapixel.com
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presenting: collective
T.K. Harpene
www.snapixel.com/portfolio/tkharpene
Duality Duality Nicole is a documentary photographer, Natalie shoots fashion and portraits. In this article Nicole brings us the story of a close=knit group that, until she explored it, was as unfamiliar to her as possible; Nicole brings us portraits of their parents. But even with the differences, the work of both photographers has strange parallels. Each photographer displays six photographs from a project of theirs, and the photographs are displayed intermingled with one another to show the strange connections that the photographs share. The article is plays with the idea of 3-D, the blue represents Nicole’s work, and the red, Natalie’s. You can look at each separately and appreciate it for the beauty and significance it brings you, but looking at them together brings you a thrilling, vibrant, living picture - a whole new dimension of meaning. This is the story of the two sisters Franco.
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Nicole Franco “I’m interested in connecting with others. Communicating and contributing in a meaningful way, but with a creativity I have personalized stylistically and with authenticity. As a photographer, I am looking; anticipating a truly human moment. With intimate intrusion, I photograph the beautiful anonymity within the human family. My implicit challenge is the ability to document the narratives of life found and to translate those stories with significance.” In this issue it is “Lubavitch Culture - originating in late 18th century Russia the Lubavitch movement is one of the world’s largest sects of Hasidic Jews in Orthodox Judaism. Lubavitch Jews are known throughout the world for their devoutly religious customs and beliefs, but also for their philosophy of service and commitment to outreach in the secular population.”
Natalie Franco
“The imagery of my family reflects a projection of the people in my life. The people that surround me are influential in my world. Their presence presents ideas, opinions and questions that affect my existence. I wanted to portray them as unworldly figures that melt away in their environments. The nature of my work deals directly into my subconscious creating these dark and haunting tales of my parents. I am their creation and in return I am re-creating them. “
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Untitled
Alexey Gulenko
www.alexeygulenko.com
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Progression
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The Choosen Josep Mosq Uea http://inacabat.snapixel.
James Hazley
Blair Sneddon
http://blairsneddon.com/home.
Reina Mora
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Josep Mosq Uea
http://inacabat.snapixel.com
www.manipula.co.uk David Sanderson Chelsea Snapixel Magazine
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Korina
Ivan Herega
http://fantom.snapixel.
Kids
Josh Rose http://joshrosephotography.com/
Amanda Marquez
Alyssa Jones
http://iknowalyssajones.snapixel.com/
Self Portrait
Malin Svensson
www.malinsvensson.com
Get.Wet (Versions I & III)
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Zachary Winter
http://zmonst.snapixel.com
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Bright Eyes Giacomo Marini
http://mgphotography.snapixel.com/
Mari Ronimois (Below) and Mart Siilivask (Above) Marko Leht
http://l22tsesupp.snapixel.com/
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Andrew Richard Sparey
http://richard.snapixel.com
In the Shadows 2 Bev C
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Food for Art The Slideluck Potshow By Katy Berry
The first Slideluck Potshow took place in 2000 in photographer Casey Kelbaugh’s backyard. Kelbaugh says The Slideluck Potshow is an event that started in the idea was essentially born out of frustration. At the time, the backyard of one man’s home in Seattle and its success social outlets like Flickr, Etsy, and Facebook were non-existent has snowballed over the past ten years without falling prey to and opportunities for artists to share their work were in commercialism or straying from its original purpose to unite limited supply. Kelbaugh recalls, “everyone was either in their communities through art and food. What started in the United studios, darkrooms, or on their computers doing their own States now spans the globe, and artists from almost every thing. There wasn’t a way to come together and process work continent have come together under the vision of founder Casey amongst one another and talk about it.” Kelbaugh wanted to Kelbaugh to share in the oddly unifying power of slideshows create a community-driven event that strengthened the local art and potluck dinners. The format has always been the same. If scene. He was also frustrated by the constant dead ends artists you’re an artist, you can submit a five minute slideshow of your faced while trying to build their careers. “No matter which work. As long as it is in that format, any medium is allowed pyramid you’re trying to climb in the art world or the editorial and encouraged. If you’re just there to watch, all you need for admission is your best homemade dish and you’re good to go. world… there’s no flexibility to try and break in. It’s the same What ensues is an event lasting several hours where local artists people hiring the same people they’ve worked with somewhere else. There is always a prior relationship.” Kelbaugh wanted to eat, mingle, and support their colleagues in a unique setting. create exposure for those who wouldn’t be given the chance
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“What makes it so amazing is you’re in a room of a hundred or thousand people and you experience it together...you see everything from still life, to war, to conceptual fine art, to beauty and fashion” -Casey Kelbaugh
Photos taken at Slideluck Potshow events by Casey Kelbaugh
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otherwise, and offer relief from the exclusivity of creative industries. He put out a call for slideshows of work to be presented in front of a live crowd, but to make his idea more unique, he injected an all-American potluck theme. The addition of free food would not only draw a crowd of hungry artists, but create the sense of familiarity and comfort that only a casserole could bring. Kelbaugh set the stage, but it was the community’s enthusiasm that would ultimately make or break the event. Needless to say, the public embraced Kelbaugh’s idea with open arms, and it’s been growing strong ever since. In fact, this past May, the Slideluck Potshow broke the Guinness World Record for the largest potluck dinner ever recorded with nearly five hundred dishes contributed. If you’ve never been to one, here’s how a Slideluck Potshow works: it begins with an hour or two of mingling and eating, the food table being replenished with new dishes throughout the night. When the lights are dimmed, everyone gathers to watch the show. According to Kelbaugh, artists use their images to build “crescendos and valleys in a linear format.” Some are better received than others, but each one is unique. Presenters are discouraged from narrating their pieces so the slideshows are often accompanied by music, sometimes even a live band. Without explanations for each piece, Kelbaugh believes the work is forced to speak for itself, which is more powerful. “What makes it so amazing is you’re in a room of a hundred or a thousand people and you experience it together…you see everything from still life, to war, to conceptual fine art, to beauty and fashion. And you look at it all on one dimension, and its really interesting to bring those different people together because they don’t normally cross paths… and when you’re experiencing your own work being shown its exhilarating. You’re creating a mood and an experience… I think that there’s nothing like it.” He also encourages people to be “edgy” and submit slides of unfinished pieces or works in progress. Welcoming this vulnerability helps put haughty art egos to rest and create a more supportive, constructive atmosphere.
skip the fly-on-the-wall-tourist experience, and instantly give back to a community, whether it be in Seattle or Berlin. And since he has made it possible for volunteers to produce their own Slideluck Potshows, he is constantly receiving invitations from all over the world to visit other shows. Since the event is in high demand, Kelbaugh has recently gone back to the drawing board to create an offshoot of the Slideluck Potshow with the purpose of producing events quicker and more often in order to reach more communities. Because each Slideluck Potshow lasts four to five hours and features roughly twenty-five artists, it can take months to coordinate. Kelbaugh says not everyone wants to attend such an involved event that can sometimes draw a crowd of a thousand or more people. As a solution, Kelbaugh has created a more simplified version, which he has decided to call: Slideluck. This event will be held in more intimate venues, and will not include a potluck dinner. Instead, Kelbaugh will coordinate efforts with community based programs that support the culinary arts. Working with young chefs, community sustained farms, or underground supper clubs, Kelbaugh will expand the benefits that the Slideluck Potshow has had for local painters and photographers to local foodies, farmers, and chefs. This collaboration will help support the slow food movement and the use of local resources as well as open up the availability of smaller and more intimate venues, like bars and restaurants.
Another major difference between the original Slideluck Potshow and Slideluck, is that the latter will require a small admission fee. These funds will help cover the large production costs of the Slideluck Potshows, which will continue to be produced, through less frequently. The funds will also keep Kelbaugh’s office in New York running. Kelbaugh is careful to explain the reasoning behind this decision, to prevent it from being misconstrued as a sell-out move. “For years it was like, bring your vegetable lasagna and a bottle of pinot grigio. I didn’t want any cash to exchange hands at the shows. I wanted to keep it extremely pure. But five years From a marketing aspect, the Slideluck Potshow levels and a line of debt later, we’ve created a false economy. It does cost the playing field. Kelbaugh is very inclusive when considering money to produce. So now we’re doing a five or ten dollar kind of slideshow submissions, so amateurs and professionals can be seen admission. We’re trying to keep no barriers for entry, it’s meant to as equals. Each show is curated differently. In some cities, Kelbaugh be very Potshow. Very inclusive. And very much about community participates in the curation, while in other instances special and bringing people together and creating new opportunities for guests are invited to help. Some cities, like Chicago, assemble a the whole community, not just artists.” committee. “It depends on the situation, but in every case we’re shooting for a wide range of subject matter and genres, and a The first Slideluck is set to launch this Fall in the city diverse range in terms of experience and how high or low profile where it all began, Seattle. However, if you’ve never had the fullthe artists are. We try to keep it fresh and not just show the same on experience of a Slideluck Potshow, there is one set to happen old people.” Participating artists are also able to use the Slideluck in San Francisco this November, though the date has yet to be Potshow website so their work remains available for viewing long set in stone. Interested participants can view the website, www. after its live debut. Kelbaugh says he’s seen new artists steal the slideluckpotshow.com, to find more details or to search for other show from world-renowned professionals. He’s even seen the upcoming Slideluck Potshows in their community. They can also event launch careers and spawn remarkable life changes in people. view past slideshows, get more information on how to submit work, But for Kelbaugh, the most fulfilling aspect of his job is the amount and even learn how to volunteer at or host a Slideluck Potshow in of traveling that comes with it. He has the unusual opportunity to their own community.
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“Kelbaugh is very inclusive when considering slideshow submissions, so amateurs and professionals can be seen as equals�
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Photo Credits (Title, Slideluck Potshow User Name)
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1 31 Knots 2007-1, Alicia J. Rose 2 Octopus.Spain, Callie 3 OCTMARanaglyphs 13, Laurence L. Zankowski 4 Domino Sugars, Kathleen Tyler Conklin 5 Cancha Neo 2, David Ruiz 6 Sean, Jennifer 7 Nina - Puff, Amber Gray 8 Untitled, Skip Hunt 9 The Neon Virgin of Saigon, Darragh Mason Field 10 Sleep, Marteline Nystad 11 Victoria, Jason Lloyd Miller
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Becoming SHE generations of women all over the world
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Photographs by Eugene Reshetov Sancti Spiritus (Previous Page) The town of Sancti Spiritus is a charming colonial place that is completely overshadowed my it’s more famous neighbor, Trinidad. Maybe that is the reason foreigners are still looked upon with curiosity by the locals, such as this young girl on the midday street.
Brahmin’s Mother, Nepal (Following Page, Bottom Right) I was very fortunate to visit a small village of farmer-brahmins in Nepal. The only reason I, a foreigner, was allowed into the houses of members of the highest caste of priests in Hindu tradition, was because my guide was Brahmin himself, hailing from this very village. Everything in a Brahmin’s house is governed by rituRabat Girl Tortilla Makers, Guatemala al- from meals, to cleaning, to looking after (Opposite Page, Top) children. Women, even mothers of BrahIn the blue-washed narrow streets of Qa- (Following Page, Bottom Left) sbah de Ouadais, the old centre of Rabat, In Guatemala, every woman is taught the mins, such as this old woman, are not alMorocco, people tend to be shy - especial- art of making tortillas from a very young lowed to share meals with their husbands ly around camera-weilding foreigners. But age. They are sold and eaten everywhere or sons, and are busy serving and cleaning and with anything, and on busy market after their men from a small area of floor this girl’s curiosity got the better of her! days, such as here in Chichicastenango, separated from the Brahmin’s seated spot tortilla makers start their day early, before by a small clay or rope barrier. Thirst dawn. (Opposite Page, Bottom) Graciela This photo was taken in a small Himalayan Old Woman, Kyaiktiyo (Final Full Page) village called Tukuche in the Annapurna (Following Page, Top Right) This woman is somewhat of a photo-ceregion of Nepal. On day 11 of my hike The last steep mile to the Sacred Golden lebrity in Havana. She is bay far the most around Annapurna, I stumbled upon this charming village full of school children. Rock Pagoda in Kyaiktiyo, Myanmar is colorful and striking of all women in the One girl took a drink out of a faucet right passable only on foot, amidst the stalls sell- Old Town posing for pictures in exchange in the middle of a street, and looked visibly ing food, souvenirs, and Buddhist amulets. for tourists’ hard currency. I paid her, too, relieved of thirst. She seemed oblivious to In the depths of one of the stalls I noticed but instead of taking pictures when she was posing, I waited until she relaxed a the presence of a foreigner with a camera, the leathery face of an old woman. little and looked more natural. and I was able to comfortable take several pictures of her. Security Guard (Following Page, Top Left) The only women at this cattle market just outside of Kathmandu was a petite security guard, who nevertheless seemed to have the respect of dozens of weathered men buying and selling buffalo, goat, and sheep.
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Lauren Randolph takes pictures of her sister, Caitlin. Hundreds and hundreds of pictures. Here are just a few, in the extended portrait of a redhead.
The Redhead
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Past and Present Previous Issues
snapixel MAGAZINE
ISSUE
snapixel
1
MAGAZINE
snapixel
ISSUE 2
MAGAZINE
ISSUE 3
COVER
COVER
CAPTURING THE PHYSICAL, LIVING & ABSTRACT FEATURES OF
HABITAT
BEAUTIFUL BLUR
FEBRUARY 2010
MAY 2010
snapixel
snapixel MAGAZINE
MOTION, MANIPULATION, AND FOCUS: CAPTURING THE MANY MANIFESTATIONS OF
LANDSCAPES
Snapixel photogr aphers capture the var ious places in which we live, wor k and play.
magazine
ISSUE 4
issue 5
COVER
TRAVEL PHOTOGRAPHY
July 2010
BLACK & White
JUNE 2010
Upcoming Themes make your submissions at www.snapixel.com/magazine
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Action, Sports, Motion
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Sequence/Series
Long-Exposure
Worldwide Moment
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