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www.blur-magazine.com | issue 28 | december 2012


CONTENTS Chloe Aftel INSTANTION

Alexey Alexeev WET PLATE

Markus Reugels PROJECT

Michel Lagarde CLOSE UP

GALLERY 24


CONTENTS Ebru Sidar TETRA

Ryoko Fukuyama ANALOG WABI SABI

MaurĂ­cio Sapata PINHOLE

Mindaugas Kavaliauskas MEET THE

Ingrid Fenet Hillion PLAYSTICK


march

CONTENTS

june

september

december

COVER PAGE

02

GREETING FROM EDITOR

03

BLUR MAGAZINE info

04

IMPRESSUM

05

CONTENTS

06

GALLERY 24

09

CLOSE UP | Michel Lagarde

36

PROJECT | Markus Reugels

58

WET PLATE | Alexey Alexeev

82

INSTANTION | Chloe Aftel

103

PLAYSTICK | Ingrid Fenet Hillion

123

MEET THE | Mindaugas Kavaliauskas

147

PINHOLE | Maurício Sapata

154

ANALOG WABI SABI | Ryoko Fukuyama

174

TETRA | Ebru Sidar

196


BLUR magazine is an international e-magazine founded in 2007 with the mission to promote creative photography worldwide. It represents a meeting place for photographers, both prominent professionals and talented amateurs yet to be discovered, and photography lovers from around 195 countries

In these times of photographic hyper production, BLUR magazine aims to slow the pace and encourage its readers to reflect more on the images and to experience photography more profoundly. This is why BLUR omits technical specifics of photographs and focuses instead on creative, impactful photography and its creators.

ISSN: 1847-7410

BLUR magazine is a completely voluntary project run by photography enthusiasts from Croatia, USA, Canada, Brazil and Germany.

Publisher: F.U.C.* Address: street Ljubičica 19, 10 360 Sesvete, Croatia Contact: info@blur-magazine.com Bank account: Privredna banka Zagreb 2340009 – 1110540685 MB: 2580837 OIB: 39145219372

BLUR magazine is published by Photography Association CREATUS (F.U.C.*), a nonprofit association founded in August 2009 with the aim of contributing to the development of the photography scene in Croatia, while promoting and connecting Croatian photographers with their international colleagues.

Publishing and distribution of ‘’Blur magazine’’ is supported by Zagreb City and City Office for Education, Culture and Sports

BLUR magazine is published quarterly in an PDF format.


G A L L E R

The mission of BLUR magazine is to promote and celebrate creative photography and to provide worldwide exposure to outstanding photographers, both professionals and amateurs. Gallery 24 is a collection—specifically, an online exhibition—of 24 outstanding and impactful photographs put together with the aim of demonstrating the diversity and beauty found in the world of photography. Photographs presented in Gallery 24 are selected for their high aesthetic quality, composition, and “wow” factor. Your photograph can also be part of this collection. Make your work visible to thousands of people from all over the world by submitting your photo here:

Submission Instructions:

Y

http://www.blur-magazine.com/submission/photo-submission/

Send your photos through an online submission tool. Send each photograph separately. If you are submitting 2 photographs, use the online submission tool twice. The resolution of your photo needs to be 72 dpi. The maximum size for each photo is 1MB. Send photographs in JPG format. Name the image file as follows: artist name-artist surname-photograph name.jpg.

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Resize your photo to 1,500 pixels at its longest dimension.

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Send a maximum of 2 photos per issue of BLUR magazine.


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E R Y 2 4 USA www.imagebychristos.com Christos Sewell

Tortured Soul


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R Y 2 4 Indonesia mukti echwantono

I’m never coming to our wedding


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R Y 2 4 United Kingdom http://asapolas.com Aurimas Sapolas

Muse


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R Y 2 4 United Kingdom http://hypnoticoranges.tumblr.com Neringa Rekasiute

Mirror of Eternity/Closer


by Robert Gojević

Dramagraphies Michel Lagarde France|http://michellagarde.com


In order to make photos like yours, it takes a lot of planning and preparation. How does that process begin? After you get an idea for a photograph in your head, how does the implementation work? On your website, there are some illustrations, drawings, models, a whole creative world which we don’t usually see from other “typical” photographers. On my website, I try to explain my working methods. Where do I get the ideas? I am not sure, and I’m not really interested in finding out. I used to ask photographers how difficult it is to be original and unique. You are the photographer whom it really makes sense to ask such a question: So, how difficult it is to be original and unique? I believe anyone can appreciate my work because I’m not using the camera the same way other photographers do. I’m not using traditional ways of photographing. My work is not about photography, it is about connecting to different ways of capturing images, which is what they are about mostly. Persistence is another virtue of yours. How difficult is to be consistent over the long run? We published your first Dramagraphies from 2004, and you continue to make them today. I have my own path and direction, and I’m not interested in the latest trends in art. I think Dramagraphie will follow me until the very end; it is an inevitable part of my life. I also have other art activities that allow me to express myself.

Dramagraphies Michel Lagarde France | http://michellagarde.com

www.blur-magazine.com | issue 26 | June 2012


project | Robert Gojević

Liquid ART

Markus Reugels Germany | www.markusreugels.de


About the Author Markus Reugels lives with his wife and kids in a small village near Schweinfurt, Germany. During the day, the 34-year-old father of two works as parquet layer. About his photography experience he says: I started with photography about three years ago. I wanted to take good pictures for the family album, but in time it grew to become a lovely hobby. My favorite genre is macro photography, especially high-speed photography, where I can show the beautiful things we don’t normally see or we are not able to see them with our eyes. To balance the technical aspects of the high-speed pictures, I love to work with old m42 lenses to capture flowers or insects. This is photography in its purest form.

Color tongue For this picture I used three valves. Each valve controls a separate colors. So I’m able to create these colorful splashes. To land all three drops on one point is a difficult challenge, but the result is worth it.

LIQUID ART Markus Reugels Germany | www.markusreugels.de

www.blur-magazine.com | issue 26 | June 2012


by Robert Gojević & Denis Pleić

PLA

W

another way

Alexey Alexeev

Russia| www.ambrotype.ru


How would you describe your love for the wet plate technique? What does it have that the other techniques do not have? I can describe the meaning of the wet plate process for me in a few words – it’s the second part of my life. It became more than just a hobby or a business, and when someone asks me, “Why do you make ambrotypes?” it is like asking me why I breathe or eat. How did you find out about this technique? Who got you interested and showed you the process, the technique? Some time ago, I started to learn alternative photography processes, and once when I was looking on the Internet, I realized that some photographs are really different from all others. After that I learned that these photographs were made with the wet-plate collodion process, and I thought that I would make such pictures too someday. At that time I knew nothing about large format photography. I started to find information about the process and the tools needed. Then I rented an apartment, and in the storage room I found a small Russian large format camera with a good lens and bellows. I thought this must be a sign! I did not find anyone in my country who knew the process. So I started to learn it by myself. I used a manual written by Mark Osterman and John Coffer. I read a lot of 19th century books about the process. So I learned by myself with the some virtual help. Do you teach what you’ve learned to others who want to learn the process? Sure. I have taught a number of 2-day workshops in my country and in Europe.

PLA

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another way

Alexey Alexeev

Russia | www.ambrotype.ru

www.blur-magazine.com | issue 26 | June 2012


I love to explore

Chloe Aftel USA

www.chloeaftel.com


What do you think of their new material? I love it because you have to use it with the expectation that it will evolve over time or in certain lights; you can get images that far surpass your expectations if you learn how to use the film and then to push it past its intended uses.

I love to explore Chloe Aftel USA www.chloeaftel.com

www.blur-magazine.com | issue 26 | June 2012


playstick | Jennifer Henriksen

I’ve always loved photography

Ingrid Fenet Hillion

France | http://flickriver.com/photos/kylamay/


Please tell me a bit about your Diana work and why you chose to use a toy camera for these photos. I almost always have it with me because I like to capture moments, moments from life. I chose this camera for its rendering, and I pay attention to the choice of film, processing, and color saturation. Ultimately, it has the look of pictures from another time, and it tells us something. What inspires you to pick up your camera? Poetry, sweetness, nostalgia. I like to blur certain photos, like a dream we’re trying to catch up to ... a bit unreal. What is the biggest creative obstacle you have faced? The lack of vendors for the development and supplies, for example. I’d like to try it with vintage Polaroid, but the cartridges are hard to find and are expensive. But paradoxically, it also makes it an attraction.

PLAYSTICK

I’ve always loved photography Ingrid Fenet Hillion

France | http://flickriver.com/photos/kylamay/

www.blur-magazine.com | issue 26 | June 2012


portfolio | Robert Gojević

São Paulo & Paraty pinhole photo-essay Maurício Sapata

Brazil/UK | www.picturenoise.com


I was born in São Paulo, Brazil, but I have been living in London since 2003. I like experimenting with different analog cameras, especially plastic and vintage ones. I love shooting on film and taking my time to photograph. In my opinion, nothing will substitute for the feeling of loading a camera and carefully composing each frame. It may sound a bit cliché nowadays, but the “hands on” process is what really excites me in photography, especially when you’re able to process your own film, and in some cases, produce your own emulsion. I started using pinhole cameras because of my addiction to buying old cameras for the sake of trying them out and “seeing what happens.” I had a few cameras I bought on eBay that turned out to be faulty, and the hassle of sending them back to the sellers wasn’t really worth it. That’s when I decided to transform these cameras into pinholes instead of leaving then on the shelf to collect dust.

São Paulo & Paraty Maurício Sapata

Brazil/UK | www.picturenoise.com www.blur-magazine.com | issue 26 | June 2012


by Denis Pleić

The Analog Wabi–Sabi­

sENSITIVE

Ryoko Fukuyama Japan | www.flickr.com/photos/ryocoryocoryoco


The Analog Wabi–Sabi­

SENSITIVE Ryoko Fukuyama Japan | www.flickr.com/photos/ryocoryocoryoco

www.blur-magazine.com | issue 26 | June 2012


portfolio | Denis & Karmen

Ebru Sidar

Dark Forest

Turkey | www.ebrusidar.com


Can you tell us something about yourself? Ebru Sidar is a person who acts completely according to her feelings; she laughs and cries easily; gets angry quickly, but calms down quickly as well; gets anxious quickly; a bit selfish; a bit dictator minded, but also very compassionate; who has conflicts and contradictions, but always aims at reaching the beauty; who thinks she will be a musician one day if she doesn’t continue photography; whose family and friends think she will never grow up but keep the child inside her. She believes that God puts a light inside every person. That light can be small or big, but many people die before they can find out about it. She thinks she is lucky to have found the light inside her and eternalizes the God creation of beauty with that light. When and how did you start with photography? If you ask my mother, she would say many things about the lost, used, broken cameras when I was a child. I used to love taking photos from very early ages. I used to take photos of my friends while

Dark Forest Ebru Sidar

Turkey | www.ebrusidar.com www.blur-magazine.com | issue 26 | June 2012


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