205dpi Issue Julyâ€™16
Sergiy Maidukov Illustrator www.behance.net/prktr
This issue Julyâ€™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.
The Summer months bring with it colour, light and new ideas. The perfect mix for photographers and in this issue we have that combination all come together to create a fantastic issue full of photographers showing off the ideas that are lighting their inspiration. 4.
8 Feature Interview
20 Andy Mellor
40 Steffen Hudemann
2 & 64
Artist Special Feature
Monthly Single Images
26 Briony Dowson
46 Lennart Normann
32 Chris Moret
52 James Speakman 5.
Editor’s Note This issue all of us at team 205 would like to pay tribute to a photography genius, who sadly passed away this June. Bill Cunningham was an inspirational character, highly influential - spearheading the street-style genre - though relatively unknown outside of his native New York.
Despite his low-key appearance, Bill’s ultimate passion was for fashion. Never seen without his camera and blue jacket, Bill roamed the streets of the city looking for the perfect pair of shoes with the perfect outfit, worn by someone whose sense of style was unquestionable. The results each week were published in his column in the New York Times, overseen by his ruthless editing eye. Bill’s success could have bought him a comfortable lifestyle, but instead he sought a simple life surrounded by a small amount of treasured things. Bill’s ethos and pure joy for his craft was an inspiration. Thank you Bill for making me laugh, and may your extraordinary charisma live on. Watch the ‘Bill Cunningham New York’ documentary to discover his incredible character for yourself. Lois Golding - Editor-in-Chief
Real Talk with
Feature - Real Talk with Lucas DeShazer
“Photography is all about framing, reducing the world down to a rectangle of your choosing”
Photographer Lucas DeShazer grew up in the Oregon, experimenting with art and forms of image making from a young age. To this day, his architectural eye has not much changed. Focusing on any barren corner in The West, Lucas uses his 5x4 Chamonix camera to capture the quiet bars, roadsides and unusual buildings along his travels.
Hi Lucas How did you initially get into photography? When I was younger I tried a lot of different artistic things - painting, drawing, and eventually 3D landscape modelling. I started downloading elevation data from the USGS to try to faithfully recreate landscapes in Oregon. Eventually my father, who took me around the state on small road trips here and there, asked me why I wasn’t just taking actual pictures of the landscapes instead. That convinced me to pick up a camera, which for a long time was just a series of plastic disposables. Recently I stumbled upon a pile of my negatives from around then - lots of pictures of motels, driveways,
Feature - Real Talk with Lucas DeShazer
and fences. Things don’t change too much, I suppose. I’ve continued to take pictures on road trips ever since. I never got into photography with the goal of doing it professionally, so these days I’m a software developer working on a fairly large and popular Android app. The locations your photograph are very remote, small towns in America. What’s it like working in these places with your camera? How is it perceived by the locals? I have to admit I spend a lot of time avoiding interactions with people when taking pictures, it can add tension and a distraction that takes me out of the moment. I usually go shooting with my wife or friends (some also taking large format shots themselves) which tends to cut down on suspicions people may have - it’s easier to imagine someone doing something with purpose when they’re in a group. Generally, when I meet someone in a rural area, they either confuse me for a surveyor or actually recognize a large format camera and have a bit of a chat about it. I’ve met plenty of older landscape photographers in eastern Oregon that haven’t seen a camera with bellows in years. A lot of your images have such depth and character. Do you think this is solely because of the content or also how you photograph them?
It’s a mixed bag. I try to find things with character, obviously, but you can’t always make a good image out of just a good subject. Photography is all about framing, reducing the world down to a rectangle of your choosing, so some of the work has been done for me purely by existing but it’s still up to me to interpret it and present it in a way that’s alluring. Can you tell us a little about your project Reciprocal Failure? I’m a member of a relatively small photography forum where I’ve spent years getting and giving advice on film cameras, photography as art, etc. and collectively we had some discussions on presenting the work of the group that had developed.
Lots of us had grown significantly as photographers before starting and were excited to self-fund and publish a small set of images. I was unceremoniously nominated as curator and had a great time trying to make something cohesive out of the large set of submissions. The book itself was laid out in its entirety and printed in Australia by Michael Garbutt, who also handled the monumental task of packing and shipping each issue. I’m working with several others from the same forum now to produce another small book with a more cohesive series of images inside. What was it like growing up in your area? Do you think this has had an effect on how you photograph the things you do?
Feature - Real Talk with Lucas DeShazer
I was born and raised in Portland. It wasn’t particularly glamorous when I was young, not much more than a mild industrial town. My family wasn’t exactly the globetrotting type and instead chose to spend family vacations meandering around rural highways and visiting places often left unseen. All of this absolutely had an effect on my photography - I still essentially take the same approach now. I have a few sets of road atlases for the western US (Oregon, Washington, Idaho, Nevada, California) that I use to take ad hoc road trips. I always travel with a partner who I try to foist navigation duties on to - it’s exciting to be able to have a person tell you to take a specific highway or visit a new town purely because it’s on the map and you haven’t been there yet. Photographically those ad
hoc trips end up being my most productive, there’s something about the unexpected that sparks my creative side. What camera and film do you mainly use? I use a Chamonix 4x5 camera with almost exclusively Kodak Portra 400 film. I occasionally use Fuji slides as well as my Pentax 67 with Portra. On occasions where neither of those cameras are convenient to use (both almost always relegated to tripods,) I use an Olympus XA. Many photographers of your genre (myself included) often refer to the photographic style as a way of seeing; framing what many would consider ‘normal’, and making the viewer see it differently. When was it that you think you
started ‘seeing’, and what inspired it? I’ve always sort of seen the world in a strange light. I started seeing things more photographically strange after seeing Stephen Shore’s Uncommon Places. It’s a bit cliché as an urban landscape photographer to list that as an influence, but it honestly changed the way I looked at photography as a frame - it was no longer just a pretty picture but something I could connect with emotionally on a different level. Why are there so many animal mural paintings in your images?! For a long time it was coincidence. I’d see a scene that happened to have a mural in it and take a shot, perhaps subconsciously recognising the painting within it, but a year or two ago I started to notice that all of these pieces of public art I was seeing were idolising nature. Lots of public historical art focuses on figureheads - statues of the town founder, paintings of the signing of the state constitution, etc. - but in the west those symbols fade away into animals, nature, and nameless ancestors. Murals of pioneers, fishing natives, miners, railroad workers, loggers and their similarly unglamourous ilk are all far more common, along with images of elk, cougars, deer, and antelope. I think this reflects on general reverence towards the natural world and a respect for the pure existence of the people and animals that came before us, regardless of who they were or what their accomplishments might have been. Do you have any exciting projects, exhibitions or features coming up? Not right now - I’m just continually shooting. I tend to come up with a project after I’ve shot all of the photos, I’m not one for planning. Interview: Lois Golding
Feature - Real Talk with Lucas DeShazer
Alisa Korotaeva Monthly Single Image www.flickr.com/photos/vixalice
ESCAPISM AN ANALYSIS OF ESCAPISM BY ANDY MELLOR.
Escapism is a form of mental diversion by means of entertainment or recreation, as a dissociation from perceived unpleasant, boring, arduous, scary, or banal aspects of daily life. It is a tendency to seek distraction and relief from unpleasant realities, especially by seeking or engaging in fantasy to relieve persisting feelings of depression or general sadness. Freud considered a quota of escapist phantasy a necessary element in the life of humans: â€œThey cannot subsist on the scanty satisfaction they can extort from realityâ€?. Psychologists have highlighted the role of vicarious distractions in shifting unwanted moods, especially anger and sadness. Escapism often carries a negative connotation, suggesting that escapists are unhappy, with an inability or unwillingness to connect meaningfully with the world and to take necessary action. Accordingly, the state of escape can have both positive and negative meanings and outcomes there exist two forms of escapism with different affective outcomes dependent on the motivational focus that lies behind the immersion in the activity.
India, Skin Deep
Chris expresses his love for the mad country of India.
â€œSomeone asked me how it was to travel through India for the first time. I answered it felt like stepping into a slightly to hot bath.â€? Someone asked me how it was to travel through India for the first time. I answered it felt like stepping into a slightly to hot bath. At first you want to get out as quickly as possible, but after a minute or so it starts to get comfortable, and few minutes more you never want to get out. Beyond the culture shock lies a country with the friendliest people you will ever meet. Sure they want to sell you a cloth, a shirt, a boat ride or maybe even some blow. But most of the time, when no deal is made, there is always a sincere moment of interest why you came to their country or a helping hand to get your bearings right. In my three separate trips to the vast and divers country by car and train, I had the privilege to experience the mesmerising sight of the Taj Mahal twice. Wandered the string of Varanasi Ghats for days, watching people cleaning their cloths and their souls. Saying farewells to their deceased loved-ones while the flames consume the bodies. Teamed-up with locals in suicide streetcrossing attempts, stayed cool during ruthless negotiations about rickshaw fare and numerous rollercoaster rides through heavy traffic in a taxi. Once this country gets under your skin it is there to stay.
WDYWT? James explores the growing subculture of streetwear.
WDYWT? (What Did You Wear Today?) is a project that documents the growing subculture and lifestyle of streetwear in the UK. The popularity of streetwear as a fashion genre and lifestyle has exploded in the last few years, with brands such as Supreme and Palace producing limited runs of items that sell out in seconds. Facebook groups made to discuss these brands like The Basement and Supreme Talk UK/EU have over 100,000 members combined, and it is here that items are bought, sold and traded between each other. Groups such as these are where the name for the project comes from; WDYWT? posts are made by the vast majority of members, and are an integral part of the community.
I photographed members of these groups all over the UK, from London to Manchester to Falmouth, and what I found was that there was a genuine sense of community between people who had sometimes never met, just through their love of clothes. Whilst shooting this project I was able to meet some incredibly talented young creatives, shoot lookbooks for up and coming brands and get my work featured by The Basement and Hypebeast. It is still ongoing and Iâ€™ll hopefully have another zine out soon! #WDYWT? #BasementApproved
“I could never concentrate on Sunday church services because I’d be concentrating on women’s hats.”
- Bill Cunningham 1929 - 2016
In Cold Water Briony Dowson documents the competitive sport of cold water swimming.
Itâ€™s not an unusual sight to wander along the coast of the English seaside and stumble across a few brave soles embracing the icy temperatures of the briny sea. But although this might seem like a pastime for the eccentric, Winter Swimming is a worldwide competitive sport with rules and regulations, and the hopes that in 2016 to become recognised as an Olympic sport. Winter swimming is limited to open water of any temperature between 5-10Â°C. Photographer Briony Dowson follows Englandâ€™s winter Swimming team to Latvia for the 25th Winter Swimming World Cup Championships 2015.
Shape. Lennart exhibits his collection of monochrome photos.
‘Shapes’ is a collection of minimalistic analogue black and white photos. Throughout all of my photo projects, I like to leave the interpretation up to the viewer and I am more interested in evoking a certain mood than in telling a story. Minimalistic photography on one hand is a reflection of my personal taste and sense of aesthetic. I like to see and to create visually pleasant images. On the other hand, it has a calming and balancing effect on me, which helps by reducing my environment to only its essentials and, gets rid of any distractions.
When I started photography I was – and still I am - shooting a lot of architecture, partly because I’ve always been intrigued by geometry, design and negative space. Shooting in black and white represents the shape of the subject even more in the foreground and I love how isolating the motif and breaking the scenery down to forms, lines and expanses to creates a new perspective and a new beauty. I think the process of figuring out what to leave out of the frame and what not to show makes the finished work more timeless and it even has kind of a philosophical effect to me.
One In 4 Billion Steffen captures the sombre quiet moments in one of the busiest areas in the world.
For me as a European, the most remarkable experience about travelling through Asia is that I am never on my own. In Europe, loneliness is part of our cultural heritage. Look at all these paintings: People standing on a cliff, enjoying a moment of calmness in the woods or looking at the sea. Most Asians donâ€™t care much about that. Busyness is business, noise usually means excitement, and any group cannot be big enough. And to be honest, in most places in Asia people do not have any other choice. More than four billion people are living on this continent. In many places room is scarce, expensive, and packed. Last year I was travelling around Taiwan on a journalist fellowship for two months. Taiwan is a beautiful country, unknown to many Western travellers. But Taiwan is also one of the most densely inhabited countries â€“ even by Asian standards. 23 million people gather in a country the size of Belgium. Most of them live in an endless stretch of urbanisation along the West Coast. I reported on trade, politics and ecology for German radio and TV. But with my photo camera I was looking for something else: rare, romantic moments of peace in between all that business and noise. At first I retreated to the mountains or to the beach, in order to find some calmness, hiking seemed to be the only way of escaping the masses. But soon, I began looking for moments of peace everywhere in the city: in temples, on night markets, in the streets. And I found them. No matter how much busyness, how much noise was surrounding me, in these little moments of a photograph, the fraction of a second, I found calmness even in the biggest city.
Bill Karrow Monthly single image www.wjkphoto.tk
Bart Hellemans Artist www.saatchiart.com/Citytrip
4. 5. 6. 7. 8.
email@example.com www.andrewmellorphotography.com firstname.lastname@example.org www.chrismoret.com
Issue #32 out October 7th... Featuring Chris Murphy (right)
Lois Golding Editor-in-chief
Special feature photographer www.lucasdeshazer.com
Send us YOUR work: email@example.com 65.
Sergiy Maidukov Illustrator www.behance.net/prktr
All images and text published in 205dpi are the sole propertry of the featured authors and their subject copyright. 2016 ÂŠ 205dpi