205DPI - No.26

Page 1

205dpi Issue Oct’15

Shozo Karoto Designer www.flickr.com/photos/21192145@N04

This issue Oct’15

Who are we? We are photographers. Journalistic ones. We document, record and capture anything we find interesting, beautiful or captivating. Sometimes our stories may seem strange or unusual, but we are the eye behind it all; and that’s what this magazine is all about. From cakes to paralympics, graffiti to kickboxing, our editorial documentary style takes us around Cornwall, the UK and the rest of the world. Follow us and our collective of photographers as we capture our adventures, our remarkable stories and our everyday lives.

What’ve we been doing? As winter peeks its cold head round the corner, we’re settling in for the cups of tea and blog-browsing. We’re still looking for people to join our production team so if you’re interested, drop us your CV and Covering Letter to team@205dpi.com

p.s. keep updated: 4.




42 Feature Story ‘The Up and Comers’

An insight into the opinions of some up-andcoming photographers and their view on Universities.

22 2. Boris


Documented a breath taking, record breaking hot air balloon flight in Northern France.

Monthly Single Images: Maxence Herrmann Rick Schwartz

30 3. Lauren


Followed the story of the British Fox, exploring their wild habitats and fox rescue and rehab charities.

1. Niek De Greef

Gives an alternative representation of the everyday buildings of Holland.

36 4. Ellie


Photographed a Para Bench Press Open event, exhibiting the many strengths of ex British forces.


Real Talk with...

...the up and comers.

For those over the age of 17 in education, November brings up the thought of UCAS and the big questions around ‘University or not?’ But University is not just the next step for those progressing from college upon completion of their A levels, but it can also be used as a change in direction for those wanting to adjust their career. In most industry’s, a degree can often lead to more exciting and larger financial opportunities, but today we ask the question: is that relevant in the photographic industry? Do you need a degree to become a successful photographer? This article explores the opinions of 8 photographers both who have attended University and those who have entered the industry with no higher education. This article is not designed to argue whether a degree is right or wrong, but to show both sides to a question that has neither a right or wrong answer. Words: Tom Sandberg

<<< Name: Roberto Payne Univeristy: University of Portsmouth Course: BA (Hons) Photography Year of Graduation: 2015 Current Occupation: Barista Do you think that attending University is useful in the photographic industry? Personally, I found going to university a real learning curve. It taught me independence and how to manage my time better than I ever could. It was also infinitely useful for teaching me about the photographic industry and practice. However, studying photography at a university level also taught me that (for the time being at least) I should keep photography as a hobby. I loved every single second of university, in and out of the classes, but I realised particularly in my third year that I don’t have the real cut-throat, killer instinct that you need to have in an ever-growing and competitive industry like photography. What my university excelled in was constant contact with talented and world-famous photographers, (Jochen Klien, Faisal Abdu’Allah etc) Dinu Li was our head tutor for our final year. And because of this, the people around me that had the attitude to work 25 hours a day and 8 days a week have been propelled into the spotlight very quickly and have had amazing opportunities before they have turned 25 years old. I am a firm believer that University is essential if you want to work in the photographic industry. Just be prepared to work harder than you ever have before to get yourself there.

Feature - Real Talk with The Up and Comers


^^^ Name: Molly Michelin University: Falmouth University Course: Marine & Natural History Photography Year of Graduation: 2015 Current Occupation: Art Technician Do you think that attending University is useful in the photographic industry? I think it has its uses, but if a photographer is going to be successful, I think that drive has to be within themselves as a person either way. Perhaps University is there as a means of enabling and realising and extending your skills. But I don’t feel uni ‘taught’ me photography, I think it just gave me opportunity and security for 4 years to challenge and explore myself as a photographer.


Feature - Real Talk with The Up and Comers

^^^ Name: Tom Sandberg University: Falmouth Univeristy Course:BA (Hons) Press and Editorial Photography Year: 2015 Current Occupation: Freelance Sports Photographer Do you think that attending University is useful in the photographic industry? For me University is a double-edged sword, I would not be in my current job without attending university. The opportunities presented at University can be life changing and put you into a wonderful position as you enter the working industry. University can be used to become the photographer that you want to become and to create the style that you want to represent your own work. However if as a photographer you know your style or which part of the industry you wish to enter, University could become a burden as you could become constricted with the briefs and modules and not able to shoot in your preferred style.

Feature - Real Talk with The Up and Comers



Feature - Real Talk with The Up and Comers

<<< Left Name: Megan Hood University: Arts University Bournemouth Course: BA (Hons) Photography Year: 2015 Current Occupation: Arts University Bournemouth Students Union Vice President Education and Welfare Do you think that attending University is useful in the photographic industry? I think attending University is beneficial in so many ways within the photographic industry. To the employer or client it shows you are dedicated to sticking to something and working at it for three years. For your own benefit you are taught so much and prepared for so many different scenarios within the industry. At my university there were numerous opportunities where we had visiting lecturers come in from the industry, not necessarily practicing artists but industry professionals where they offered advice on so many different topics to prepare you. I don’t think I would have had the opportunities I have had without my degree behind me, or at least my employer being aware I was studying at the time. University taught me how to think about things critically and consider things that I’d never even thought about before, which I feel is definitely something that can’t be taught through experience.

<<< Right Name: Kareem Ab University: Barking & Dagenham College/ University of East London Year of Graduation: 2014 Current Occupation: Freelance Photographer Do you think that attending University is useful in the photographic industry? Yes, I have met many photographers from the guest lectures who have indeed helped with my career within photography. University is also a good way to try things out before entering the industry because the support you get from lectures us vital as your able to experiment. But I don’t feel it’s necessary to study photography at university when you can intern or assist other photographers and really learn on the job.

Feature - Real Talk with The Up and Comers


Maxence Herrmann Monthly single image


Holland Upfront Niek explains his way of seeing an alternative side to dutch architecture.

Over the past year or so I have been unsystematically visiting villages in the area where I live, the province of Noord-Holland in the Netherlands. The project is developing into a short series of works, where multiple themes come together. The main focus is the formal frontfacing images of buildings, then branching off into subcategories of run-down locations, and other specific types of buildings.

then evolves into groupings of photos that just naturally develop and belong together.

These series’ have developed unintentionally. I usually shoot the things that catch my eye, and it’s not until later, behind the computer, that I spot similarities between each image. This

It’s usually the everyday norm that interests me. Somehow the things that I find appealing other people find ugly or boring. I feel magnetised to certain elements, often the unusual rotting barn, blistered and

18. Niek De Greef

Most of the time I just drive or walk around. I take a camera wherever I go, no matter what company I’m with or the destination. It’s a simple and informal way of shooting – I see something that catches my eye, so I photograph it – sometimes not even getting out of the car.

worn walls, decaying rusty objects. Being able to photograph them is a way of me sharing that way of seeing with everyone else. Not everyone notices the beauty in these buildings, until I’ve framed and photographed them – almost like a formal portrait, capturing its ‘good’ side and all its honesty. Light, of course, makes a big difference too. In Holland you mostly need to work with overcast skies and clouds. The famous photographers ‘golden hours’ are pretty rare. But you can find beauty in this as well. Clouds in the Netherlands can be beautiful and unique, as is it widely acknowledged

by our Golden Age painters. I feel my photography provides a great way of communicating these unusual sights to the world. Framing them in a way that might not be seen by everyone. The shadows, the colours, and the imperfect symmetry are my little area of pleasure, and it’s the unseen side of Holland.

Niek De Greef


Flight Of A Record Boris documented a record breaking balloon flight in northern france.

The Lorraine Mondial Air Ballon is a biennial event established in 1989. It is the largest gathering of hot air balloons in the world. It takes place on the former NATO air base Chambley-Bussiere in Meurthe et Moselle in Northern France. It takes course over ten days, over which a thousand balloons from 70 nations take flight. Philipe Buron Pilâtre (descendant of Jean-François de Rozier Pilâtre, one of the first two aeronauts of the history) is the creator of the Lorraine Mondial Air Ballons. The 2015 event took place over this summer. Although there was bad weather to start

with, on the 26th July, the clouds parted and allowed the numerous balloons to take flight. Not only was it a beautiful day, but it was also a world record attempt of simultaneous balloon flight. In the end, after counting in a helicopter by a bailiff, 433 balloons aligned in the Lorraine sky over the course of 6 kilometres – the most balloons to ever take off at the same time and fly in the same place. There is no real difficulty to take pictures at this kind of event. Any pro or amateur photographers around the take-off area are allowed to take pictures. And to get a good photograph isn’t hard either on such a

Boris Untereiner


beautiful day. But being such an exclusive and special occasion, I felt it important to gain further access. After a tough task of contacting the events media team, I gained a press pass and access up in the air on-board a balloon. The morning of the flight, I woke up at 4:00 am and had an appointment at 5:30 on site. The kits I usesd was my Canon 7D with a sigma 10-20mm F4-5,6 EX DC HSM lens. It’s not possible to take different cameras with different lenses in a hot air balloon because there is simply no space inside with the other people – moving around the balloon is very difficult in itself! I took an

26. Boris Untereiner

ultra wide angle lens to help capture the maximum of balloons in the sky with the nature in background, and try to put the viewer in my place. Once up in the air, I was at the drivers mercy, as he directs the travel and direction, so I shot what was offered to me. Being in a balloon flight is exceptional, it’s like being a bird. No contact with soil, or restraintts of being in a cockpit. The silence (except when the burners are lit) is truly unique, as your soak in the views. But this is even more so whilst being surrounded by 430 other hot air balloons.

Boris Untereiner


“Don’t shoot what it looks like. Shoot what it feels like.”

- David Alan Harvey

Vulpes Vulpes Lauren presents her ongiong project about the lives of the British Foxes.

Vulpes Vulpes is a photographic collection of work on the Red Fox, documenting many aspects of their lives. It focuses on three main aspects, these being: foxes in the wild, roadkill and a larger story on the rescue and rehabilitation of them. I found photographing a wild fox essential for the project as it represents how they are meant to live naturally, in the wild. It also presents some struggles that they face, such as suffering from Sarcoptic Mange and other illnesses. Roadkill, although rather a grim subject, needed to be documented as it is one of the main causes of mortality to foxes, and thus a major aspect of their story. And finally the rescue and rehabilitation of foxes which is my largest area of focus. I mostly documented the work of a charity called The Fox Project which is an incredibly giving organisation. It presents illnesses and injuries that foxes can get and how these are treated, whilst documenting the work that the volunteers do whilst trying to recover them. You can find out more about The Fox Project at www.foxproject.org.uk

32. Lauren Stevens

Lauren Stevens


Para Bench Press Open Ellie reported on a truly unique sporting event like no other.

An event for competitors from ex-forces charity Help for Heros competed along side other budding Paralympians. When preparing for a documentary photoshoot, it’s often hard to guess the outcome or the aftereffects of the day. I’ve attended shoots before expecting to attain that ‘magic frame’ and for one reason or another it doesn’t really happen. Equally, I have been on shoots expecting to just shoot a standard event, but instead captured something incredibly special. The British Weightlifting and ‘Help for Heroes’ Para Bench Press Open was one of those events. As expected, I arrived on location and got on with the job at hand. I was given the freedom to roam the event as I wanted and allowed an insight into the Help for Heroes world. The event in itself was quite low-key, with only a single bench press set up in the middle of the room with the judges in a triangular formation around it. Having found out the structure of the day I knew that each competitor would get four individual bench presses (three that could be scored and one as a ‘show’ lift) so I set aside to capture these, bearing in mind not only my own personal brief, but to capture the photos for my clients as well.

after dissecting and inspecting the frames to create an edit for British Weightlifting and Help for Heroes I couldn’t help being charmed by these images. Not all of these men are ex Forces, but they all unite under the sporting term ‘Paralympic’. Bench pressing is an impressive sport alone, and the weights these guys were lifting were extraordinary, and in true honesty I’d partly expected the Heroes to seem a little vulnerable. But in reality their small weaknesses were nothing in comparison to their strengths. These frames capture only a small aspect of the power these men are capable of. They are living proof that strength is not only a physical feature but a mental one too. To me these men are our generation’s true role models.

The event sped through quickly and although it was a remarkable event, I wasn’t really sure that I’d captured anything special. I went home a little uninspired by how I had chosen to document the event. The subject was so inspirational but I was not entirely sure that I had quite captured it. However,

Ellie Hetebrij


Rick Schwartz Monthly single image


This issue’s stars 1. 2.

Maxence Herrmann


Niek De Greef

‘Holland Upfront’ fromthepolder@gmail.com www.flickr.com/photos/81891287@N04

Boris Untereiner

3. 4.

‘Flight of a Record’ +33 611166364 contact@borisuntereiner.com www.borisuntereiner.com

Lauren Stevens ‘Vulpes Vulpes’

07503901113 laurenstevens2013@gmail.com www.laurenstevensphotography.co.uk

Ellie Hetebrij

5. 6. 44.

‘Para Bench Press Open’ 07531 135192 ellieherebrij@googlemail.com www.elliehetebrij.com

Rick Schwartz


With thanks to.. Lois Golding

Editor-in-chief www.loisgolding.carbonmade.com

Tom Sandberg

Production Manager www.tomsandbergphotography.wordpress.com

Matt Cox

Brand designer & sign writing god Instagram - mattcox904

Special feature photographers

Roberto Payne - www.robertopaynephoto.com Mollie Michelin - www.mollymichelinphoto.co.uk Kareem Abdul - www.kareemabdul.com Megan Hood - www.megan-hood.com Tom Sandberg - www.tomsandbergphotography.wordpress.com Harry Trump - www.harrytrumpimages.co.uk

Toby Ellis & Tristan Potter General assistance.


Shozo Karoto Designer www.flickr.com/photos/21192145@N04

To contact for requests, questions or more information: team@205dpi.com All images and text published in 205dpi are the sole propertry of the featured authors and the subject copyright. 2015 Š 205dpi