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205dpi Issue May’16

M Gulin Illustrator www.mgulin.com


This issue May’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.

This month

It’s all about the story. Sometimes the focus of our magazine is more on the visual. But this month, make sure you give each feature a good read, as each photographer covers a really thought provoking topic. 4.

8 Feature Interview

2 & 64




Artist Special Feature

20 Mikey Zbieranowski

26 Hannah Wright


40 Katelyn Playford

Kate Riep

Monthly Single Images

32 Mirko Lamonaca

52 Sarah Sartain 5.

Editor’s Note Issue #30 brings you a fantastic array of geographical images. Although 205DPI is produced in Great Britain, every issue aims to bring you a new story from a different place across the globe.

This time, we’re more international than ever! Our reach covers the lakes of France; bedrooms of Berlin, barren American deserts, and of course our roots in picturesque Cornwall on the British coast. We love extending our global reach, so to all our international readers (and local too!) don’t hesitate to send us your work. Lois Golding - Editor-in-Chief


Real Talk with

Jo Haberman

“When I see something that grabs me, I slam on the brakes and get the shot.”

Photographer Jo Haberman grew up in the distant American desert, and spent much of her childhood roaming around the dusty plains with her family. Today, she is often found revisiting her roots and capturing the surreal landscapes along the way. With her large Flickr following, Jo supplies and shoots everything and anything she’s drawn too, providing her followers with these dreamy portraits of nowhere land.


Feature - Real Talk with Jo Haberman



Feature - Real Talk with Jo Haberman

Hey Jo Can you explain to us a little bit about yourself, your photography and the journey you’ve been on to where you are now? It’s only recently that I realised my photography has become such a homage to my childhood. I grew up in the Nevada desert, but I never knew how much I loved it until I moved away from it. I have distinct memories of riding with my dad and two of my sisters, all of us crammed into the front seat of his old Ford Falcon truck, chugging down a desert highway, passing by old motels and gas stations, feeling free as the wind. It was hot and dusty and I loved it. That emotion and ambiance is what I’m drawn to now, and one of the reasons why I photograph the things that I do. I realise that in doing so, I’m connecting to my family and the place I’ll always consider my true home the desert. I live in the often-rainy Pacific Northwest now, but I go back to the desert every chance I get. Your images hold such atmosphere and narrative – often a hard task to achieve without the use of people. How do you think you do this? When I was a kid, I wanted to be a novelist. I loved dreaming up plots and characters and imparting human qualities onto animals and inanimate objects. As I got older, going into high school, I somehow lost my confidence and writing didn’t come as easily to me, so I didn’t pursue it. When I got into photography as an adult, I discovered I could tell stories through a photograph. I often try to imagine the people that might enter into the frame, and ask who they are and what happened to them. Or in some cases, I anthropomorphise the objects in the photo, and that becomes the character in the story. When I’m processing the photo later, I place a lot of emphasis on making sure each element of the photo is highlighted in a way that enhances the narrative I’m hoping to achieve.


What are the stories of these places? How have they ended up looking like they do? I’m drawn to the seemingly forgotten towns of the American West. I would imagine that in many cases, these places and the people who once inhabited them were victims of rapid economic changes and the shift towards an “Anywhereville, USA” chain store mentality. The trend to homogenise all American towns with franchises of the same large corporations probably caused many “mom and pop” establishments to go out of business or to just barely scrape by. Also, in many cases, large freeways were built which bypassed small towns. As a result, those towns just don’t get the travelers and tourists they once did and they seem frozen in time.


Being a British-based magazine, seeing images of the desert plains of America feels like a million miles away to us! What is the area like that you shoot in? I love to shoot anywhere that has “big” empty landscapes punctuated by the occasional truckstop or diner, be it Nevada, New Mexico, or Texas. It also just so happens that within an hour’s drive east of my home in Portland, Oregon, you emerge from thick, forested mountains into wide open high desert. It sometimes feels like you’re stepping back in time. You’ll be driving along and cowboys stop traffic to herd cattle across the road, or you stop to take a photo and all you hear outside are crickets or the approach of a single long haul truck in the distance. There are vast

Feature - Real Talk with Jo Haberman

stretches of open road that cut a straight line for miles and miles into the distance. Sometimes you can drive for hours without passing another soul on the road. Does your work have a lot to do with the evolution of the American desert? If so please discuss how you interpret it personally and also within your photography. Yes, absolutely! I’m drawn to the striking contrasts found across the American West, where modern infrastructure, which decays quickly, overlays a timeless natural landscape that will surely survive current human impact. The ethereal, temporary nature of the modern West is really interesting and what I seek to capture in my photography. There is a mystique to the

American West that is palpable. This notion that you could go out to the middle of nowhere and re-invent yourself is fascinating to me. I also love visiting ancient Pueblo ruins in New Mexico. The way they inhabited the landscape in such an integral way means that their ruined cities still stand almost intact within caves on cliffs. I’m not sure that drive-ins and motels of the 1960s will be around in 800 years. What’s the most memorable place you’ve photographed? I often think about Monument Valley, in Arizona. The photo you’ve chosen is taken in a diner run by Navajos. The area was used for years as a backdrop to Hollywood


Westerns, like The Searchers and Stagecoach, so it feels very familiar—it also inspired the landscapes scrolling behind the Coyote vs Roadrunner cartoons I grew up watching! It’s such a stunning, truly monumental and very photogenic place, so any sign of human presence really stands out. Having such a specific genre and area of photography, do you ever venture into other areas or completely different places? I’ve always been interested in Eastern spirituality and religion, and for a long time, I wanted to travel to Vietnam. It was on a trip there that I first discovered a love for photography. From there, I took pictures of anything and everything. It wasn’t until I started taking pictures of man-made relics in the desert, that I feel like I developed my photographic style. It’s my current fascination and I’m not sure where I will go next. For me, photography is such an “of the moment” process. When I see something that grabs me, I slam on the brakes and get the shot.

Interview: Lois Golding


Feature - Real Talk with Jo Haberman


Erica Bertolacci Monthly single image


After Hours Mikey visited the headquaters of the United Nations.


Mikey Zbieranowski

Although the Headquarters of the United Nations is situated on the bank of the East River in New York City, USA — it has officially been declared International territory. Although subjected to local laws, passing through the entrance is like entering a different country, one that belongs to the 193 member states of the United Nations. I visited the Headquarters of the United Nations early last year, when my roommate at the time was on an internship there, and was permitted to bring visitors after the official closing hours. I was fascinated by the architecture and decor, and how the complex has been curated for its staff, diplomats, guests, and tourists. It was so quiet everywhere. I thought this stillness allowed for a greater contemplation on the debates and resolutions that stir within these halls, and I hope that is felt in these pictures.

Mikey Zbieranowski


For Someone Else Hannah documents the stories of Cornwall's carers.

There are over 60,000 carer’s in Cornwall alone, never mind the UK and it’s very likely that we will all have an experience of this role in some capacity in our own lifetimes. But do we really know what a carer does and how this role effects the time they have for themselves? For Someone Else is a project looking at what carer’s do outside of their caring role and how important that time is to them. This project is compiled of a series of portraits accompanied by audio, that hopes to provoke others to think about what they do within the space of an hour, and then what that hour of time means to a carer. www.forsomeoneelse.co.uk


Hannah Wright

“I do get a couple of hours in the evening to myself, but thats it really� Debbie cares for both of her parents and had to move from Australia to do so. Her mother now has dementia and her father is blind and bedridden. She is their full time carer. Debbie has been caring for her parents for 16 years and due to their constant needs she has to get everything delivered to her home. After months of organisation, Debbie has secured funding for carers which gives her time away from the house. This will allow Debbie to go out and do day to day chores with ease but also giving herself more time with her son and potentially herself.

Hannah Wright


“In all of married life, I hadn’t seen my husband unclothed as much as I did in the last 18 months of his life” Pat cared for her husband who died in July 2015. Pat’s husband suffered from dementia and later got diagnosed with cancer. Pat cared for her husband for many years until the end of his life, the physical demand on her was difficult but she wouldn’t have had it any other way as the thought of having someone look after him wasn’t worth thinking about. In Pat’s spare time when caring her main support was the carers group that she still attends today and she also loved and still loves to complete jigsaw puzzles.


Hannah Wright

“You do it because you care for that person, you’ve got to be strong, physically and emotionally fit” David has been a full time carer for his wife since 2011 when he gave up his job. About 20 years ago David’s wife had an operation on her neck and now uses a wheel chair part time. At the moment David’s wife is still able to do a lot for herself but they still find it difficult to go out and about because of the lack of accessible places. David manages to go to an art class through Active Plus every fortnight where they sit chat and draw for a couple of hours. Alongside this, when he can David goes to the Helston carers group every month and walks their dog around the university campus everyday.

Hannah Wright


Hiking on Another Planet Mirko takes his plastic people to, what feels like, another planet.

Most of my photographic projects are composed of miniature people and objects captured in my home studio in France. Each of these minatures are handmade and personalized to suit the shoot. In this particular project ‘Randonnées sur une autre planète’ or translated – ‘Hiking on Another Planet’ I took my little plastic people out of my study and into the real world. Almost every summer I spend my holidays in Camargue, a beautiful area of southern France. On this particular trip I brought my equipment and some selected figures with me. Every day, at dawn and during the hottest hours of the afternoon, when my friends were well hidden in the hotel rooms, I lay on the white and salt land of some dried ponds and in the bushes to create the images you can see. I risked sunstroke several times, I was also stopped by the Gendarmerie, but it was worth it! Travellers, tourists, vacationers, trekkers, horsemen, riders, campers, photographers, and bathers: they all accompanied me in the heat. The weather, the land, the mountains, the highlands, the glades, the trees: this is the summer time, the sun splitting the head, the silence of the hours when, alone or with a few friends, you engage yourself in walks without a single thought, lost in a world away from the everyday life – be it plastic or reality. The bushes become trees, the pebbles become stone blocks, and a dried up pond becomes a desert full of crevasses. A horseshoe imprint is a mark on the ground that makes a mini-horseman curious. A mini-motorcycle is parked at the edge of a huge tire groove. Among more or less surreal places, the time stands still in a vacation day away from any trace of the world in which we normally live. And this is, perhaps, what we ask the summer: a journey that takes us away from everyday life: finding ourselves, for a very little time, in a distant world. Another planet.


Mirko Lamonaca

Mirko Lamonaca


“If you’re not interested, you’re not interesting”

- Iris Apfel

The Innocent Child Katelyn explores the changing cycle of modern childhood.

This is Mabel. She is ten years old, enjoys drawing and dreams of being an Architect when she grows up. My memories of being this age are filled with playing my friends, building dens, going to dance classes and drawing cartoons. Growing into an adult was a gradual transition for me, but I didn’t really realise until I was past the age of fifteen. Today, the common age of young people turning into adults has lowered. With the increasing pressure of the modern world forcing new habits such as social networking and virtual image onto everyone, it’s young men and women’s lives that are changing the most. Appearance has become a priority, leading young girls to enter into a vanity fair, applying make up and taking selfies, rather than living their youthful years without the worry of how they look.

This series of intimate portraits depicts a young girl, exploring her identity through simple expression and interaction with the camera. The images suggest a pre adolescence that becomes evident through the child’s actions. However, in contrast to this, an innocence, which is predominantly captured within the young faces of children, stands dominant throughout each composition. These images are created to question how social standards put pressure on young girls to grow up, and provide evidence that through this façade, the innocent child still remains visible. As an on-going series, I wish to further explore the effects of social pressure on young children within todays society, and their need to grow older faster.

Katelyn Playford


Beside The Point Kate photographs the moment before the moment - the less than obvious.

A light and airy aesthetic is the main consistency within my photography. Summery colours, blue skies, and carefully composed pictures that are almost tangible. You can practically feel the sun on your skin and the warmth of the camera lens closing in on the moment. But around the corner there is always something unseen and somewhat unsettling. There is a storyline unfolding behind the stills and as you view each image, you become a silent accomplice, witnessing the moment just before the storm breaks. Details of each image provide insight of what might come next: a deserted landscape, umbrellas like igloos, a certain look, a broken branch. Being caught up in this tension, bouncing simultaneously between the pleasant familiarity of an ordinary summer’s day and the uncertain deep waters of our minds is what keeps you looking. My work aims to keep you entwined in the images, constantly wondering what, who, why, and imagining your own version of the rest of the story.


Kate Riep

Utopia Sarah talks Tinder,

Facebook and image manipulation.

It’s been warned that we will end up in an antisocial future, characterised by the loneliness of the isolated man in the connected crowd. The Internet, which gives us the ability to stay so well connected, may have already started to disconnect us from not only each other but also from ourselves. Utopia; a series of 20 digitally manipulated portraits, is the result of having been swept up in the concept of creating a new self. For the first time in 6 years I had the opportunity to become something new, and I started with Facebook. Facebook led to Instagram, which lead to Twitter, and before I knew it I had created my own digital doppelganger, who was this super happy photography student living the Cornish life #pasties. This online persona could not have been further from the person I was at


Sarah Sartain

that time. I felt like I was drowning in a sea of life decisions with no one to keep me sane at night. Enter Tinder. I quickly learnt that finding someone new to occupy your thoughts will only ever set you back in finding yourself. However, this revelation came one swipe right too late. Two people fell quickly into a movie scene; hours passed texting followed by even more hours talking over the phone, letters in the post and Fitzgerald quotes masked the fact that they had not laid eyes on more than each others online profiles, the ones they had so carefully constructed over time. When it came to meeting, they were, in theory, the same two people, just with a mountain of reality shaking the ivory tower, leading to a slow and exhausting fall.

Having not learnt a single thing from this experience I Tinder’d on, creating witty bios, pairing them with fun yet cute selfies, constructing the ideal Tinder girl: cute, flirty and can banter the pants off of the next right swipe. You spend so long trying to be so many things to everyone who’s looked at you, you forget who you are inside, you become your profile, like a modern day Dorian Gray. The lives we share online become detached from our everyday self yet ironically result in our biggest form of representation. When the two collide you’re forced to confront both the person you are and the person you’ve constructed and the outcome isn’t always glamorous. I spent a lot of time thinking over why we share and construct our lives so publically and came to the conclusion that it may be to do with fame.

Andy Warhol suggested that everyone would be world famous for 15 minutes. Living out our lives online brings us closer to that feeling, whether its on Tinder when someone Super Likes your face or on Instagram when a post hits the 11 likes mark, we feel validated and we feel seen. The Utopia portraits developed into vibrantly attractive prints of “perfected” individuals, which exaggerated mundane movements in an attempt to make strange of that which we find normal. To attract the spectator in with its beauty, yet question the boundaries that we so often blur between the real and the constructed self.

Sarah Sartain


Don Baranski Monthly single image


Scott Balmer Illustrator www.scottbalmer.co.uk

Credits 1.



Mikey Zbieranowski


Hannah Wright

4. 5. 6. 7. 8.


Erica Bertolacci

mikeyzb@hotmail.co.uk www.michaelzbieranowski.tumblr.com info@hannahwrightphotography.co.uk www.hannahwrightphotography.co.uk

Mirko Lamonaca

mirkolamonaca@gmail.com www.mirkolamonaca.it

Katelyn Playford

katelyn.playford@googlemail.com www.katelynplayford.com

Kate Riep

mail@kateriep.com kateriep.com

Sarah Sartain

sarahsartain@hotmail.co.uk www.sarahsartain.co.uk

Don Baranski


Issue #31 out September 2nd... Featuring Briony Dowson (right)

Lois Golding Editor-in-chief

Matt Cox

Tom Sandberg

Production Manager

Jo Haberman

Interview Co-Manager

Heather Golding



Toby Ellis


Brand design


Special feature photographer


General assistance.

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Send us YOUR work: team@205dpi.com 63.

M Gulin Illustrator www.mgulin.com All images and text published in 205dpi are the sole propertry of the featured authors and their subject copyright. 2016 Š 205dpi

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205DPI - No.30  

American deserts, French lakes, touching stories from Cornwall and and insight to the United Nations Headquarters - we've got it all covered...

205DPI - No.30  

American deserts, French lakes, touching stories from Cornwall and and insight to the United Nations Headquarters - we've got it all covered...

Profile for 205dpi