EYE-Photo Magazine, Issue #5, May 2018

Issue # 05

Y EE EYE PHOTO MAGAZINE

May , 2018

www.eye-photomagazine.com

Y EE

Letters from the editor

EYE PHOTO MAGAZINE

D

ear Readers!

We welcome you to our May issue! Right at the beginning, Thomas Füngerlings, our editor, visits Hendrik Lohmann, an extraordinary talent in street photography. He gives us insights into his creative processes and reveals the story behind his series “What the hell are you doing on this planet?”.

Oliver Krumes, our guest columnist takes us on his trip to Japan, more precisely to Tokyo and tells us about the top and flop places for street photography.

We accompany Alessio Trerotoli in his photo series “Urban Melodies” and enjoy the picturesque, fairy-tale portrait compositions

by Andrew Vasiliev.

Emmanuel Monzon presents surreal-looking urban impressions in his series “Urban Sprawl” and Johan Famel delights us with his artistic fine art nude compositions.

Jurij Bizjak presents his artfully designed Street Photographs, where, light and shadow play an important role, as do geometric elements that complete his compositions.

Margo Sagan’s somber-looking images convey the full range of human emotions whereas Mario Jr. Nicorelli takes us into a magical world of the macro universe. His

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beautifully arranged photographs are the transition to Nevien Ibrahim’s surreal inspired works.

Nirbay Sing Chauhan presents us the lively colorful world of India.

Pierre Leblanc’s latest series, “Traumas” deals with the depths of the human psyche.

As reading recommendation we would like to present and introduce Niko J. Kallianioti’s latest photo book “America in a Trance”. In this photo book, he deals with the development of Pennsylvania from the economic miracle years to the present day, a really interesting compilation and journey.

Last but not least, we present our selection of the “EYE-Catching moments”, photographs of almost 60 photographers from all over the world, which our online editors have discovered in our Facebook group and invited for publication.

As always, we wish you a pleasant reading!!

Yours,

STEFAN CIMER Founder and Managing Editor

Cover photo by HENDRIK LOHMANNŠ

Y EE EYE PHOTO MAGAZINE

Because getting your work published DOES matter!

EYE-Photo Magazine is an independent, online magazine, providing a platform to talented and enthusiastic photographers from all over the world to present their work, regardless their genre, to an international readership.

All images and text, published in EYE-Photo Magazine are the sole property of the featured authors and artists and subject to copyright! EYE-Photo Magazine shall not be liable for the content, quality, relevance or accuracy of any materials used in this issue.

Without written permission of its legal owner, no photo or text can be reproduced, edited, copied or distributed in any form.

EYE-Photo Magazine Š - all rights reserved www.eye-photomagazine.com office@eye-photomagazine.com

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CONTENT

HENDRIK LOHMANN INTERVIEW

BY

THOMAS FÜNGERLINGS

PAGE 6 MY TOP AND FLOP PLACES FOR STREET PHOTOGRAPHY IN TOKYO - - COLUMN

BY

OLIVER KRUMES

PAGE 24 PHOTOREVIEW WITH ALESSIO TREROTOLI

- “URBAN MELDODIES”

PAGE 34 PHOTOREVIEW WITH ANDREW VASILIEV

PAGE 44 PHOTOREVIEW WITH EMMANUEL MONZON

PAGE 54 PHOTOREVIEW WITH JOHAN FAMEL

PAGE 62 INTERVIEW WITH JURIJ BIZJAK

PAGE 72

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- - “URBAN SPRAWL”

CONTENT

WITH

PHOTOREVIEW MARGO SAGAN

PAGE 82

WITH

PHOTOREVIEW MARIO JR NICORELLI

PAGE 92

WITH

PHOTOREVIEW NEVIEN IBRAHIM

PAGE 102

WITH

NIRBHAY

PHOTOREVIEW SINGH CHAUHAN

PAGE 112

WITH

PIERRE

PHOTOREVIEW LEBLANC - ”TRAUMAS”

PAGE 120 NIKO J KALLIANIOTIS BOOK REVIEW - “AMERICA IN A TRANCE”

PAGE 130 EYE-CATCHING MOMENTS SELECTION APRIL 2018

PAGE 140 PHOTO BY MARIANO BELMAR TORRECILLA

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IN TER VIEW HENDRIK L OHMANN

by THOMAS FÃœNGERLINGS

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IN TER VIEW HENDRIK L OHMANN

by THOMAS FÜNGERLINGS

Hallo Hendrik, es ist mir eine Ehre, dass ich dich befragen darf. Vielen Dank, dass du dir die Zeit genommen hast!

Erzähle bitte ein bisschen über dich selbst, stelle dich kurz vor.

Mein Name ist Hendrik Lohmann, alles begann an einem Freitag in Freiburg vor 52 Jahren. Aufgewachsen bin ich in Marktheidenfeld, später Kopenhagen und Lissabon.

Mit 15 zog es mich ins Rheinland, seit 1990 lebe ich in Düsseldorf. Gefühlt bin ich Rheinländer, ich mag die entspannte Art, man muss nicht alles zu ernst nehmen und irgendwie geht auch immer alles gut.

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Kannst du uns sagen, was Fotografie für dich bedeutet?

Irgendwie wie eine Zeitmaschine, sie zeigt die Gegenwart, man reist mit ihr in die Vergangenheit und manchmal sieht man auch die Zukunft. Sie transportiert für mich Emotionen, schreckliches und wunderschönes, man bleibt dabei aber immer selber neutraler Beobachter.

Vor diesem Interview habe ich deine Fotos angesehen. Deine Bilder sind fast alle Schwarzweiß.

Es sind hauptsächlich Streetfotografie und Street Portraits. Woher bekommst du deine Inspiration?

Eigentlich durch meine Umgebung selbst, das Licht, die Schatten, die Situation. Daher habe ich meine Kamera an 364 Tagen im Jahr immer dabei. Plötzlich sehe ich etwas, stelle mir das Foto vor und mache es. Oder mir begegnet ein Mensch, bei dem ich denke, wow den musst du fotografieren, dann frage ich ihn und mache dann das Foto.

Hast du vorher andere Fotos gemacht?

Ja, wie jeder andere auch. Blümchen, Makros, Landschaften, Architektur. Nur nicht besonders gut, da kenne ich viele, die das besser können. Irgendwann habe ich meine Liebe für die Streetfotografie und die Portraitfotografie entdeckt. Die "Hundestraßenfotografie" mit den sogenannten "Flying Dogs" ist dann auch noch dazu gekommen.

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IN TER VIEW HENDRIK L OHMANN

by THOMAS FÃœNGERLINGS

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IN TER VIEW HENDRIK L OHMANN

by THOMAS FÜNGERLINGS

Wie viel hilft dir deine Ausrüstung bei der Umsetzung deiner künstlerischen Visionen und welche Art von Ausrüstung verwendest du?

Ich fotografiere digital und bei guten Lichtverhältnissen auch analog, besitze zwei analoge, eine Nikon F100 und eine alte Nikon FE 2. Meine Digitalkamera ist eine Nikon Df. Sehr rauscharm und daher bestens für meine lowlight Straßenfotografie geeignet. Am liebsten fotografiere ich mit einem Weitwinkel, ich benutze das 14-24 f2,8. Nachts gerne mit meinem 35mm f1,8. Das Weitwinkel benutze ich auch gerne für Straßenportraits, okay es verzerrt, aber es macht auch spannende Fotos. Und ich sage mir immer, wenn man die Seele eines Menschen fotografieren will, muss man schon nah ran. Bei Frauenportraits nehme ich aber auch schon mal ein 50mm, sie legen mehr Wert auf Ästhetik und das respektiere ich.

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Wie gehst du vor? Kannst du uns von deinen Arbeitsschritten, dem Arbeitsablauf bis zum fertig entwickelten Bild erzählen? Wie bereitest du dich vor und warum fotografierst du auch noch analog?

Bevor ich losgehe überlege ich mir, was ich so vorhabe und entscheide mich für eine Kamera ((digital / analog)) und ein Objektiv. Mehr nicht. Das kann natürlich auch mal in die Hose gehen, damit kann ich aber leben.

Bei meinen “Walks” bin ich meistens alleine unterwegs, manchmal mit einem Freund oder Freundin. Eigentlich fotografiere ich recht wenig unterwegs, eher gezielt.

Nach einem Walk habe ich oft nicht mehr als 20 - 30 Fotos gemacht, manchmal auch noch weniger. Wenn ich jemanden auf der Straße portraitiere, mache ich so 3 – 5 Fotos von ihm.

Analog fotografiere ich nur in s/w. Analog hat für mich einen eigenen Charakter, es gewissermaßen “unscharf” oder nicht ganz perfekt. Ich entwickele aber nicht selber. Meine Frau würde mich umbringen, würde ich aus dem Badezimmer eine Dunkelkammer machen. Nein, ich bringe den Film zu meinem Fotohändler zum Entwickeln, dort lasse ich ihn auch digitalisieren. Zuhause arbeite ich mit Lightroom, konvertiere meine RAW Aufnahmen in s/w und schraube immer gerne am Kontrast... mit Presets arbeite ich überhaupt nicht.

Manchmal sitze ich eine Viertelstunde an einem Foto bis das Schwarz so ist, wie ich es haben will und das Weiß so Weiß... ich bin nicht der Freund von tausend verschiedenen Grautönen, sondern liebe es eben Schwarz und Weiß.

Ich liebe deine Serie „What the hell are you doing on this planet?”. Es sind mittlerweile weit über 300 Menschen/Gesichter, die du aus nächster Nähe fotografiert hast.

Mit allen kommst du ins Gespräch, du stellst ihnen diese eine Frage und sie antworten dir meist

humorvoll. So entstehen kleine Storys von wirklichen Charakteren, die du einem Bild und den zwei Sätzen charmant rüberbringst. Wie hat das begonnen?

Wie sind die Reaktionen, wenn du die Menschen auf der Straße ansprichst, wenn sie antworten und wenn sie das Foto „freigeben“?

Für die Serie habe ich erst 209 von 364 fotografiert. Straßenportraits habe ich aber vorher schon gemacht, da sind es schon einige mehr, das stimmt. Auf das Projekt und die Frage bin ich eigentlich gar nicht selber gekommen. Das entwickelte sich aus einem Gespräch im Mai 2016 auf der Messe Photopopupfair in Düsseldorf (übrigens, sehr zu empfehlen) mit der Malerin Martina Ziegler und dem Fotografen Carsten Sander.

Er meinte, ich müsste mehr Geschichte hinter meine Portraits bringen und Martina ergänzte “frag die doch einfach, was sie auf der Welt machen”. Worauf Carsten sagte, “wenn schon, dann was zum Teufel sie auf dieser Welt machen” und so wurde das Projekt geboren.

Eigentlich reagieren die Menschen durchweg positiv auf das Projekt und machen gerne mit. Ich schätze das ca. 90% der Menschen, die ich anspreche auch mit machen.

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IN TER VIEW HENDRIK L OHMANN

by THOMAS FÃœNGERLINGS

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IN TER VIEW HENDRIK L OHMANN

by THOMAS FÜNGERLINGS

Was sind deine Vorbilder, wie würdest du dich anderen Fotografen zuordnen?

Marius Vieth war am Anfang ein großes Vorbild für mich, er wohnte damals auch in Düsseldorf und ich fand sein 365 Tage Projekt unglaublich beeindruckend. Ein – zwei Jahre vorher lernte ich auch meinen Kumpel Thorsten Koch kennen und wir entdeckten die Straßenfotografie zusammen. Er ist unglaublich belesen, ich eher unwissend und er gab mir hunderte von Tipps, die ich bis heute gerne beherzige.

Mein größtes Vorbild heute ist der portugiesische Straßenfotograf Rui Palha. Ich liebe die Art, wie er Fotos komponiert, wie er mit dem Licht arbeitet und seine sehr respektvolle Art mit Menschen umzugehen und dabei selber unglaublich bescheiden ist.

Was kannst du uns über den Faktor „Glück“ in der Fotografie erzählen?

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hat und auch nicht mehr genau was, aber hängengeblieben ist mir im Sinn: “Natürlich habe ich Glück in der Straßenfotografie, aber dieses Glück ist auch sehr viel Arbeit” was für mich bedeutet, die Kamera immer dabei zu haben und immer ein Auge auf sein Umfeld um gute Momente, Lichtsituationen oder spannende Menschen zu finden. Und das ist eben schon Glück.

Deine Bilder haben oft eine gewisse Leichtigkeit und die Menschen sehen entspannt aus. Wie siehst du das?

Vielleicht spiegeln sie meine eigene Einstellung zum Leben wieder, die Dinge entspannt zu sehen und offen und freundlich auf Menschen zu zugehen. Freundlichkeit kostet nichts und respektvoll mit anderen Menschen umzugehen auch nicht.

Hat sich deine Art zu fotografieren verändert, seit du angefangen hast?

Ja, sehr. Anfangs wollte ich nie einen Menschen im Foto haben, heute mache ich kein Foto mehr ohne einen Menschen oder zumindest ist ein Hund im Bild. Anfangs waren meine Fotos bunt. Heute sind sie farbig nur dann, wenn es wirklich passt. Früher habe ich alles Mögliche fotografiert, heute frage ich mich oft, bevor ich den Auslöser drücke, was machst du mit dem Bild?

Dies ist wahrscheinlich die kniffligste Frage von allen.

Kannst du unter all deinen tollen Bildern einen Favoriten nennen, und wenn ja, welches und warum?

Ein paar Favoriten habe ich schon, aber ein Foto, was mir letztes Jahr wirklich hängen geblieben ist, ist ein Straßenportrait, das ich in unserem Urlaub in Kroatien gemacht habe. Ich sah einen bärtigen Mann mit Sonnenbrille, den ich unbedingt fotografieren wollte. Ich bemerkte, dass er und seine fünf Freunde taubstumm waren. Dann verschwanden sie auch noch in einem Geschäft. Ich wartete draußen und als sie wieder rauskamen, versuchte ich in Kontakt zu kommen. Ich glaube, sie dachten, dass ich irgendein Touristenfotograf bin, der es auf ihr Geld abgesehen hatte. Aber mit Händen und Füßen und später auch mit einem Handy konnte ich mein Projekt erklären und bekam auch die Antwort auf meine “What the hell” Frage

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IN TER VIEW HENDRIK L OHMANN

by THOMAS FÜNGERLINGS

Was sind einige der wichtigsten Lektionen, die du gelernt hast?

Oh, da gibt es einige... in der Straßenfotografie kann man definitiv kein gutes Foto erzwingen.

Manchmal mache ich an einem Tag drei oder vier Fotos. die ich als gut empfinde, manchmal nicht eins.

Schwamm drüber und weiter machen.

In der Straßenportraitfotografie habe ich eine weitere wichtige Lektion gelernt und die möchte ich wirklich jedem mitgeben: ich gehe immer freundlich und offen auf Menschen zu, wenn ich sie anspreche.

Manchmal trifft man dabei auch auf unangenehme Menschen, was man vorher nicht gedacht hätte. Überhebliche und unfreundliche Reaktionen habe ich schon erlebt, wenn auch selten. Einmal in Düsseldorf wurde ich von einem Mann lautstark angeschrien, was ich mir überhaupt erlauben würde, ihn anzusprechen.

Ein andermal wurde ich in Portugal wüst beschimpft.

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Aber man muss sich eins klar machen, bei solchen Reaktionen liegt das Problem nicht bei einem selbst, sondern bei den anderen, die aus irgendwelchen Gründen schlecht gelaunt jetzt ihre Arroganz an einem auslassen. Die wollen, dass ich mich schlecht fühle, weil sie selbst frustriert sind. Aber das bin ich nach zehn Minuten nicht mehr, die aber noch den ganzen Tag und wahrscheinlich viel länger. Also lasst euch von solchen Leuten nicht den Tag verderben, sprecht den nächsten Menschen an und ihr werdet feststellen, dass es viel mehr nette als unfreundliche Menschen gibt.

Welchen Rat würdest du - mit deiner Erfahrung - Leuten geben, die gerade in der Fotografie anfangen?

Alles ausprobieren bis man das gefunden hat, was einem wirklich gefällt. Ich finde jede Art der Fotografie hat seine Berechtigung, ob Landschaft, Akt oder Streetfotografie. Blümchen oder Tiere, egal. Keine Sparte der Fotografie hebt sich von der anderen ab. Fotografiert, was euch Spaß macht, fotografiert viel und probiert alles aus.

Aber seid dann selektiv und sucht euch nur eure besten Bilder heraus und findet raus, was euch an denen gefällt und wie man sie beim nächsten Mal verbessern kann. Lernt die Regeln, um sie dann später bewusst zu brechen.

Ich habe deine letzte Ausstellung „Menschen, Licht, Momente“ in Düsseldorf besucht.

Es sind schöne und intensive Augenblicke deines Schaffens aus Lissabon, Düsseldorf und Menschen / Gesichter waren natürlich auch dabei.

Was hat dich bewegt und wie bist du vorgegangen?

Vielen Dank!! Freut mich sehr, dass sie Dir gefallen haben. Nach der Ausstellung “Beard project” 2015, in der ich nur bärtige Männer zeigte und “Lohmann’s world” 2016, in der ich eine Mischung von Streetfotografie und Streetportraits zeigte, wollte ich diesmal den Fokus auf die Straßenfotografie setzen.

Gibt es Projekte oder Ausstellungen, an denen du gerade arbeitest und die du hier vorstellen möchtest?

2018 bin ich bei zwei Sammelausstellungen der Neanderart group dabei, (die genauen Daten habe ich noch nicht, kläre das aber noch ab) weitere Ausstellungen sind noch in Planung.

Hendrik, vielen Dank für dieses sehr interessante Interview.

Mehr zu Hendrik Lohmann: www.hendriklohmann.com www.facebook.com/hendrik.lohmann.3 www.flickr.com/photos/lohmannfotografie www.instagram.com/hendrik.lohmann

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IN TER VIEW HENDRIK L OHMANN

by THOMAS FÃœNGERLINGS

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IN TER VIEW HENDRIK L OHMANN

by THOMAS FÜNGERLINGS

SUMMARY Hendrik Lohmann was born on a Friday in Freiburg 52 years ago. He grew up in Marktheidenfeld, later in Copenhagen and Lisbon. At 15, he moved to the Rhineland, since 1990 he lives in Dusseldorf.

Photography is like a time machine, it shows the present, you travel with it into the past, and sometimes you also see the future. It carries terrible and beautiful emotions, but you always remain a neutral observer.

His pictures are almost all black and white. He gets his inspirations through his environment itself, the light, the shadows, the situation.

That’s why he always has a camera with him. Suddenly he sees something, imagines the photo and does it. Or he meets a person, then he asks him and then takes the picture.

At first, he shoots florets, macros, landscapes, architecture. At some point, he discovered his love for street photography and portraited photography. He shoots digitally and in good lighting conditions also analogue, have two analogue, a 22

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Nikon F100 and an old Nikon FE 2. His digital camera is a Nikon Df. Very low noise and therefore ideally suited for lowlight street photography. He prefers photographing with a wide angle, and I use the 14-24 f2.8.

At night like with my 35mm f1.8. He also likes to use the wide-angle for street portraits, okay it distorts, but it also makes inspiring photos. He tells himself that if you want to photograph a person’s soul, you have to get close. In women’s portraits, he uses a 50mm; they put more emphasis on aesthetics.

Before he goes outside, he thinks about what he intends to do and decide on a camera (digital/ analogue) and one lens. Most of his walks are on his own, sometimes with a friend or girlfriend. He photographs quite a bit on the way, instead targeted. After a walk, he often did not take more than 20-30 pictures, sometimes even less. When he portrays someone on the street, he takes 3-5 pictures of him. Analog he only photographs in black and white. Analog has for me its character, in a way “out of focus” or not quite perfect. At home, he works with Lightroom, he converts the RAW shots in b/w and always like to screw in contrast. Sometimes he sits for fifteen minutes on a photo until the black is as he wants it and the white entirely white.

What’s about the idea “What the hell are you doing on this planet?”. There are well over 300 people/faces that he photographed up close. With all he comes into the conversation, ask them this one question, and they usually answer with humour. The result is small stories of real characters that charmingly bring a picture and the two sentences over. For the series, I have only 209 of 364 photographed. He did not come to the project and the question himself. This developed from a discussion in May 2016 at the Photopopupfair fair in Düsseldorf with the painter Martina Ziegler and the photographer Carsten Sander. He said I needed to bring more story to my portraits and Martina added: “just ask them what they do in the world”. After that Carsten said, “if so, then what the hell are you doing in this world” and so the project was born. People are always positive about the project and enjoy participating. He estimates that about 90% of the people I appeal to do.

Vieth was a great role model for him at the beginning, he also lived in Dusseldorf at the time, and he founds his 365-day project incredibly impressive. Later he met

his buddy Thorsten Koch, and they discovered the street photography together. His most significant role model today is the Portuguese street photographer Rui Palha. He loves the way he composes photos, how he works with the light and his very respectful way of dealing with people while being unbelievably modest.

Somebody said “Of course I’m lucky in street photography, but this happiness is also a lot of work,” which means for him, the camera always there and always keep an eye on its environment to find good moments, light situations or exciting people. And that’s just luck. His pictures often have the specific lightness, and people look relaxed. Maybe they reflect his attitude to life, to see things comfortable and to approach people in an open and friendly way. Friendliness costs nothing and respectful of other people not to deal either.

He already has a few favourites, but a photo that caught his eye last year is a street portrait that he made in Croatia. He saw a bearded man wearing sunglasses that he wanted to photograph.

He noticed that he and his five friends were deaf and dumb. Then they disappeared in a shop. He waited outside, and when they came out, he tried to get in touch. He thinks they thought I was some tourist photographer looking for money. But with hands and feet and later with a mobile phone he could explain his project and got the answer to his “what the hell” question.

In street photography, you definitely can not force a good photo. Sometimes he takes three or four pictures in one day. Sponge over it and carry on. In street portrait photography he has learned another valuable lesson, and he wants to give it to everyone: He always approaches people in a friendly and open manner when he addresses them.

His advice for beginners: Try everything until you have found what you like. He thinks every kind of photography has its justification, be it landscape, nude or street photography. Flowers or animals, does not matter. No branch of photography stands out from the others. Take photos of what you enjoy, photograph a lot and try everything out. But then be selective and pick out only your best pictures and find out what you like about them and how you can improve them next time. Learn the rules, then consciously break them later.

His last exhibition “People, Light, Moments” in Dusseldorf shows beautiful and intense moments of his work from Lisbon, Dusseldorf and people/faces of course. After the exhibition “Beard project” 2015, in which he showed only bearded men and “Lohmann’s world” 2016, in which he showed a mixture of street photography and street portraits, this time he wanted to focus on street photography. In 2018 he will attend two group exhibitions of the Neanderart group. Further exhibits are still in the planning stage.

More about Hendrik Lohman: www.hendriklohmann.com www.facebook.com/hendrik.lohmann.3 www.flickr.com/photos/lohmannfotografie www.instagram.com/hendrik.lohmann

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MY TOP AND FLOP PLACES FOR STREET PHOTOGRAPHY IN TOKYO

BY OLIVER KRUMES

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MY TOP AND FLOP PLACES FOR STREET PHOTOGRAPHY IN TOKYO

BY OLIVER KRUMES

We traveled through Japan for 3 weeks, the last week I was in Tokyo spending about 5-6 hours a day exploring the Street Photography hot spots of Tokyo.

Tokyo and taking pictures here was definitely one of the highlights of my stay in Japan. Tokyo is a paradise for street photography – the residents do not seem to have a problem with being photographed or are too polite to show it. The 6 days in Tokyo took me to many parts of this exciting, bustling super metropolis – some of which I was thrilled with, others rather repelled or bored. My personal Street Photography experiences with Tokyo neighborhoods, ranked by rating:

Kabukicho, Shinjuku For many street photographers, a red light district may have a magical attraction. I always have a strange feeling of being surrounded by organized crime and questionable business models.

Kabukicho adds that it is teeming with tourists for overpriced bars and bad snacks. Only a few shops have signs in Japanese, almost everything is signposted in English. Anyone who likes western binge tourists as a photo subject, that’s right here, I recommend all other ambitious street photographers rather to other parts of the city.

Rating: 1/10 points

Akihabara Akihabara is probably the epicenter of the Japanese manga and video game culture with its „Electric town“. The place is full of shops where you can buy every imaginable manga (with a focus on erotic manga) or video games. The offer is supplemented by Maid cafes, which are 99% visited by Western tourists. And here returns the tourist area problem: As a street photographer 26

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you´ll find here mainly obese, slightly inferior-looking tourists in comic T-shirts in front of your lens. Sounds not very nice, but that´s the reality here. You will not find many Japanese here – the only interesting place for street photography for me is here right at the subway exit, where you have a nice light in the late afternoon.

Rating: 2/10 points

Shibuya Shibuya is one of the major shopping districts in Tokyo. Shibuya is better known, however, through the largest train station in the city, which passes over 3 million people daily and through the legendary Shibuya intersection. At the Shibuya intersection, thousands of people stream across the street at every green stage. From above, e.g. from the Starbucks on the first floor, you have a good overview of the probably biggest human anthill in Tokyo.

Since the Shibuya intersection is so well-known and is mentioned in every guidebook, here is photographed and filmed at each traffic light phase fiercely. Tourists are still desperately searching for the best position for a selfie on the street when the traffic light has turned red again.

So here comes the tourist problem again. If you are not photographing very selectively, you will have selfie tourists on every photo, which is not bad in itself, but it bothered me while I was taking photos.

That’s why I was here in the evening for street photography with my flash, which was great fun and has also brought a few handsome results.

In this way, I was able to expose the people I found interesting and ignore the masses. - Ranking 5 / 10 points

Ginza The neighborhood of the rich and would-be, where branches of Gucci and Prada rank are next to expensive restaurants.

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Here you can watch the „Chinese new “rich people” shopping. Many interesting business facades, in front of which you can put the passers-beautiful in scene. Unfortunately, a quarter in which people are rather not so happy to be photographed – this was my personal impression.

Ranking 6 / 10 points

Harajuku The „Kreuzberg (hip district in Berlin)“ of Tokyo. A hipster and rebel district in the middle of Tokyo. The rebel pose refers here mainly to shop „punk “and „rebellious “clothes. Here you will find many wacky types, from punks to rockabillys and JPop starlets, who are hounded by hysterical screaming girls, I’ve seen everything here.

If you’re into street portraits, you’ll find it here. Architecturally, the low-rise shopping streets are more likely to produce something interesting in your Photography than the main streets.

Ranking 6 / 10 points 28

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Chiyoda For a street photography stroll, workdays are recommended during lunchtime and also early afternoon. I found the area between Kudanshita Station and Iidabashi Station to be very lovely.

There are many offices here and at noon the staff flock to all the small snack bars and restaurants that can be found in the small side streets.

There are hardly any tourists here. Who wants to photograph Japanese business people, is pretty right here. At the Iidabashi Station there is a very interesting, colorful wall along the train tracks, which creates a fantastic background, especially in the light of the light.

Ranking 7 / 10 points

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MY TOP AND FLOP PLACES FOR STREET PHOTOGRAPHY IN TOKYO

BY OLIVER KRUMES

Shiinamachi Our accomodation, the fantastic Sheena and Ippei hostel in Shiinamachi, where we were already on the second day seen as a part of the „family“, was located in the residential district of Shiinamachi, which is only one stop away from Tokyo’s second largest train station Ikebukuro.

Here you will find a small but fine infrastructure of owner-managed shops and small pubs in lowrise streets, which provide a wonderful light for high-contrast street photography with light and shadow, as I love it, in the late afternoon. Almost no tourists.

If I moved to Tokyo, it would be my favorite neighborhood and one of my favorite areas for street photography.

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At the train station in Shiinamachi, you can watch the famous Tokyo „pushers“at work in the morning, who help to bring the passengers to work in time. - Ranking 8 / 10 points

Ikebukuro Around Tokyo’s second largest train station is my favorite area for street photography in Tokyo: In Ikebukuro, as a Street Photographer you´ll find everything your heart desires – business people, manga freaks, drunks from the pubs staggering and Tokyo people doing shopping. Only few tourists to be found here. Thanks to Chulsu Kim, who brought me closer to this area – it was a great afternoon I spent with him discovering this area. Ikebukuro is also home to other well-known Tokyo street photographers such as Tatsuo Suzuki and Daido Moriyama.

Ranking 9 / 10 points

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MY TOP AND FLOP PLACES FOR STREET PHOTOGRAPHY IN TOKYO

BY OLIVER KRUMES

All in all, Tokyo is definitely worthwhile for a street photography trip. There are certainly many interesting areas in Tokyo that I have not yet touched on because I will visit them on my next trip to Tokyo ….

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Oliver Krumes • • • • •

•

Passionate Street Photographer for over 10 years Co-founder of Street Photography collective Berlin1020 Photography Teacher in Berlin and abroad Listed by photo agency Visa Solo and group exhibitions in Germany and Austria: at Galerie RS21 Berlin, Creative Office Berlin, Gallery Herzogenburg/ St. Veit an der Glan and as part of Bucharest Photo Week 2016 Lived & documented Street life in Hong Kong, Myanmar, China, Turkey and many other countries

https://streetphotographyberlin.com/ https://www.facebook.com/oliver.krumes https://www.instagram.com/streetphotographyguy/ https://twitter.com/oliverkrumes

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PHOTO RE VIEW ALESSIO TREROTOLI URBAN MELODIES

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PHOTO RE VIEW ALESSIO TREROTOLI URBAN MELODIES

I

am an Italian photographer, born and based in Rome.

Graduated in 2009 in Disciplines of Arts and Cinema, in the same year I started to travel in Europe and in America, taking pictures and making experiences.

My first exhibition was in 2010, since then my pictures were shown in several galleries, in Italy and abroad. In 2012 I began my most important project, "Urban Melodies". In 2013 I won Abstracta Festival and the years after I won other prizes and honorable mentions at Urban International Photo Contest, International Photographer of the Year Awards and Fine Art Photography Awards. Other important projects are "Roma Coast to Coast" and "Raindrop Blues", my last

series. In 2017 I was one of the six founding members of the collective Roma Street Photography.

International label Eyes Heart & Soul has included me in the list of the World's 25 Best Fine Art Photographers.

With his series “Urban Melodies�

Trerotoli creates, by superimposing different pictures, an abstract representation of urban landscapes and contemporary life from a modern metropolis like Rome, New York, Paris, Berlin and many others. By juxtaposing different images, Trerotoli aims to show a usual image in a conceptual way, where everything is duplicated, the lights and the structures multiply and build a new vision of urban life.

LINKS Website: www.alessiotrerotoli.it Facebook: www.facebook.com/AlessioTrerotoliPhotographer Instagram: instagram.com/alessiotrerotoli Twitter: twitter.com/TrerotoliPhoto

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“MONOPOLI”

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“MOULIN ROUGE (PARIS)”

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“GRAND CENTRAL (NEW YORK)”

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“CHINATOWN (NEW YORK)”

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“TRAJAN’S FORUM (ROMA)”

“WILLIAMSBURG (NEW YORK)”

“RUE LAMARCK (PARIS)”

“WINDOWS (BERLIN)”

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42 EYE-Photo Magazine, Issue #05, 2018 “CROSSROADS (ROMA)”

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PHOTO RE VIEW ANDREW VASILIEV

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PHOTO RE VIEW ANDREW VASILIEV

I

was born and still live in Krasnodar (Russia). Contrary to stereotypes, it is is very warm and quiet here, sometimes so much that it’s too lazy to even move.

I grew up in an ordinary and not a quite rich family. My mother works as a children’s teacher, and my father was an artist and sculptor. Sure, we had some creative atmosphere in our family and, certainly, it had influenced my future destiny, although I began to photograph much later.

First I had to finish high school, college, and university. I got a job in the IT sector, and only af-

ter that, I earned money for my first camera. I always had the desire to make photos even before, but I couldn’t even imagine that I would succeed. After 5 years of doing photography as a hobby in my free time, I now try to live out of it.

I have started with architecture photography and landscapes and I still continue to shoot them. But I’m striving for shooting portraits these days. Gaining experience, I also try not only to show the look of a person. I try to think up a story or give the viewer the opportunity to make their own understanding of the composition.

LINKS Website: Facebook: 500px: VK:

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http://vavfoto.ru www.facebook.com/vavfotos https://500px.com/vavfoto https://vk.com/vavfoto

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PHOTO RE VIEW EMMANUEL MONZON

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PHOTO E RE VIEW EMMANUEL MONZON

mmanuel Monzon is a french photographer and visual artist based in Seattle, WA. He graduated from the Academy of Beaux-Arts in Paris, France with honors. His work has been featured throughout the US, Europe and Asia (through exhibitions, selections and various awards).

Through his work, he explores and questions the signs of urban sprawl in our visual field.

His photographic process is being influenced by his plastic art artist background.

COLLECTION: ESSEL COLLECTION- Karlheinz Essl, founder of the ESSL Museum.

INFO: size - 30x30 inches - Print: Canson Arches Infinity Watercolor Paper (acid free)

STATEMENT Through my urban sprawl series, I want to photograph the in-between state found in the American landscape. So I capture places of transition, borders, passages from one world to another: am I leaving a city or entering a new environment?

“There are several common threads woven throughout Emmanuel’s photography. First, he only uses square frames to create a strong focus on the subject, and second, his photos always contain manmade structures or objects, but never any actual people. These two elements combine to cause viewers to perceive a deep void in the photos; an almost post-apocalyptic sense of isolation. By displaying structures humans built to serve their own needs,

but in a rare state of absolute idleness, Emmanuel creates an eerily disconcerting environment. Looking at the photos, you can almost hear the chilly silence that’d accompany them.” .Press.

In my artwork there is no judgment, no denunciation, only the picture itself. If I could sum up the common theme of my photos, it would be about emptiness, about silence. My pictures try to extract from the mundane urban landscape a form of estheticism. Where most people only pass through, I stop and look for some form of poetic beauty. I like repetition, I like series, and I like driving around.

Email: admonzon@hotmail.fr Website: admonzon.format.com Instagram: www.instagram.com/emmanuelmonzonphotography Lensculture: www.lensculture.com/emmanuel-monzon

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PHOTO RE VIEW JOHAN FAMEL

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PHOTO RE VIEW JOHAN FAMEL

J

ohan Famel, is a passionate photographer, known under the name "Yozic photography", based in Toulouse.

The artist: "A look, shapes and colors. I love this particular bond that is created during an artistic bubble between a model and bring it to light.

“

In a word, I am here to capture love and light.

Friendliness, respect, complicity, and simplicity are complementary and fundamental to a smooth running of a session. In a word, I am here to capture love and light.

I pay particular attention to the light that caresses and sublimates the feminine curves. Her images depict the women’s bodies, without artifice, and celebrate their natural beauty.”

Yozic Photography https://yozic4.wixsite.com/yozic-photographie/publatation-mag https://www.instagram.com/yozicphoto https://www.facebook.com/johan.famel https://www.facebook.com/YozicPhoto https://www.facebook.com/johanfamelphoto

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PHOTO RE VIEW JURIJ BIZJAK

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PHOTO RE VIEW JURIJ BIZJAK

A

lthough I studied geology, this is not the field I work in for a living. And although I photograph a lot, I am not a photographer by profession. I am, however, someone who likes to capture images of reality: an amateur photographer. I was born in the era of analog technology, and although my interest in photography began stirring at that time, I was still far more interested in late Friday nights.

And so, instead of spending gold-lit mornings on photo-jaunts, I usually let myself be lulled into the land of dreams. Even now, with my interest in photography fully awakened, I still relish a good lie-in, and thus hunting for landscape motifs in the early morning light is a rare occurrence. Recently, my passion has moved away from the concert stages and I began focusing on urban motifs. These lend themselves well to sleepyheads and are there to be photographed wonderfully at any time of the day. In fact, I find them even more appealing

in the midday light or enveloped in contrasting light and dark shadows. I am particularly fond of the minimalist motifs of solitary passersby, who, without even being aware of it, fall within the geometric constraints of the urban city center. Their figures form order and regularity within the points, lines, and planes, thus acting as an antithesis to the proverbial hustle and bustle of the city. Regardless of whether taking a photo from the frog’s perspective or from the bird’s-eye view, I find that any angle can bring a powerful, sometimes distinctly different, interpretative charge, captivating me, the photographer, as well as a random observer of the photo in question. Even though the urban center seems chaotic, the minimalistic image and the paradox of solitary people in the midst of large city crowds point to the complete opposite. They create moments that are full of warmth. All this is what I now strive to capture in my photography.

http://jurijbizjak.com/ https://www.facebook.com/jurij.bizjak.3 https://www.instagram.com/jurij_bizjak/

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PHOTO RE VIEW MARGO O. SAGAN

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P

hotography has always been an important part of self-expression in my life. Not only is it a form of

expressing the internal self, but also, capturing a fleeting moment as well as perceiving reality in an individual way. My interest in the field has taken a different direction and is deliberately suspended between Photography and Graphic Design, using a more artistic and sensual perception of reality. Like any expression of art, photography can be a form of self-therapy and catharsis. One can also discover the subconscious recesses of their dark side and confront internal rhetorical questions about our existence as human beings. The series of portraits, which I present, is my personal story of transformation in the literal, as well as, metaphysical sense of the word. Through the process of changing the understanding of one's own place and corporality, in harmony with what surrounds us, one comes to see that are essentially earth, air, and water in structure.

Facebook: www.facebook.com/margo.o.sagan/ Instagram: www.instagram.com/margo.o.sagan/

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PHOTO RE VIEW MARIO JR. NICORELLI

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M

y name is Mario Jr. Nicorelli, I’m 40 years old and I live in Salgareda in the province of Treviso, Veneto, Italy. I am a photo amateur for over twenty years now. My favorite motifs are nature, landscapes and all the "small things". The title of the work that I introduce here is: “Drops with reflexes of flowers”. I create macro photos using waterdrops as a magnifying lens for flowers in the background. The photographs of droplets with reflections of flowers is photo passion that takes a lot of time and precision.

I’m not a professional or a guru of photography, I don't have titles, prizes or inscriptions at reputable foundations of photography. I'm just a curious and eclectic self-taught photographer.

DROPS

WITH

REFLEXES

OF

FLOWERS

M

i chiamo Mario Jr. Nicorelli, ho quaranta anni e vivo a Salgareda nella provincia di Treviso, Veneto, Italia. Sono un fotoamatore da circa venti anni e mi piace riprendere la natura, il panorama e le piccole cose. Il titolo del lavoro che vi presento è: "Gocce con riflessi di fiori". Creo delle macrofotografie che usano le gocce d’acqua come una lente per riprodurre i fiori posti nello sfondo. Le immagini di Gocce con riflessi di fiori sono un genere di fotografia per la quale ci vuole molto tempo e precisione. Ci tengo a dirvi che Io non sono un professionista o un guru in fotografia, non mi fregio di titoli, premi o iscrizioni a fondazioni rinomate di fotografia. Io sono solo un curioso ed eclettico autodidatta in fotografia.

Read my interview on Domiad Photo Network : www.domiad.it/racconti-fotografici-numero-71-intervista-a-mario-jr-nicorelli/ LINKS Web: www.nikimage.com Facebook: www.facebook.com/MNicorelli Facebook: www.facebook.com/MarioJrNicorelliDropsFlowers Flickr:

www.flickr.com/photos/mario_nicorelli

Nikon Club Italy:

www.nikonphotographers.it/mariojuniornicorelli

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PHOTO RE VIEW NEVIEN IBRAHIM

“Vivo 2” 102 EYE-Photo Magazine, Issue #05, 2018

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PHOTO RE VIEW NEVIEN IBRAHIM

M

y passion for Photography started when I was a child.

I was always taking pictures of everyday moments with my camera.

Collecting photos from magazines was my big hobby, especially fashion and commercial photos.

After years I started to read more about photography, tried to know more about lighting and different kinds of equipment.

art and conceptual photography. I started to concentrate on fine art and conceptual photography in 2016.

I started taking courses to help me know about the different kinds of photography and cameras, watched many many videos and tutorials from different photographers around the world.

My camera is my friend, I put my heart and soul into my work, and I believe that it shows in my photographs.

I tried wedding, fashion, beauty photography, and other kinds.

Until I found my real passion, which is fine

My work is always having a message in it, I am trying to express my feelings through my photos.

I have endless ideas that I really love to make real. I am practicing day after day and I always have the same passion.

Photography is my greatest joy, translating the scenes in my head into photographs is giving them a place to be remembered and cherished by art lovers.

Facebook: www.facebook.com/Nevien-Ibrahim-Photography-358223794256851 Instagram: www.instagram.com/nevien_ibrahim

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PHOTO RE VIEW

“Concept Candle”

NEVIEN IBRAHIM

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“Piano Play”

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PHOTO RE VIEW NIRBHAY SINGH CHAUHAN

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PHOTO RE VIEW NIRBHAY SINGH CHAUHAN

S

omething about photographs has always succeeded in indulging my mind into them. I was curious and fascinated by the perceptions of photographers and how well they were able to paint the picture in their minds into their shots. I started on this journey when I was 17 years old, in my hometown Solan. Wandering in the valleys of Himachal Pradesh, India I wanted to tell the stories in my mind through my photographs. I got myself Nikon D3200, a beginner professional camera in 2014 after which I spent more than 2 years of my High School in clicking photographs. As I explored more into this dream of mine to become a professional National Geographic photographer, I developed my skills in portrait and street photography and practicing landscape and wedding photography.

Instagram: @i_shoot.raw EyeEm: www.eyeem.com/u/nirbhaysinghchauhan 500px: 500px.com/nirbhaysinghchauhan

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PHOTO RE VIEW PIERRE LEBLANC TRAUMAS

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PHOTO M RE VIEW

y photographies cannot be separated from the projects in which I commit myself: exhibitions in the profit of breast cancer research, image education through photography, portraits of adults with neuromotor handicap at Alexandre Glasberg specialised center, etc…

PIERRE LEBLANC TRAUMAS

I use photography as a medium of my sensibility to other and its story, and the best way for me to express it is staging.

Through these pictures, I question the human being hypocrisy who keeps on destroying its own planet, the raise of extremism at the eve of the 2012 French presidential elections (Series : One minute of silence), and the absurdity of our lifestyle.

Therefore, since 2005, I multiply initiatives, either working with young deaf teenagers or creating a photo workshop in an Emmaus Social Center. My work is also deeply anchored in a territory: the parisian suburbs. I live in Montreuil and it’s also in link with its population, shopkeepers, neighbours that I create a part of my work.

The photography which won the 1st prize of the contemporary art competition of Christiane Peugeot’s Foundation in Paris is part of a series entitled: «The Bench / www.pierreleblanc.be ».

In a unique set and exclusively shot by night, this series tends to show different forms of our obscene behaviors, and the hysteria of our modern societies full of our so human incoherence.

Staging is then more and more important in work, because it allows me to express sincerely and freely my feelings and my disagreements towards the world or towards the system in which I survive.

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To keep on going, I would quote these few lines from an interview written by Léa Fraisse ( press attaché): “Is Art Work always carrying somewhat a political message?

Are they projecting a particular world consciousness? Are they producing discourses in fact? And even, by pure provocation, would you say that Art shoud be militant?

Conversing with Pierre Leblanc, who defends himself from having any kind of political will, but who still smells good the committed artist, my questions were stronger than ever. Because, as the photographer says so well, in oppressed societies, Art is often the last bastion of revolt, refusal, alternative and dream.

But then, what about our sacrosanct Democracies ? Would Art fall asleep? Isn’t it in our nice liberal societies, governed by people who teach us to think Freedom (but can Freedom be taught ?), who cherish it by offering it nice frames, attractive colors, bronze but misleading reflections, isn’t it precisely here that art should keep vigil? Make sure not to fall asleep with too exciting promesses, not to let itself be blinded by mad but always overwise lights, make sure the utopia survives in our fragile consciousness? “ My artistic work takes place in the following way, before beginning a new series, I always ask myself the same question: do I have something to say? Then I ask myself how I’m going to stage those emotions, which set will allow me to create relevant and forcefull scenes, in relation to the theme defined for this series. Then comes the search for the characters…The project I’m preparing at the moment is entitled “Life upside down”, consisting of 10 photos, shot in 10 different sets. Each photography will come with a video shot in the set with the same actors…for the moment, I’m in the writing process of this project!

Synopsis série « Traumas » “What has traumatized you? “, this is the question which Pierre Leblanc could have posed to the characters whom he constructs in scene. In a play of shadow and light, Pierre reveals the trace which each one of us can make every effort to chase away or to not acknowledge at all and that nevertheless colors the prism of our existence. The other, the speech, the acts; either real or reconstructed, fantasized or lived, this is what he puts before us and pushes us, one more time, to introspection. « Qu’est-ce qui vous a traumatisé ? », voilà la question que Pierre Leblanc aurait pu poser aux personnages qu’il met en scène ici. Par son jeu d’ombres et de lumières, Pierre révèle la trace que chacun d’entre nous peut s’évertuer à chasser ou méconnaitre et qui conditionne pourtant le prisme de notre existence. L’autre, les discours, les actes, qu’ils soient réels ou reconstruits, fantasmés ou vécus, voilà ce qu’il nous met sous les yeux avec cette pente qui nous pousse, une fois de plus, à l’introspection.

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Pierre Leblanc EMail: contact@pierreleblanc.be Website: www.pierreleblanc.be Facebook: Pierre Leblanc-Photographe Instagram: Pierre Leblanc-Photographe

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B OO K RE VIEW NIKO J. KALLIANIOTIS

Niko J. Kallianiotis first monograph, “America in a Trance” dives into the heart and soul of the Pennsylvania industrial regions, where the notion of small town values and sustainable small businesses thrived under the sheltered wings of American Industry. A mode to promote American values, industrialism provided a place where immigrants from tattered European countries crossed the Atlantic for a better future. The project isn’t just about the flushing out of industry and the towns suffering, but something more. Something poetic. Something as deep rooted as these values and traditions of hard work, family, faith, and an attitude of trying to make the best out of a little less as much of the world passes by or looks in with a skew.

Kallianiotis, born in Greece but seemingly Northeastern Pennsylvania bred, has called this place home for roughly twenty years. He believes in this place with a whole heart and it’s the element of the experience that drives his concept. Most importantly it’s the ideal of building a bond. Although the sway and beliefs from both sides of the fence in the current political climate have a direct effect and interest in these towns, Kallianiotis achieves a certain level of neutrality within the work. Conceptually, he incorporates and invites the viewer to make their own narrative and draw conclusions for themselves. Whether it is the hard Pennsylvania coal towns to the East, the shadows of looming steel stacks to the West or every faded American dream in between. Through the use of light and color, an illumination of hope he explores his own relationship with the land, as well as capturing his chemistry with these individual moments. It is not about how things look, but about how things feel.

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W

hat was the initial idea before starting your project “America in a trance”?

For the last three years, my America in a Trance project took me through towns and cities across the state of Pennsylvania, a once prosperous and vibrant region where the notion of smalltown values and sustainable small businesses thrived under the sheltering wings of American Industry. A mode to promote American values, industrialism provided a place where immigrants from tattered European countries crossed the Atlantic for a better future. As an immigrant and naturalized citizen myself, I had always perceived the U.S. differently, mostly from the big screen Hollywood experience and the adventures of “Harley Davidson and the Marlboro Man”. I wanted to learn more about the region, about what America really is outside the lights of a metropolis. My first experience with the U. S. was in New York City about twenty-years ago but I truly start learning and understanding the country once my work took me to other states. It is still a learning process.

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let the work develop organically and become a commentary of place, but also of self. I am interested in showing you how things look, but mostly how things feel, with the hues and light playing the role of a constituent of hope. The work is a product of love, for both the state and country I have called home for the last two decades; it is not a political statement but it’s about the experience of being there, showing you what I see but mostly what I feel. While my interest is not in the depiction of desolation, at times it becomes necessary to the narrative. I search for images that reflect, question, and interpret life in the towns and cities across the Keystone State, and the yearning for survival. My interest is in the vernacular and the inconsequential, that which becomes metaphorical and a connotation to a personal visual anthology for the photographer but also for the viewer.

H

ow did you prepare for this project?

Honestly, I cannot say I prepared for the project. The only preparation, if you can even call it that, was to leave any preconceived ideas about the region behind and learn and come to conclusions by the act of looking. I did not do any research about the places I visited because learning from personal experience and without being influenced was and is the best way to approach things.

D

id you also get in contact and interact with the people of Pennsylvania? What was their opinion and reaction on this project?

I normally do not talk to the people I photograph but many times I engaged in casual conversations which mostly derived by their curiosity as to why am I taking pictures while my thick Greek accent carried the conversations further. I am very fortunate because the project has been perceived well. I am honored to have been featured in some highly respectable publications, but nothing beats the messages I receive from people who recognize their old hometown, a street corner, a closed store, it’s all very personal and rewarding.

a dialogue. One thing is for certain, traveling through these towns and experiencing what was, and what has become, feeling the uncertainty of the people and the landscape was and is an education in itself. The gap between metro and urban America is, to put it mildly, intergalactic with a lot of preconceived ideas from each spectrum. Being aware or familiar with a situation, a particular way of life and values, that might differ from yours, does not mean that you understand it. I wanted to understand with this project, it was not even about photography, it was about being there and figuring things out on a personal and social level, and maybe for you too.

W

hat is the best way to describe the difference between Pennsylvania of the past and now?

Now there are plenty of shopping malls, fast -food restaurants, and social services. Not to sound nostalgic, but unfortunately, things in small-town America are, to put it mildly, uncertain. The factories that workers came in the thousands to build America, but also comfortably raise a family, have become contemporary ruins, together with the eloquent architecture of Main Street shops that have been eviscerated by the Walmarts and Home Depots. As you probably know, the state and region played an important role in our last presidential election.

People mostly concentrate on the steel and coal industry and their obvious implications to the environment. But it’s not just about that, it’s about the fact that without industry you can only go so far.

If there is one thing I want my photos to achieve it is to create and engage people in

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B OO K RE VIEW INTERVIEW WITH NIKO J. KALLIANIOTIS

H

ow did you select the locations for your photos?

Google Maps and go.

D

id you travel on your own or in a company?

Mostly I traveled alone about on occasion with a friend. I am a believer that the best things come in solitude. Considering my hybrid background this project is foremost about my experience with the state and country, a form of reconciling and finding a sense of belonging. Things tend to get a little clearer yet more confusing when you are in the middle of nowhere alone; it does prove to be an inspiration to the image-making process.

H

ow many photos did you have in the end?

Despite the fact that I drove thousands of miles for this project, I had in mind what I previously photographed which edited the number of photographs. Although there is a lot of material in this region, they can rapidly become clichĂŠ. The particular theme in combination with the rust belt region has been and still is a popular topic for photographers. I found it to be very difficult to make work that you can say it was more distinct, or offered something different; hopefully, I succeeded.

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W W

hat equipment did you use?

Sony a7.

ill there also be exhibitions in context with your project outside of the US? The work has been shown in Athens, Greece and at the moment I am in the process of making plans to show the work in more places, nationally and internationally.

AMERICA IN A TRANCE

Publisher: Damiani 30,5 x 21,6 cm | 12 x 8 1â „2 inches 136 pages, 95 color, hardbound ISBN 978-88-6208-595-3 September 2018 $44 Shipping will begin in the end of May. Pre-Order and more information here: http://www.nikokallianiotis.com/book Instagram: @njkphoto

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eye Catching - Moments

Our Facebook photo group admins and online editors, Helena COSTA, Mona Rehmers (Mona Mour), Thomas FĂœNGERLINGS and Markus Brandstetter, did their best to compile an interesting, albeit difficult collection of unique, remarkable and fantastic photos. We call them the "EYE Catching Moments".

With great pride and joy, we present these images here, selected in March 2018.

EYE-Photo Magazine always strive to provide you with a lively cross-section of the different photo styles.

The photographs were selected from our Facebook photo group, a group of more than 14,000 members and photographers sharing hundreds of fantastic pictures every day.

Visit the photo group here: www.facebook.com/groups/eyephotomagazineeditorschoice

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EYE-Photo Magazine, Issue #05, 2018141 141

eye Catching - Moments

Abdularhman Adi ©

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eye Catching - Moments

Aiko Inamura Š

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eye Catching - Moments

Achim Katzberg © - “Duisburg”

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eye Catching - Moments

Alexander Farnsworth © -”Doha, Qatar”

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eye Catching - Moments

Arshad Ron © - “Dream”

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eye Catching - Moments

Chene Nguyễn © - “Ambling”

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eye Catching - Moments

Amandio Antunes ©- “Head in the clouds”

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eye Catching - Moments

Hassan Ouali Š

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eye Catching - Moments

Fernando José Barnabé © - “the tube”

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Gerd Bonse © - “Catching Bubbles”

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eye Catching - Moments

Henryk Augustyniak Š

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eye Catching - Moments

Ignasi Raventos Š

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eye Catching - Moments

In Soo Han ©

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eye Catching - Moments

Jiří Kois © - “Renaissance”

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eye Catching - Moments

Jens von Ewald ©

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John Hughes © - “Tunnel shadow”

eye Catching - Moments

John Starkey © - “Co-ordinated”

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eye Catching - Moments

Kirsten Harvey © - “Nose Ring Lady”

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eye Catching - Moments

Kirsten Harvey © - “Smoking Sadhu”

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eye Catching - Moments

Kmon Nguyen © - “traffic”

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Kmon Nguyen © - “balance”

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eye Catching - Moments

László Károly Sík © - “the world of railway”

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Sey Rosen ©

eye Catching - Moments

Peter Cwoky Murín © - “Blind”

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eye Catching - Moments

Manuel Martin © - “Vestrahorn”

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eye Catching - Moments

Mariano Belmar Torrecilla © - “La alameda”

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eye Catching - Moments

Mariano ZÊ Š

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eye Catching - Moments

Ryszard Lomnicki © - “Connemara”

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eye Catching - Moments

Masatoshi Washim Š

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Miky Rutigliani Š

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eye Catching - Moments

Michael Schnabl © - “Alena”

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Michael Commentz © - “Der Maler und sein Modell”

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eye Catching - Moments

Michael Steff © - “Shadowplay”

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Mirela Momanu © - “Birds Wisperer”

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eye Catching - Moments

Nguyen-Thanh © - “Hand”

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Nuno Andrade © - “The Cold War is back”

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eye Catching - Moments

Pascal Colin © - “Behind the umbrella”

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eye Catching - Moments

Quang Pham © - “Stairs”

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eye Catching - Moments

Percy Björkman ©

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Rosca Rt © - “Lofi”

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Rene Stuardo ©

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Shadia Bellafkih © - “Hands

s”

eye Catching - Moments

Takanori Tomimatsu © - “town street”

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eye Catching - Moments

Tito Mindoljevic Š

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Thomas Fischer © - “breath taking”

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eye Catching - Moments

Tobias Löhr © - “Power”

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Vỹ Trần Duy © - “She-Life-Garbage!”

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Tomonari Fukatsu Š

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Tomonari Fukatsu Š

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eye Catching - Moments

Roy Guy ©, - “Perch Rock”

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Zuie Lo ©

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eye Catching - Moments

José Antoine Costa © - “Future”

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Marius Sminchise Š

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Hetal Joshi © - “Vadodara Gujarat India”

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Goran Boricic © - “sprint”

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Merav Salomon Kadosh Š 194 EYE-Photo Magazine, Issue #05, 2018

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Jája Besi Beatrise© - “dark game III” EYE-Photo Magazine, Issue #05, 2018 195

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Angela Michel Photographe Š

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Christine Anne Š

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Patricia Kerkhofs Š

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Saman A. Ali Š

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Wenpeng Lu Š

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J.P. Heinovirta © - “Crack In The Fence”

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Ryeo Baba © - “Hello Dolly Nguyen” 202 EYE-Photo Magazine, Issue #05, 2018

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Hülya Öztürk ©

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Ryeo Baba © - “Hello Dolly Nguyen”

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Atsuya Harukawa Š

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ARTIST INDEX • Abdularhman Adi www.facebook.com/apple.death.love • Achim Katzberg www.facebook.com/achim.katzberg • Aiko Inamura www.facebook.com/aikoinamuraphoto • Alexander Farnsworth www.facebook.com/alexander.farnsworth.94 • Alexander Heine www.facebook.com/alexander.heine.35 • Amandio Antunes www.facebook.com/amandioantunesphotographie • Angela Michel www.facebook.com/ANGELA.Michel.Photography • Arshad Ron www.facebook.com/RonfromDhaka • Atsuya Harukawa www.facebook.com/ryuiherao • Chene Nguyễn

www.facebook.com/nguyen.chen

• Christine Anne www.facebook.com/tintin.abad1 • Fernando José Barnabé www.facebook.com/fernandojose.barnabe • Gerd Bonse www.facebook.com/gerd.bonse • Goran Boricic www.facebook.com/apartmani.hercegnovi.3 • Hassan Ouali www.facebook.com/lma.rouk • Henryk Augustyniak

www.facebook.com/profile.php?id=100006772905492

• Hetal Joshi www.facebook.com/hetal.joshi.58 • Hülya Öztürk www.facebook.com/hulya.ozturk.2977 • Ignasi Raventos www.facebook.com/ignasi.raventos • Insoo Han www.facebook.com/insoohan62 • J.P. Heinovirta

www.facebook.com/profile.php?id=100010641965753

• Jája Besi Beatrise

www.facebook.com/profile.php?id=100013692459087

• Jens van Ewald www.facebook.com/charlesanton.osbacke • Jiří Kois

www.facebook.com/jiri.kois

• John Hughes www.facebook.com/johnhughes1972 • John Starkey www.facebook.com/Johnstarkeyphotography • José Antoine Costa www.facebook.com/jose.antoine.costa • Kirsten Harvey www.facebook.com/kirsten.harvey.773

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ARTIST INDEX • Kmon Nguyen www.facebook.com/kmonnguyen • László Károly Sík

www.facebook.com/profile.php?id=100010504986092

• Manuel Martin www.facebook.com/ManuelMartinPhotography/ • Mariano Belmar Torrecilla

www.facebook.com/mariano.belmartorrecilla

• Mariano Zé www.facebook.com/joaumima • Marius Sminchise www.facebook.com/marius.sminchise • Masatoshi Washimi www.facebook.com/masatoshi.washimi • Merav Salomon Kadosh www.facebook.com/merav.kadoshsalomon • Michael Commentz www.facebook.com/michael.commentz • Michael Schnabl www.facebook.com/michael.schnabl.photography • Michael Steff www.facebook.com/michael.steff.5 • Michal Buddabar www.facebook.com/michal.buddabar.3 • Miky Rutigliani www.facebook.com/miky.rutigliani • Mirela Momanu www.facebook.com/mirela.momanu.7 • Nguyen Thanh www.facebook.com/dnguyen.stud.tu • Nuno Andrade www.facebook.com/nuno.andrade.779 • Pascal Colin www.facebook.com/colinboudot • Patricia Kerkhofs www.facebook.com/patricia.kerkhofs

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ARTIST INDEX • Percy Björkman www.facebook.com/percy.bjorkman • Peter Cwoky Murín

www.facebook.com/peter.zajec.12

• Quang Pham www.facebook.com/quang.pham.9212 • Rene Stuardo www.facebook.com/rene.stuardo • Rosca Rt www.facebook.com/rt13.rosca • Roy Guy

www.facebook.com/profile.php?id=100009562836973

• Ryeo Baba www.facebook.com/ryeo.baba • Ryszard Lomnicki www.facebook.com/ryszard.l70 • Sey Rosen www.facebook.com/seyphotos • Shadia Bellafkih www.facebook.com/shadia.bellafkih • Takanori Tomimatsu www.facebook.com/takanori.tomimatsu • Thomas Fischer

www.facebook.com/profile.php?id=100010380301087

• Tito Mindoljevich

www.facebook.com/profile.php?id=100009921555192

• Tobias Löhr www.facebook.com/tobias.lohr.7 • Tomonari Fukatsu 深津友成

www.facebook.com/profile.php?id=100003067217308

• Vỹ Trần Duy

www.facebook.com/tranduy.vy.334

• Wenpeng Lu www.facebook.com/wenpeng.lu.9 • Zuie Lo www.facebook.com/Zuielophotography

EYE-Photo Magazine is an independent, online magazine, providing a platform to talented and enthusiastic photographers from all over the world to present their work, regardless their genre, to an international readership. All images and text, published in EYE-Photo Magazine are the sole property of the featured authors and artists and subject to copyright! EYE-Photo Magazine shall not be liable for the content, quality, relevance or accuracy of any materials used in this issue. Without written permission of its legal owner, no photo or text can be reproduced, edited, copied or distributed in any form.

EYE-Photo Magazine © - all rights reserved www.eye-photomagazine.com office@eye-photomagazine.com

EYE-Photo Magazine, Issue #05, 2018 209

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EYE-Photo Magazine is an independent, online magazine, providing a platform to talented and enthusiastic photographers from all over the world to present their work, regardless their genre, to an international readership.

All images and text, published in EYE-Photo Magazine are the sole property of the featured authors and artists and subject to copyright! EYE-Photo Magazine shall not be liable for the content, quality, relevance or accuracy of any materials used in this issue.

Without written permission of its legal can be reproduced, edited, copied or EYE-Photo Magazine Š - all rights reserved

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Imprint: EYE-Photo Magazine © Founder, Managing Editor: Stefan CIMER Editor and Proofreading:

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Helena COSTA, Mona REHMERS, Markus BRANDSTETTER

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