205dpi Issue Marâ€™16
Kristina Sabaite Illustrator ‘Galician Dance’ www.kristinasabaite.com From the illustrated book ‘Music Kisses’ writen by Gloria Mosquera Roel, edited by Galaxia, Spain.
This issue Marâ€™16
Who we are
We are a small, passion lead, non-profit organisation, focused on displaying some of the most exciting up-and-coming arts across the globe. From working students, young professionals, to well seasoned artists, 205dpi displays the whole mix. With photography as our focal point, we document, capture and display anything we find interesting, beautiful or captivating. Follow us and our collective of photographers as we capture our adventures, our remarkable stories and our everyday lives.
Spring is in the air! And itâ€™s in our stories too, each featuring their own spalsh of unique tone and colour.
8 Feature Interview
20 Boris Milas
2 & 64
Artist Special Feature
26 Kai-Ho Zheng
40 Nathan Klein
Monthly Single Images
46 Ella NicholasFrench
32 Lance Sagar
52 David Spector 5.
Editorâ€™s Note Our new change in direction has breathed a new life into us all at 205dpi, helping us start the new year fresh. A quarter of the year has gone by and 2016 is moving fast.
Have a think back to January and those New Years resolutions that you made, did you keep them? Did you make any photographic resolutions? To shoot more, to be more creative or to push yourself up the photographic ladder and have you achieved any of those resolutions yet? With spring on our doorstep and the winter blues disappearing into the past, the change in weather brings with it more light and great colours and wonderful opportunities to make stunning photographs. But if your inspiration has run a bit dry and the cold months have stifled your creativity or stopped you from achieving those photographic new years resoultions, then we hope our new issue thatâ€™s jam packed and bursting with colour can spring you and your photography forward. We hope you enjoy.
Tom Sandberg - Production Manager
Image by Nathan Klein See more on Page 42
Real Talk with Artur Debat
â€œNormally I do what I want, this is the part I like most about my job. No deadlines, no pressures.â€?
Photographer Artur Debat is a pioneer in his realm of photography. Having self-made his career through the use of social media, Artur has climbed up the ranks in the industry step by step. He has truly capitalised on every new opportunity that the digital age and Internet has provided, leaving him as a successful contributor for the American stock photo agency Getty Images. In this interview, Artur talks about his routine within his job, and how he always provides the images that the public want.
Hi Artur! Can you explain your past and journey into photography? How did you land the job working for Getty? Well I started becoming curious about photography in 2005, more or less at the beginning of the first big digital cameras. This helped me to experiment with all kinds of pictures. It also helped that this was around the time of the start of social network especially sites like Flickr. This let me share my work and interact with people around the world and learn more about photography. The effort that I make with my images lead many people including Getty
Feature - Real Talk with Artur Debat
to get in contact with me and many other people to start selling my images. I didnâ€™t get much attention from Getty at first, I was totally shocked when I sold my first image, it came through Flickr. Flickr was my most important tool to start using in this business, two years later Getty split from Flickr and all the people that were part of that association became a part of Getty with our own picture house. The most important change is that we donâ€™t have to wait to receive an invitation from Getty about our pictures, we can send them directly to the editors. How does a job for Getty work? Do you just have freedom to shoot whatever you like all the time or is there an itinerary? Normally I do what I want, this is the part I like most about my job. No deadlines, no pressures. We have some lines that Getty send to as what customers prefers in their searches. I also make sure I know what is trending in Photography by searching social networks like Instagram or Flickr to make sure Iâ€™m up to date. I also make sure I know what my best selling images are so I know what the customers like the most. Do the re-occuring ideas throughout your Getty Portfolio form from your own ideas or from something Getty has requested? (I.E iPhone landscapes) The lines that are given by Getty makes the trend of your pictures. This is good because the other way we probably be more lost in the vast world of stock photography. Sometimes I am working on themes that are proposed to us by Getty. I always like that my portfolio expresses all forms of photography and
are not all the same style. If I always did the same kind of pictures I would become boring but what I actually like is learning new ways to make better photography and new styles. This also helps my portfolio and makes it sell better as you can attract the attention of many customers, not just one type. What does it take to become a Getty photographer? What sort of skill set and experience do you need? As we are from Moment House that comes from Flickr, Getty prefer people that take strong photos and create photography that trends in the world at this moment in time which pleases the customers. I am a trained architect but what I learn in my studies is to understand the perspective and be curious about what is surrounding me. I think that people have to teach themselves and that when you are learning from other people you are learning general methods but not a personal
method that applies directly to you it is much more general. But when you teach yourself, you get a different point of view that nobody else has. Are there particular images that always get lots of interest? Does this mean thereâ€™s a guaranteed â€˜formulaâ€™ for a photograph to sell successfully? There is, the kind of photos that are best sellers are those the express a moment of euphoria and natural fun. That adrenaline in a moment of celebration capturing the peak of explosion and fun in an attractive environment, this I think is always a good way to make photos sale. You must travel a lot, get loads of creative freedom and exciting things to photograph every day. Is there anything NOT to enjoy about your job?! Actually, I really love it all! The freedom and
Feature - Real Talk with Artur Debat
Feature - Real Talk with Artur Debat
the ability to discover new places is the best. But when I have nothing to shoot it is the worst part, I always work on ideas but you do not always have the opportunity to take good pictures. Sometimes when it is up to you to decide what pictures you have to do what theme to do, you can sometimes feel a little alone and until you find the result at the end you don’t realise you had been doing fine all along. What’s your most memorable shoot or photographic experience? What I really like is to find that moment when the photographer becomes invisible, when nobody cares about if you are taking pictures of them because they are the focus of the show or the celebration. When the crowd is having a beautiful moment and everybody is having fun together and working like a whole, it’s moments like these that are the reason I do my job. What do you recommend to those who wish to work for a big photo agency like yours? Just take pictures because you really love it, don’t care about anything and try to find a personal style. Be curious and always keep an eye on what is surrounding you in any moment you can get the opportunity to get a nice pictures. Getty are always searching for new photographers on social networks and the internet so make sure you are out there. Interview: Lois Golding
John Liot Monthly single image Textile by Jess Ball www.johnliot.com
Closing Time Boris photographs a series of slowly disapPearing buildings.
These are my portraits. Portraits of colour and shape. Portraits of people, without people. Portraits of the past, and the developing future. Everyday urban landscapes fascinate me. I love seeing the old and new, and watching them meet each other in the middle. I photograph mainly the industrial areas of Perth, Western Australia, past closing time when no one is around. Although there are no people in the photos, you know they are there. The traces of them are left behind, you just cannot see them, but somehow you know who they are through the choices theyâ€™ve made in designing these buildings. Each month, there is a new building. Sometimes the developers bulldoze the old ones to make way for the new modern cubes. The places in my photographs are a moment in time, captured before they change and develop into something new and shiny. Although they are slowly disappearing and often a little worn and tired, I find a happiness within them. They are bold, colourful, and brave. They are tucked away amongst the plants and bushes, but you cannot miss them, they cannot hide. Itâ€™s this brashness that I love. There is no more too it â€“ a simple love for the unacknowledged happiness they provide.
FIGURE Kai Ho shows us his beautiful fashion portraits
I’m a photographer from Taiwan, focused on fashion editorial photography and telling the story of an item of clothing. Having studied photography, it is now my profession and I draw inspirations for it every day. All the fashion pieces I photograph make a statement, and the way they are styled and their attitude is very important. The clothes are a mixture of high street and homemade, and each photograph is focused on making the clothing speak for itself, all I do is capture them. I choose a high contrast and saturated style, mainly because I like things to be bold, complimenting the clothing’s loud statement – you cannot miss it! Artificial lighting allows me to achieve the consistent surreal glow and aesthetic, and I always enjoy working with it. I use both amateur and professional models because I believe having a variety of differences is important – be it their facial structure or the way they move. These are my photographs from multiple fashion projects.
Accidental Love Lance tells the story of how he stumble across his all-time favourite hobby.
I started freediving by accident. I found myself on the East coast of Borneo and was looking forward to a few days of scuba diving. But it turns out you have to plan these things a little better than I did, as none of the dive shops had any gear left for me to hire. I simply couldn’t accept that I wouldn’t get to dive in one of the most amazing underwater environments in the world, so I asked the question “do I even need the gear?” My experience as a competitive swimmer coupled with some previous scuba diving experience gave me a head start. Freediving is dangerous and I wouldn’t recommend it to anyone without previous experience or a tutor. Nevertheless, my first dive was incredible and I’ll never forget it. I couldn’t believe how much I’d seen just by swimming down. No limitations of gear complications, just swimming down and down. I’d discovered a new addiction – all I needed now was a purpose. A few years later I took up photography. It started as a simple a tool to capture and share the amazing sights I experienced across the world, often being things that not everyone gets the chance to see. It gave a purpose to exploration, and it wasn’t long before I wanted to take it underwater. One of the downsides to photography as a hobby is that there are a lot of people doing it. Finding a unique style is a hard job. For me, the key recognisable trait of my images is that they’re underwater. Freediving is all done on one breath – you take as long as you can, and this coupled with the use of natural light gives a consistent style to my images. I’m now an AIDA qualified freediver, having trained with leading freediving coaches such as Emma Farrell and Steve Millard. Freediving and photography have taken me all over the world. The highlights for me have been the Komodo National Park in Indonesia and Hawaii’s Big Island, but I’m just getting started. In time, I hope to expand to colder environments and to produce an album of landscape photography taken from the water.
â€œThe ability of colour to transform surroundings, to excite, inspire, tantalise and calm, is second to none.â€?
- Abigail Ahern
His Masterâ€™s Voice Nathan explores the undisclosed subculture of BDSM in the homosexual world.
My work often explores the notions of memory, escapism, sexuality and identity, as each of these subjects often challenge the general public in some way. I believe these topics provide a unique insight to how we explore intimacy as human beings, and my photographs provide a visual for that thought. Exhibiting scenes that many would describe as private, is my way of questioning how and why people feel the way they do about these scenes, with the use of unprecedented access. ‘His Master’s Voice’ investigates the representation of the subculture of BDSM, in an attempt to challenge the public’s perception of it, specifically in the homosexual world. The project also explores the notions of escapism, constructed identities, and the repetition of mundane everyday life. Through the use of this sexual practice, identities are formed on the fantasy of their ideal self, creating a persona for sexual satisfaction. Juxtaposed against the natural environments, freedom and realism is exposed to the viewer through these images. This helps clarify and develop their personas through the exposure of their normal interiors and surroundings. With direct collation to identities being shown through the use of hoods, for many people BDSM is a chance to explore an outer body experience. The reconstruction of their image allows them to become a new identity that is unknown to the outsider. The mask holds the power, giving the individuals the ability to remain hidden and unknown and escaping reality and creating a utopia.
The Railway Modelers Ella uncovers a unique society built on passion and patience.
After graduating from Falmouth University over six months ago, I recently hauled through some of my old projects from my studies on the Press and Editorial Photography course. Most of my University experience was spent documenting serious real-life stories of people with fascinating lives. But there was one certain project that strayed away from this trend. Falmouth’s Model Railway Society was formed in 1951 and is the oldest of its kind throughout Cornwall. My experience meeting the club and its members was a true pleasure, and it was a nice break from my usual workflow. Creating something about a person’s passion is probably one of the easiest jobs you get as a photographer! The enthusiasm and love that the guys have for their unique hobby was clearly represented in their beautifully detailed creations, and their patience for such a job is admirable. One of the members says “It’s the way railways operate that is a major attraction me. The friendship of other people is great, and when I operate my own layout at exhibitions it’s a form of show business. Your entertaining members of the public and it’s something I thrive on.”
Unfortunately technology has taken over and there is so much entertainment available at home these days so people don’t need to join clubs like this. You don’t need to build model railways in the loft anymore; you can buy programs that run on the computers where you can build your layout digitally. Joining the Model Railway Society isn’t for the wealthy or the professionals, all knowledge is picked up along the way, and it’s a chance for everyone to just enjoy themselves. The new people learn from the experienced, much like any other hobby and leisure activity. And I found myself learning and having a great time with these incredibly passionate people.
David merges photos, fashion and art in this colourful series.
The inspiration for this project stemmed from an interest in infusing real painting methods with my fashion photographs. They began as simplistic spray painted drafts but evolved into what you see here. The process included a studio shoot for the model photographs, and then separately shot paint on glass superimposed over them. The physical aspect took a lot of trial and error before arriving at the final product. The idea came to me when I was meeting with a blogger in Paris and we visited the Orsay Museum. The minute brush of the impressionists inspired me to take a deconstructed look at my own portraits. I created over 300 paint overlay alternatives until I settled on the final images, tweaking small droplets until I got the look I believed would be most representative of what I had imagined going into the studio. The models I worked in collaboration with, Annie and Natalie were essential to creating the antique aesthetic I sought after. I thought it might be interesting to add to the look and texture of the original photographs to shoot only on mechanical film lenses. This was a lot more difficult to focus as I was forced to adapt a lens from the 1950â€™s to my digital camera, but I feel it added a unique imprint on the images.
Elena Domínguez Vázquez Monthly single image
Andrew Smith Illustrator www.littleworries.tumblr.com
4. 5. 6. 7. 8.
firstname.lastname@example.org www.flickr.com/photos/boris_m email@example.com www.ivan-photo.portfoliobox.me
Elena DomĂnguez VĂĄzquez
Issue #30 out June 3rd... Featuring Katelyn Playford (right)
Lois Golding Editor-in-chief
Special feature photographer
Send us YOUR work: firstname.lastname@example.org 63.
Kristina Sabaite Illustrator www.kristinasabaite.com All images and text published in 205dpi are the sole propertry of the featured authors and their subject copyright. 2016 ÂŠ 205dpi