DEVELOPED IMAGES
D.I has always been about more than mere publication. It serves as a community for photographers sharpening their skills in search for their voices. We remain a platform for artists to explore the world on their terms and challenge the conventions of nature, culture, and family. We encourage them to tune in to the nuances of how a community intersects with the world-at-large and define where they stand.
Lauren Shaw Faculty Advisor Zaji Zabalerio President Corey Popowski Vice President
We are listed in the Student Handbook as “Emerson’s only creative black and white photography magazine that showcases the talents of students.” Though we have been at Emerson College for more than 30 years: we refuse to be bound by locality. Our mission is far from black and white.
Ozmo Lu Treasurer
We succeed only when this publication reflects the voices of Emerson photographers brave enough to share a part of themselves through their art. The photograph, after all, remains key to addressing the issues of our time and revealing the stories of our lives. We are proud to underline this commitment year after year as a creative and safe space for artists developing their craft.
Nicholas Romano Editor in Chief
—Zaji Zabalerio
Lala Thaddeus Marketing Manager
Yasmina Hilal Editor Ebrima Manjang Editor Mia Schaumburg Editor Sara Nagie Layout Designer Jasper Fung Interactive Design
Soft Power Nydia Hartono Let it Sit Shawnie Wen GPA Aaron Meritt Elements of Life Chloë Kerwin The Familiar Unknown Lili Mei Meet Us in the Basement Becca Chairin
At Developed Images we want to be a vehicle for student photographer’s work to be displayed, in exhibition and print format. We’ll do this, as we’ve always done, because we know that these young photographers are the future of visual and photographic art. D.I stands as not a be-all-end-all of photographers here at Emerson, but as a supporting figure in the community, providing exposure to artists who want people to see their work. This current issue is filled with interesting and beautiful photographs by seven different photographers. Each one of them has a distinct view of the world— their world— and it’s seen in the photographs they make. I’m really pleased to be able to show them to you. We hope you enjoy this 2017 edition of Developed Images.
—Nicholas Romano
An Eye to Columbia Anja Schwarzer
SOFT POWER NYDIA HARTONO
These photographs were taken from three separate series I’ve been working on for the past year — “Are We Queer Yet?”, “EFEMMERAL”, and “Singpore”. All three series are a meditation on individualistic identity politics, specifically my inter-sectional identity as a queer, diasporic, Chinese-Singaporean woman. The question of home and permanence seeks to be answered with vulnerability and resilience.
LET IT SIT SHAWNIE WEN
I’ve never been an avid photographer; I love taking photos here and there over school breaks or when I’m visiting some place new, but I can go weeks (and sometimes months) without touching my camera. However, when I do - I take dozens of rolls and never develop them immediately. I let it sit and almost always forget what I take. I like rediscovering moments when I scan the negatives. Maybe that’s why I’m intrigued by scenes that have aged or are in the process of aging - capturing areas that have been untouched and undisturbed for years, or physical spaces that are changing by the second.
GPA AARON MERITT Dyslexia introduced to me the importance of my awareness, which I began capturing in my photography. I became aware of words changing and being muddled by my mind. This made me always question what was presented to me. I am bewildered.
ELEMENTS OF LIFE CHLOË KERWIN
I’m Chloë. I adore film photography because there’s an art about it that makes it so unique and is set apart from digital photography. I love it because I don’t know how the photo is going to turn out until I get it developed or develop it myself. There’s something so spontaneous about film. The feeling of getting a roll of film developed after so long is indescribable because most of the time, I don’t remember what those photos were of. Sometimes I’ll go a year without getting them developed. Getting them developed is kind of like a little time portal, because once I get the photos back, I can relive those moments when I thought something was so beautiful during that specific time.
THE FAMILIAR UNKNOWN LILI MEI
My family is mysterious. They seldom share stories. Their past lives are mostly unknown to me. Coming to the U.S. for college gave a physical distance between my family and me. And because of the distance, I realized I never knew them that well. In order to know them, I started photographing them. The ten pictures here are the beginning of my long-term project. They are the evidences of my disconnection with my family.
MEET US IN THE BASEMENT BECCA CHAIRIN Punk is a community where I feel comfortable, safe, and normal. Punk as a subculture seems to define itself in terms of “anti’s”. Anti-mainstream. Anti-capitalism. Anti-class. But for me, punk is also pro many things. Pro-femininity. Pro-gender fluidity. Proletting go of all the restrictions required of society outside the walls of a punk basement. For this project, I have focused on the small details of this world that I find most interesting that when combined, capture the essence of what punk means to me. Although we are considered not “normal” in comparison to the rest of society, these spaces is where I feel I can truly feel the most normal. In the basement of a punk show, we are redefining what it means to live as a woman, or as a queer person, or as a trans person, with the hopes of one day getting to live our truest selves in the outside world, too.
AN EYE TO COLOMBIA ANJA SCHWARZER
These photographs are my most recent body of work, and it is a representative of my role as a street photographer. Primarily, I work with black and white medium format film because I believe that the lack of color transcends reality and transforms an image into a timeless quality. I accurately chose these images because they came out exactly how I had mentally envisioned them. Other images turned out differently than I expected, but that is the beauty and magic of film photography. I started shooting as a way of documenting and observing the people that lived in the outskirts of Bogotá, Colombia. My goal towards making this body of work is to demonstrate how the world, more specifically, the small villages and farmlands that live far from the cities of Colombia contain so much culture, beauty and realities that are so often overlooked or even forgotten.