205dpi Issue Septâ€™16
Olga Yurlova Motiondesigner & Illustrator www.yurlova.com
This issue Septâ€™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.
We seem to have a frequency of killer portraits. Maintaining a balance of photographic genres is important throughout our pages, but sometimes we have one dominating feature.
2 & 62
20 Andy Feltham
40 Antonio Ordonez
Artist Special Feature
26 Martin Tremoulet
46 Chris Murphy
Monthly Single Images
32 Mitika Fe
52 Danielle Keane 5.
Editorâ€™s Note 3 and a half years ago on a snowy traffic filled Motorway outside of London. A car full of students from Cornwall came up with an idea of an Online Monthly Magazine. 6 months of meetings, plans and designs and 205dpi was born. Fast forward 3 years later and a major revamp, we have gone from collaborating within a small student circle in Cornwall, and are now beyond proud that we have contributors from across the globe and 3000 regular followers who enjoy 205dpi every issue. This was beyond our wildest dreams and itâ€™s a massive sense of pride for the editorial team. We would like to thank everyone who has taken the time to read the magazine, we do it for your enjoyment and that is what matters most to us all.
Its now down to me to say thank you to all our supporters and contributors from those involved with its conception, to those who continue to supply their awesome work today. But most of all thanks to all our readers, who without we would not have a reason to create the magazine. Happy 3rd Birthday 205dpi.
Tom Sandberg - Production Manager 6.
Image by Antonio Ordonez See more on Page 40
Real Talk with
â€œMy editor gave me the green light, then all I had to do was work hard and wait for the plane to leave.â€? Photographic journalist Hendrik Osula was born and raised in Tallinn, the capital city of Estonia. For the last 5 years he has been a freelance and full-time photographer specialising in sports. His daily work involves working in the field and at a picture desk for one of the countries leading Daily Newspapers and News sites. In this interview, Hendrik discusses his experience documenting the 2016 Rio Olympics. Hi Hendrik How did you initially get into photography? I started taking pictures back when I was at middle school with my fathers old Canon Powershot G3. I bought my first DSLR from money I earned working all summer in 2008 when I was in 8th grade. It was Canon EOS 350d with 50mm F1,8 lens. I had some influence from my brother, who also likes to take pictures, but soon I spent a lot more time on photography than he did. Since 2011, I have been both a freelancer and full-time photographer for Estonian Daily Newspaper and biggest news site in Estonia - Delfi. In 2013 I won first place in the Estonian Press Photography competition in the Sports category. At the start of 2016, I became Chief Photo Editor for Delfi, but I still do some field jobs and also work outside the company in my free time.
Feature - Real Talk with Hendrik Osula
Feature - Real Talk with Hendrik Osula
I live in Tallinn, capital city of Estonia and have been born and raised here. I finished my Bachelor at Tartu University, where I learned to become physics and mathematics teacher. I have also given classes about photography in different schools across Estonia. How do you find working for a daily newspaper? I’d say it’s one of the most interesting jobs out there. First of all you are going to meet new people every day working on the field. Secondly you are taking part in documenting moments for upcoming generations - you are the one, whose photos and videos are going to be watched as part of history. And last, but not least, photojournalists have the opportunity to visit places that not many have chance to see. Beside all of that it is also a job that needs you to make compromises. There are days you have to be at work for long hours and you have to work on weekends, so your family have to understand you well. Fortunately my wife is also journalist and that works well for us. Another important thing and I think it is not only about photojournalism, but it goes for other aspects of professional photography as well, is that as photography is more accessible to the masses, you have to stay sharp, look for new ways to stand out of other photographers and earn your recognition. I see that there are many old-school photographers around, who have been doing same thing for the last twenty or thirty years and are stagnating. My fear is that in upcoming years as they continue same way, they won’t have their place in the modern photographic world. This is why I constantly try to improve my technique and skills or
learn and try something new, to not fall into my comfort zone and fall behind in this race. Your most recent work focuses on the 2016 Rio Olympics. How did you end up getting that job? Where you happy and excited? I have been a sports fan for almost my whole life, watching football, basketball and Olympics on the TV, so when I started taking pictures, my specialization naturally fell into sports. Soon I got my first accreditations to local football matches and so it went. Last year when I went full time at our organization, I told beforehand that my dream is shooting the Olympics next year. At the time I had proven that I was capable of covering different kind of sports and doing it quite well. My editor gave me the green light then all I had to do was work hard and wait for the plane to leave. Throughout the year I was looking forward to start of the Olympics, although there were speculations about different diseases and crime and so on, but for me it was simply about shooting the biggest sports event in the world and experiencing it! There must have been a lot of pressure on your coverage of the event. It’s a huge event with many investments of time and money. How did you find the experience as a whole? In my personal opinion I think I did quite well. There were only two photographers from Estonia, so we had to work hard to cover all of at least most of our athletes and we managed to do it. Days were long and as we had no free time for three weeks - I was quite exhausted! I think the feedback I got from my Flickr site and also from Fujifilm forum kept me pushing forward to get better and better. Also the contacts I got from Rio, talking to photographers from different counties and
agencies, are invaluable. As always, there were problems in Rio also, but all in all I am really thankful for this experience and now I’m looking forward to 2018 for Winter Olympics! Do you find there is a huge amount of importance weighing on each event? A lot of pressure riding on you getting that one image? How do you deal with this? As I said before, there were only two photographers from Estonia and we had to get shots of all the Estonian athletes, so we divided events and shared pictures
afterwards. As most of our athletes aren’t covered by big agencies, we all had a lot of pressure not miss anything. My regular approach in events where I had only one try, for example 400m hurdles, I picked my spot, which was quite far ahead and took minimal risk. If I had several chances, I tried to change positions, lenses, approaches, to get as many of different shots as I could. Luckily I didn’t miss anything too important for our coverage and also had time to get some alternative shots of athletes also, which I used mostly at my Flickr or my webpage, as those shots didn’t matter too much for our local newspaper.
Feature - Real Talk with Hendrik Osula
What kit do you use regularly and what did you find yourself relying on whilst in Rio? I have a set of equipment from my company which consist of Canon 1D X and Canons 16-35mm F4 IS, 24-70mm F2,8 II, 70200mm F2,8 IS II and 35mm F2 IS. I also have my own personal 1D X with some Sigma Art lenses and a rare Canon 200mm F1,8 L for my personal work. But recently I have been moving more and more to Fujifilm equipment for day-to-day use, as that way I can travel light and always have a camera with me. So at the moment I have X-T1 with 14mm F2,8, 35mm F1,4,
56mm f1,2 and 90mm f2,0, but soon I hope to receive X-T2 and sell some of my Canon equipment to invest into Fuji. I also used Fujifilm in Rio beside my Canon gear, to take a bit of a different approach, but also to be a little bit less attractive to the crime the street. I do hope that at Tokyo 2020 I can shoot only on Fujifilm, but for that they have to offer a faster longer lens. For that reason in Rio for those crucial shots I still had to rely on my 1DX and 200400 F4 lens which is fantastic, but a big boring combo.
How did you find the competitive nature of being surrounded by many other professional sports photographers on the trackside? As these Olympic Games weren’t my first big sporting event in my career, I knew what to expect, but still the fight for your place at a Track and Field venue was surprising. As I’m quite a young photographer still and from a small country, I didn’t have any exceptions made towards me, so I had to always fight for my place. Luckily there weren’t too many events where I had to really struggle, as not many Estonians got to the finals. Also my philosophy of photography is that you always have to look for photos that others aren’t taking. So when I saw a lot of colleagues at one place, I looked for another place to get different shot. I think this is why I got some great and different shots, that others didn’t. What is your fondest memory of working at the Olympics? I think the fondest memory wasn’t from any venue, but from a favela, where I did a reportage with my journalist-wife. We were on a top of a mountain, near the cable-car stop, as I saw a boy flying his kite with a great view over the city itself on the background. As I got my shot, which in my opinion is one of my best ones from Rio. It turned out it was his birthday. I received his mothers e-mail address and sent her the photo I took of her son. With all the Olympic events going on, it reminded me just how the locals continue, carrying on with their everyday lives and celebrating birthdays just like normal. Interview: Lois Golding
Feature - Real Talk with Hendrik Osula
Dwayne Jenkins Monthly Single Image www.dwaynejenkins.com
Incidental View Andy examines everything.
These images are taken from my onging project, Incidental View, which was born from my desire to re-examine the commonplace; to confront and question the monotonous. Each piece aims to celebrate the incongruous marriage of perceived isolation with an overriding sense of wonderment. I seek to create a tension within each photograph by using meticulous framing and exposure to detach the subject from its surroundings. This lends a subtle disquiet to the underlying themes of beauty, mortality and humour that hallmark my work.
Scrutinising the world through a lens helps me to formulate some meaning amongst the chaos. Fundamentally, photography has gifted me with a key piece of the puzzle that would otherwise be missing.
San Isidro Martin and his models demonstrate the current fashion in Buenos Aires.
Like most of my photographic work, this is a fashion series based in my area of San Isidro, Buenos Aires, Argentina. Photography has always interested me and has been a part of my family. Even when I was young and I used to paint, I would always paint people and faces. It was later that I realised that itâ€™s the character beneath that I was fascinated by. Fashion is something I follow regularly, and I attend several fashion shows per year to forecast the upcoming trends. The models I choose to shoot are based on both their unusual character and aesthetic. Anyone who is good-looking, slightly sporty, but also a bit weird will always take my eye. To me, fashion is about an art and mood. Iâ€™m currently attracted to the young aesthetic of Korea, mixed with vintage sportswear and some emerging designers from my country Argentina.
The photo shoot is usually directed by the models attitude and desires. They are always different, some full of energy, some very natural. I follow them, suggesting locations I have previously spotted. I like intimate places, where I can really concentrate on the model. I also really like geometric structures and buildings, especially when they create a contrast against the model.
Akamanakakusamana Mitika delves into her imagination, uncovering theories of identity.
This is a project about character and form, focusing on identity and our perception of each other. The use of soft colours and tones often features in my work, as I find it creates a gentle world away from reality that I can disappear into. The tones give space for creativity, allowing me to experiment with my imagination. Reality is something I always twist and manipulate through my photography. It is important for me to understand what I am and what others are. These photographs are born in different circumstances, but always with the same experimental thinking in mind. They make
you seek out reality, asking questions â€“ who is that? What are they doing? Are these things normal? I like making the audience use their own imagination and theories to answer those questions. Small glimpses of the bigger picture add to the surrealism. A mixture of self-portraits and portraits demonstrate the person, both components that rely on each other. The masking of the faces again makes you ask questions about identity. How important is it that we see each others faces? I hope this project opens up your imagination like it does mine.
â€œThe danger is having a formula and you just repeat it.â€?
- Martin Parr
Essence Antonio explains his approach to lifestyle photography.
My name is Antonio Ordoñez and I’m from the South of Spain. A few years ago, I took my first steps into photography by taking family portraits, but soon my desires changed. I discovered that what I really wanted to be doing was focusing on personalities and portraits. Throughout my job as a lifestyle photographer, I discover more and more unique people. Everyone’s life is different, and that reflects majorly on them and their personalities. The nature of this echoes directly on the photographic process, and every shoot is like a different adventure. It’s an amazing way to work, and it makes me feel confident and free to show the beauty of my models and their traits. I find it essential to work in natural light, avoiding the use of anything artificial. Taking care of the sceneries is another key aspect, and I often look for original places around the city, but always somewhere the model is comfortable. Scouting out new locations is always a learning experience and it makes me stronger as a photographer.
Currently I’m immersed in a new project of portraits using both anonymous and known people. I also work as a wedding photographer for those who want to give their special day a different and sophisticated touch, as I love to catch every single magical momento from my point of view.
BoKaap to BoKaroo Chris follows in ancient footsteps to document the changing South African architecture.
Inspired by two photographers who worked at the Cape, South Africa in the late 19th and early 20th centuries, I set out to try and emulate a semblance of what they achieved. Simply put, they extensively recorded the vernacular of the time. Without their input, we, in this part of the world, would have a substantially poorer knowledge and record of that period. Mostly functional, they sometimes included small veneers of life at the time. Today their negatives and prints are housed in the South African National Archives, where they may be readily sourced. Quite a number have been reproduced in publications and books.
But I did not wish to slavishly copy what they had photographed. In any event, many of the structures have long been demolished, altered or fallen into ruin. I also chose to mostly, but not always, focus on simpler architectural styles. Many of the grander buildings have already been adequately documented I set out on my venture, and had to decide on a title to guide me. Part of the central
city of Cape Town is known by the name ‘Bokaap’, originally occupied by slaves, Fortunately, a relatively large number of their houses have survived, providing a good starting point for me. The project needed a broader outlook, though. On my travels and because of my interest in heritage matters, I had already begun to record more regional subject matter. It was then that the link came to me: BoKaroo.
BoKaap to BoKaroo. An inveterate, restless soul, I love to travel the back roads. Often the subject matter for this project is not chosen. Turning a bend in a small, dusty town or village can provide a surprise. It makes me ponder, “How did the early settlers survive and cope with the harsh environment?” Not only that, but there was also a total lack of building materials. Except for stone, mud, clay, sand, and precious little water. Much of the architecture I record has utilised these available resources. The fact that so many still stand is testimony to adaptation and perseverance. I hope that Bokaap to BoKaroo provides some sort of accolade to these pioneering people.
Sleep Deprived Danielle captures the world of student loans and iPhones.
The world between true adulthood and youth, the frantic years of the early twenty-somethings. Often romanticized and fanaticised about, I wanted to capture this time period with delicacy, intimacy and truth. Entwining myself with the people making this growth alongside me I captured them at poignant moments throughout their university years. From the art school dropout to the high-flying twenty year old with a graduate job, all of us struggling through testing times of a misunderstanding of taxes, chaotic all-nighters, looming deadlines, crap retail jobs and sky high expectations.
Each subject was taken in isolation, wanting the viewer to connect with their story, to question their desires, their relationships and themselves. Supported by the all too familiar sights of dirty student kitchens, empty vodka bottles and halfnaked bodies; the project allows a more holistic view of the individuals and their environments. This is a generation portrayed as lost to technology, good for nothing and partying to oblivion; but these gentle portraits show the softer sides of these often confused and lost young adults. The world where you’re either working multiple jobs, juggling a relationship and friends all alongside your degree or you’re stumbling down a row of grotty clubs at 3am on a Thursday with someone else’s sick in your hair. And almost everyone is both of these at once. Welcome to the world of the student-come-adult transition. All that seems certain at this time, is that for one reason or another, we all feel Sleep Deprived.’
Tristan Potter Monthly single image www.tristanpotter.com
4. 5. 6. 7. 8.
firstname.lastname@example.org www.andyfelthamphotography.com email@example.com ww.tremouletphoto777.tumblr.com
Issue #33 out December 2nd... Featuring StaĹ› Zawada (right)
Lois Golding Editor-in-chief
Special feature photographer
Send us YOUR work: firstname.lastname@example.org 61.
Olga Yurlova Motiondesigner & Illustrator www.yurlova.com
All images and text published in 205dpi are the sole propertry of the featured authors and their subject copyright. 2016 ÂŠ 205dpi