EYE-Photo Magazine, Issue #04 April 2019

APRIL 2019

Association’s journal of EYE-Photo Club e.V.

I SS U E # 04

W W W. E Y E- P H OTO M AG A Z I N E .C O M

EDITOR’S LETTER

T

he prelude to this issue will be an interview conducted by our editor and columnist Thomas Füngerlings with portrait photographer Robin Disselkamp.

Nikita Stupin, our columnist, presents his latest column “pieces of mind.”

The cover photo and the next feature is

by Michael Duckworth, followed by Ralf Scherer, who presents his latest photo series titled “Timeless”.

Fred Zafran introduces his award-winning series “The River Styx”. Marco Helena exhibits one of his current and captivating projects “Lost Angeles” Other photographers in our PhotoReview section are Antoine Raziel, Michal Petric, Goran Pavletic and Sébastien Durand.

Sofia Dalamagka finally presents her awardwinning project “Shame” Once more we proudly present the selection of our “EYE Catching Moments”. Our online editors in our Facebook group once again came up with a fantastic collection of great pictures, which we present in our column. Here is the link to the group for all interested: www.facebook.com/groups/eyephotomagazineeditorschoice

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Finally, two things on our own behalf: Last year, our landscape workshop under the direction of Markus Brandstetter and Manuel Martin was well received.

That’s why we spared no effort, and this year we are planning two new workshops!

Data and information about them can be found here: www.mb-lichtbild.de/workshop With our cooperation partner Kase Filter it is now also possible to purchase the great Kase filters at a discounted price.

More details can be found in the advertisement or directly on the manufacturer’s website www.kasefilter.eu - with the discount code “KASE-EYEPHOTO” you get a 10% discount on your purchase.

In this sense, we wish you an excellent start to springtime and have fun reading!

Yours, Stefan CIMER (Founder & Managing Editor)

MICHAEL DUCKWORTH Š - The long and winding road, that leads to your door

Because getting your work published DOES matter!

EYE-Photo Magazine is the independent, online magazine of EYE-Photo Club, a registered cultural association, providing a platform to talented and enthusiastic photographers from all over the world for presenting their work, regardless of 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

Follow us 3

10 ROBIN DISSELKAMP

INTERVIEW BY THOMAS FÜNGERLINGS

28 NIKITA STUPIN PIECES OF MIND

42 MICHAEL DUCKWORTH

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RALF SCHERER “TIMELINES”

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FRED ZAFRAN “THE RIVER STYX”

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MARCO HELENA “LOST ANGELES”

CON

TENT

76 ANTOINE RAZIEL

84 MIHAEL PETRIĆ

92 GORAN PAVLETIC

100 SÉBASTIEN DURAND

108 SOFIA DALAMAGKA “SHAME”

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EYE-CATCHING MOMENTS SELECTED IN MARCH 2019

Photo by ROBIN DISSELKAMP ©

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zwei tages fotoworkshop in der schweiz

MARKUS BRANDSTETTER

MANUEL MARTIN

LANDSCAPE & NATURE FOTO-WORKSHOP GRAUBÜNDEN/PRÄTTIGAU, SCHWEIZ FEATURED BY EYEPHOTO CLUB & EYE-PHOTO MAGAZINE Landschaft- & Naturfotografie, Langzeitbelichtung, Filterfotografie, Focus Stacking, NightShooting, Postprocessing BESCHREIBUNG: Einzigartiger Fotoworkshop zum Thema Landschafts- & Naturfotografie mit Graufiltern, Berglandschaften und Bergseen, Langzeitbelichtung bei Sonnenaufgang und Sonnenuntergang inmitten der majestätischen Schweizer Berge an „fast“ geheimen Plätzen.

DATEN UND PREISE: Beginn Workshop Ende Workshop Kosten Workshop: Maximale Teilnehmerzahl:

01.06.2019 um 12.00 Uhr 02.06.2019 ca. gegen 12.00 Uhr 299,00 EUR 10

WAS IST IM PREIS INBEGRIFFEN? Zwei Tage Foto-Workshop mit 2 Trainern Lerninhalte zum Thema Bildgestaltung, Technik, Ausrüstung, Bildbearbeitung, Focus Stacking, Langzeitbelichtung, Nachtfotografie, Fotografie mit Filtern.

Austausch in geschlossener Facebook-Gruppe für alle Teilnehmer. Individuelles coaching über die Dauer des Kurses.

Postprocessing - Grundlagen in Lightroom & Photoshop. Lightroom Workflow als Handout bzw.

Tutorial.

Rabattcode für alle Kursteilnehmer mit 15% Nachlass auf alle Kase Filter Produkte.

ANMELDUNG UND WEITERE INFORMATIONEN: www.mb-lichtbild.de/work-shop

PHOTOS BY MANUEL MARTIN ©

WWW.EYE-PHOTOMAGAZINE.COM EYEPHOTOCLUB.WEEBLY.COM

WWW.KASEFILTERS.DE

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INTERVIEW

ROBIN DISSELKAMP

BY THOMAS FÜNGERLINGS

• Hallo Robin, es ist mir eine Ehre, dass ich dich befragen darf. Vielen Dank, dass du dir die Zeit genommen hast! Stelle dich bitte kurz vor, wer du bist und was du machst.

Mein Name ist Robin Disselkamp, vor 35 Jahren in Bochum geboren und seit nunmehr zehn Jahren leidenschaftlicher, zwischendurch mal pausierender Hobbyfotograf. Dabei lag und liegt mein Fokus immer schon auf Menschen. Anfangs fast schon Beauty-Lastig, aber seit wenigen Jahren konzentriere ich mich eher auf den Menschen als solchen und nicht, wie ich ihn am “perfektesten” darstellen könnte. In meinem “wahren Leben” bin ich Vertriebsmitarbeiter und Familienvater.

• Ich mag deinen Leitspruch „Keep me where the light is“.

Kannst du uns das näher erläutern und was Fotografie für dich bedeutet?

Eigentlich ist “keep me where the light is” eine Zeile aus dem John Mayer – Song “Gravity”. Ich hatte in und nach dieser meiner “Beauty-Phase” eine ziemlich tiefe Sinnkrise bezugnehmend auf die Foto-Szene. Ein Admin einer Foto-Gruppe sagte mir damals, ich würde zu wenig Aufwand betreiben, zu wenig retuschieren und überhaupt wären meine Models zu unbekannt und man sieht zu wenig Brüste.

Daraufhin versuchte ich erfolglos mit allen Mitteln, diese Prämissen zu erfüllen und wurde in diesem Handeln immer unglücklicher und unausstehlicher. Im Grunde genommen suchte ich nach Anerkennung in den sozialen Medien, aber auch nach dem für mich richtigen Weg. Andreas Jorns veröffentlichte damals einen Blog-Beitrag, der im Kern sagte, dass man sich nicht von Likes und Reichweite beeinflussen lassen und vorrangig für sich selbst Spaß an der Fotografie haben sollte – also das Gegenteil von dem, was ich tat!

So lernte ich Andreas persönlich kennen und er empfahl mir eine “fotografische Fastenzeit” und dass ich auf meiner Facebook-Foto-Seite nur ganz wenige, für mich wirklich relevante Bilder zeigen sollte. Ein halbes Jahr fotografierte ich nur für mich selbst, ohne Veröffentlichung. Ferner beschäftigte ich mich mit wirklich bedeutenden Fotografen wie Vincent Peters oder Peter Lindbergh und 11

INTERVIEW

ROBIN DISSELKAMP

BY THOMAS FÜNGERLINGS

fand so meinen Stil, weg von totaler Perfektion und Beauty-Retusche und es fühlt sich richtig gut an. Daher mein Wunsch an mich selbst: “keep me where the light is” und gerate nicht wieder in diesen Strudel des Social-Media-Geltungsbedürfnisses-um-jeden-Preis.

• Du bist in erster Linie Portrait-Fotograf und du hast mit der Zeit angefangen, in Strecken zu denken. Was bedeutet das genau für dich?

Ich habe vermutlich angefangen wie die meisten Fotografen: Schöne Einzelbilder von möglichst schönen Menschen.

Was grundsätzlich auch nichts Schlechtes ist. Aber auch hier kam ich mit der Hilfe von Andreas Jorns auf die Frage, was ein Einzelbild eigentlich über den abgebildeten Menschen aussagt: Nichts. Bzw. nicht viel. Was ich aber immer schon toll 12

fand, waren Bildstrecken, die eine Art Handlungsstrang haben, wie ein fotografischer Kurzfilm. Für mich tragen die Umgebung, das Wetter, die Stimmung und der Mensch an verschiedenen Locations in verschiedenen Situationen sehr viel mehr zu meiner Kreativität als Fotograf bei als eine reproduzierbare Studio-Atmosphäre.

Man sieht Neues, erlebt Neues und muss sich auch immer auf neue Gegebenheiten einstellen – und das ist doch geil, oder?

Jedoch gehört auch hier die Möglichkeit des Scheiterns dazu. Manchmal passen die Gegebenheiten einfach nicht zusammen oder man kommt als Fotograf mit den Rahmenbedingungen nicht klar. Früher hätte mich das wahnsinnig gemacht. Inzwischen kalkuliere ich das Scheitern als Option mit ein und versuche, daraus zu lernen, wenn´s wirklich mal komplett schief geht. So wachse ich mit jedem Shooting und vor allem wird mir nicht langweilig. Ich finde es immer schlimm und schade, wenn Fotografen immer das gleiche machen, weil sie eben die sichere Nummer fahren wollen. Wird einem da nicht auf Dauer langweilig?

• Du hast schon zwei Magazine veröffentlicht „UN1“ und „Keep me where the light is“. Was war deine Intention, was war das Schwierigste dabei und welche Erfahrungen hast du beim Prozess gemacht?

Ich konnte ja nicht ahnen, dass ich mit meinen Fotos jemals in einem Magazin wie Eurem EYE-PHOTO MAGAZINE auftauche, daher dachte ich mir: Mach ich halt selbst eins! Grundsätzlich mag ich Bildbände und hochwertige Magazine als Betrachtungsmedium für Fotos total gern. Ich ärgere mich immer, wenn die Leute sagen: “Ich gucke mir ganz viele Fotos von Fotografen bei Instagram an!” und ich dann nur denke: Die Bilder sind so groß wie eine Zigarettenschachtel und werden binnen weniger Sekunden weggewischt. Das wird doch eigentlich der Kunst, der Zeit und der Leidenschaft, die man in so ein Foto gesteckt hat, als solches kein bisschen gerecht.

Für ein Buch reicht es aktuell noch nicht, also kam nur ein Magazin infrage.

UN1 war eine Ansammlung schöner Bilder und ich habe es immer eine “Visitenkarte zum Blättern” genannt. Ich find´s auch immer noch schön, aber wenn man meinen Werdegang oben berücksichtigt, ist UN1 sozusagen der Anfang vom Ende: Der Abschied von Einzelbildern in Form meines ersten Druckwerks. Und “k.m.w.t.l.i.” ist ein kleiner Schritt in Richtung meiner fotografischen Weiterentwicklung.

Schwierig ist, sich von seinen Bildern zu trennen: Manche machen keinen Sinn in einer Strecke oder finden einfach nicht ihren Platz. Dann müssen die Bilder eben raus, so toll man sie auch findet und so sehr man auch an ihnen hängt. Ferner habe ich so gar keine Ahnung von Layout, so dass ich mir da Hilfe holen musste. Ohne die Kollegen Vitali Brikmann und Christoph Ruhrmann gäbe es heute beide Druckwerke nicht. Ich empfehle jedem, der sowas vorhat, mit einer lokalen Druckerei zusammen zu arbeiten. Erstens tut man so den kleinen Unternehmen vor Ort etwas Gutes und zweitens kann man das Papier anfassen und aussuchen, sich beraten lassen.

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ROBIN DISSELKAMP © 15

INTERVIEW

ROBIN DISSELKAMP

BY THOMAS FÜNGERLINGS

Oftmals sind die kleinen Druckereien vor Ort bei Änderungswünschen oder Differenzen flexibler. Man kauft nicht die Katze im Sack, die Dienstwege sind kürzer und man unterstützt den örtlichen Handel.

• Welchen Rat kannst du uns geben, wenn man selber eine Sammlung für ein Buch oder eine Ausstellung zusammenstellen möchte?

Für eine Ausstellung hat es bisher noch nicht gereicht, aber: Fragt jemanden, der bereits Erfahrung damit hat. Und auch wenn er mit Euch bei der Bildauswahl etwas härter ins Gericht geht: Vertrauen. Nachdem meine finale Bildauswahl von einem erfahrenen Fotografen gemacht wurde, brauchte ich erstmal Alkohol und Ruhe, um damit klar zu kommen. Aber es hat Sinn gemacht.

Und, wie ich oben schon sagte: Nehmt Euch Zeit und lasst Euch beraten, tauscht euch mit Leuten aus, die sowas schon mal gemacht haben und findet so heraus, was für Euch am besten funktioniert.

• Deine Bilder kommen natürlich und authentisch rüber. Die Frauen, die du portraitierst, schauen entspannt in die Kamera, nichts wirkt gestellt. Wie interagierst du beim Shooting mit den Models?

Häufig frage ich noch weit vor dem Shooting das Model nach ihrer Lieblings-Schokolade oder wie sie ihren Kaffee trinkt, so dass ich nicht mit leeren Händen zu einem Shooting erscheine. Ich interagiere ganz locker und entspannt mit den Menschen vor meiner Kamera, ich mache schon klare Ansagen, was ich mir wünsche, aber im Grunde genommen schaue ich einfach, was passiert und was man wo wie fotografieren kann.

Ich versuche eigentlich, beiden Parteien so viel Freiraum wie möglich zu lassen, damit so ein Shooting auch eine Eigendynamik annehmen kann – denn dann wird´s etwas Besonderes, auch weil es dann individuell und nicht reproduzierbar wird.

•

Hast du Vorbilder?

Durchaus, ich schaue mir gern Bilder von Andreas Jorns, Peter Lindbergh und Vincent Peters an. Christoph Köstlin finde ich riesig, Cory Richards und Nikki Sixx bringen mich immer wieder zum Nach- und umdenken. Vor allem finde ich, dass die Fotos all der genannten eine gewisse “Tiefe” haben, etwas, dass über Beauty und die Oberfläche hinausgeht.

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ROBIN DISSELKAMP © 19

INTERVIEW

ROBIN DISSELKAMP

BY THOMAS FÜNGERLINGS

• Siehst du deine Persönlichkeit in deinen Bildern? In welchem Bild kommt das zum Ausdruck?

Ob ich so weit gehen würde, weiß ich nicht. Aber ich versuche schon meine Handschrift, eine Art Wiedererkennungsmerkmal, in ein Bild zu bringen.

Ich habe ein Faible für Düsternis, für intime Nähe und für etwas Dramatik, Theatralik, etwas verletzliches oder Träumerisches und ich denke, das sieht man auch in meinen Bildern. Auch wenn mir das nicht immer gelingt, versuche ich so gut es geht etwas Eigenes zu machen, was vielleicht nicht jeder macht.

•

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

Ich würde fast behaupten, sie hat sich komplett gedreht. Als ich angefangen habe, das ist inzwischen gute 10 Jahre her, ging es mir nur darum, möglichst schöne Frauen mit möglichst wenig Kleidung zu fotografieren.

Das hatte absolut gar keinen künstlerischen Ansatz. Da ging´s nur darum, der “Playboy-Fotograf für Arme” zu sein und dafür gefeiert zu werden. Wie gesagt, brachte es absolut nicht den gewünschten Erfolg und stürzte mich obendrein auch noch in eine Depression. Daraufhin fragte ich mich selbst, was ich eigentlich machen und mit meinen Bildern erreichen möchte.

So begann ich, mich auf den echten Menschen als solchen zu konzentrieren und mich auch nur noch mit solchen Fotografen und Bildern zu beschäftigen, die den gleichen Ansatz verfolgen. So gelangte ich dorthin, wo ich jetzt bin. Und aktuell mache ich ja eine kleine “Kunstpause”, um mal wieder in mich hinein zu hören und zu schauen, wohin meine fotografische Reise so geht.

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

Das ist schwer, das ist so, als müsste man sich für sein Lieblingskind entscheiden.

Wenn ich es aber müsste, würde ich sicher das Bild meiner Freundin Christin mit der beinahe-Glatze auswählen, wo sie mit dem Rücken zum Fenster steht.

Sie hatte kurz vorher noch sehr lange Haare und fing dann aber an, diese ganze Fashion-Branche und die Schönheitsindustrie infrage zu stellen.

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Kurzerhand entschied sie sich für eine Kurzhaarfrisur und die wurde dann alle zwei Tage noch kürzer, bis sie irgendwann nur noch wenige Millimeter Haar auf dem Kopf hatte.

Wir waren für eine Art “Model-Sharing” mit zwei anderen Fotografen verabredet, wovon einer eine Leica M10 hatte, die ich gern ausprobieren wollte. Fensterlicht mag ich sowieso, bisschen mit “dirty frames” rumhantiert – fertig.

Kein großes Hexenwerk, aber ich finde das Bild als solches mit Christins Frisur, Ihrem Ausdruck, der Stimmung im Bild und der Geschichte dahinter einfach insgesamt super.

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ROBIN DISSELKAMP © 23

INTERVIEW

ROBIN DISSELKAMP

BY THOMAS FÜNGERLINGS

• Welchen Rat würdest du - mit deiner Erfahrung - Leuten geben, die gerade in der Fotografie anfangen? Was ist die wichtigste Lektion, die du gelernt hast?

Mach nur das, worauf DU WIRKLICH Lust hast! Lass Dir nicht von den sozialen Medien und vermeintlichen Experten sagen, wie Fotografie am besten “funktioniert”. Man sollte sich lieber die Fotografen ansehen und deren Intentionen zu Herzen nehmen, die regelmäßig ausstellen und tolle Bildbände herausbringen – meistens haben die es auch ohne Social Media Experten geschafft. Probiert Dinge aus, verwerft Ideen, macht Pausen. Richtet euch nicht nach irgendwelchen Social-Media Algorithmen, sondern macht das, wovon ihr aus tiefstem Herzen selbst überzeugt seid.

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

Von meinem aktuellen Druckwerk “keep me where the light is” gibt es noch ein paar wenige Ausgaben – wer eins haben möchte, kann mich gern via Facebook anschreiben!

Ferner arbeite ich an Ausgabe 3 bzw. Ausgabe 2 von “keep me...”, die vermutlich zum Jahresende hin erscheinen wird. + - + - + Weitere Informationen findest du unter folgendem Link: www.facebook.com/DisselkampRobin

SUMMARY

When I started taking photographs 10 years ago, I wanted to photograph the most beautiful women with as few clothes as possible. That had absolutely no artistic approach. I wanted to be like a “Playboy photographer” and be celebrated for it.

That did not fetch the desired success. Then I asked myself what I really want to do and achieve with my pictures. So I began to focus on the real person as such

and even deal with those photographers and images that follow the same approach.

That’s how I came to where I am now. Currently, I’m taking an artistic break to take heed to myself again and to see where my photographic journey is going.

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Thomas FĂźngerlings is a photographer,

blogger (weekly), editor and administrator at EYE-Photo Magazine.

www.thomas-fuengerlings.de

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landscape workshop NATIONALPARK SNOWDONIA / WALES

MARKUS BRANDSTETTER

MANUEL MARTIN

OLIVER HERBOLD

UNIQUE LANDSCAPE PHOTOGRAPHY WORKSHOP SNOWDONIA NATIONAL PARK / WALES FEATURED BY EYE PHOTO CLUB & EYE PHOTO MAGAZINE A three-day intense photography experience with three passionate and skilled coaches.

DESCRIPTION: Unique landscape and nature photography workshop, using neutral density filters for mountain landscapes, rivers, lakes and waterfalls. Long exposure photography at sunrise and sunset around the beautiful Ogwen Valley in the breathtaking SNOWDONIA National Park - North Wales.

More about Snowdonia National Park can be found here: Visit Wales DATEA AND PRICES: Start:

End: Workshop price: Maximum number of participants:

14/09/2019 at 12.00 o’clock 16/09/2019 approx. 12.00 o’clock 599,00 EUR 12

WHAT IS INCLUDED? Bed & Breakfast Three-day photography workshop with three instructors.

Three theoretical blocks on the following topics: • Filters: Oliver Herbold • Workflow in Lightroom: Markus Brandstetter • Luminance masks, using Photoshop: Manuel Martin Covering a wide range of photographic subjects, like image composition, technical aspects, equipment, photo editing, focus stacking, long exposure, night photography, use of filters, etc.

Access to a closed Facebook group for all participants. Individual coaching throughout all three days. Post processing in Lightroom and Photoshop (luminance masks). Lightroom workflow tutorial as handout.

Discount code for all students with a 15% discount on all Kase Filter products.

REGISTRATION AND MORE DETAILS:

PHOTOS BY OLIVER HERBOLD ©

www.mb-lichtbild.de/work-shop

WWW.EYE-PHOTOMAGAZINE.COM EYEPHOTOCLUB.WEEBLY.COM

WWW.KASEFILTERS.DE

COLUMN

Pieces of Mind.

On Photography.

BY NIKITA STUPIN

Me and my old Pentax LX. Together we are one, a whole continuation of each other. The symbol of everything created that inevitably encompasses the beginning and end, minus and, top and bottom. Together we watch people not accidentally met with us on the streets of granite and grey Porto.

My camera is called Shadow, the Shadow that accompanies me everywhere and makes it so natural that I cannot even allow myself to think about the existence in its absence.

My Shadow is much older than me, the number stamped on the bottom cover unequivocally speaks about the year of its release.

But the old cameras, unlike us, people, do not grow old, but only gain experience.

Shadow is very picky and like any beautiful woman, she, knowing her worth, allows herself not to hide her shortcomings and appetites, her desires and demands addressed to my modest person who dared to master her.

Shadow strongly disclaims its formerly most important function — a masterfully arranged an automatic exposure mode, which Pentax engineers once relied on. She says that her beauty is not at all in it, and at the moment when she tells me this, I suddenly feel her weight; I feel the smooth lines of the handle firmly held back by my hand, I feel the cold radiated by night black steel. “I am reliable as nothing of all that you possess,� Shadow tells me and demands that I bring her to my eyes and set the shutter at 125. The click and titanium construction of the mirror hangers goes down noisily. I love her for it all.

Extensively about the important We are looking for ourselves in our images. Many of us do not understand this, but I assure you that each of us searches for himself in his photographs. No matter what we prefer, what genre, what desires we indulge in calling ourselves photographers, each of us, taking a portrait, catching a stranger passing by, building a frame in which a beautiful model is seating in a velvet 29

COLUMN

Pieces of Mind.

On Photography.

BY NIKITA STUPIN

chair in a studio room, finally holding our breath from the amazement of the moment when the Sun rushed under the horizon and everything around us was painted with new, incredibly beautiful colours, even in this situation, when we press the shutter button with a sinking heart - we are looking for and very often finding in it ourselves.

Man consists of countless variables woven together by the Great Creator.

In most cases, unknown to ourselves, we build every moment of our life as our nature requires. We want exactly what we are striving for, and even then when we do not give ourselves an account of this, we perform an action when, as it seems to us, the right moment comes.

Suitable for what we could get what we wanted. A result that would satisfy our desires, and in the case of photography - embodied in external images at least a small part of our inner world.

Photography is an amazing craft. From the very beginning, I felt how full it was of a magical, completely inhuman meaning and spirit.

How metaphoric everything is connected with photography one way or another, how complicated it is to understanding in its true, original form and how sometimes the images created by it can be deceptive.

The artist has the opportunity to create worlds using one single, his own, inner world. Expressing himself through artistic tools, he paints pictures, giving a chance to touch that world to those who observe his works.

We as photographers do not have such an option, because we are limited to fixing the moment, stopping time in that moment which we found, which we saw with our own 30

eyes and which became for us something important that finally caused us to pause on it.

When we take a picture, we know it or not, but we merge into a single whole with several variables: time, place and event. For a split second, we become each of these three variables and with our action, we embody their original essence.

The Shadow is charged with Kodak Double X 250, there are 24 frames in a roll, and I naturally know about this and always keep it in mind. I try to evaluate and control all my actions on the street, to die out every frame because in my case, I don’t like it when developing shows the shots, that should not or could not be there. Therefore, everything that I shoot as a result is to some extent an embodiment of myself in that short moment when I pressed the shutter button and turned out to be one with time, place and event.

By the way, artists are in a similar state of fusion much longer than we are, throughout not only the drawing process itself but also during planning and thinking in general of their creation, they continue to remain in this state for quite a long time. We are doomed to sharp, fleeting flashes connecting us with the outside world, and these flashes, these sharp moments like the blade of a surgical instrument, very often become the very pictures that people look at with admiration for a tasty word for all of us - brilliant.

Photography helps us to see, teaches to look deep, penetrate through the frozen surface of things, things familiar and clear to us. Living in Porto and moving here from Moscow, and before Moscow, I lived in Toronto, for me as a former 31

COLUMN

Pieces of Mind.

On Photography.

BY NIKITA STUPIN

resident of two huge megalopolises, Porto is no more than a provincial centre, a small cosy city, similar in spirit to St. Petersburg, a city I love with all my heart. A little gloomy, granite city located on the bank of an ancient river, a city inhabited for the most part by really pleasant, intelligent people. I can say that Porto is not a bad city for street photography (if you can express it that way), it has its charm and something that looks pretty good on the pictures, but it is not a city that easily allows you to endlessly create new shots every other day For several months I walked around every street, looked into every window, sat in every park and public garden. After this time, my everyday photo walks turned into a bypass of possessions, in which nothing new happens (at first glance), nothing happens that would make me hurry to pull the shutter and build a composition on the run. Like in the famous film about repetition with Tom Hanks, my Shadow and I am on a journey through the lobbies of the vicious circle, and there’s no end to it.

At first this circumstance saddened me greatly, but after some time I remembered that I hadn’t believed in chance for a very long time, knowing that everything that happens to us has a basis, a reason, everything that happens to us has its purpose and, as a rule, the purpose is to make us better, faster, stronger, and so on. And then I realised that by being upset by 32

the constant repetition of events, I turn myself away from the very essence of street photography - to see the beauty in ordinary things. Having slept with this thought, holding Shadow in my hands, I run out onto the street and with open arms I meet every moment that coincides with my sense of the world.

I see beauty in the boy pulling the parent by the hand in an attempt to run across the roadway, I notice a reflection of my happiness in the smile of an elderly Portuguese man carrying hot, freshly baked bread, I feel the heat of the emotions noticing a cursing couple in the very centre of Liberdade Square. I see them all as a single whole, as something that in itself, simply existing, tells me: look around, each of us is here today for you, for you and your Shadow. And again I enjoy every minute spent next to them, near these beautiful souls, giving me the opportunity to be a photographer for each one of them.

In most cases, I do what I can do without scoring my head with questions, conjectures and speculation about the causes and essence of what is happening. But sometimes, for unconscious reasons, I set myself the task of penetrating deep into our craft, realising it, just as a Buddhist realizes himself, separating from the body and excluding any affiliation with it. Similarly, when I step back, I make attempts to understand not only the reasons for my passion for photography but also the very essence of photography, its causes and influence on our lives, attitudes and actions.

Nothing passes without a trace. This truth has become a postulate, proven over thousands of years and does not require any more confirmation. Everyone can check it himself only by reflecting a little on how his father’s belt influenced the character of an adult man, or what left behind him the first and therefore such a strong sexual experience, or maybe someone will remember an old but fresh words dedicated to the first love and stretch from them the thread to something that is clear and obvious in his character today. Everything that happens to us, invisibly forms us, makes us who we are.

So with the photography. If this hobby is serious, if it becomes part of human life, then it changes so much that, as they say, the photographer will be visible from far away.

Photography has taught me to value life as it is and to find the greatness and beauty of the original idea in things simple and clear.

I hold the Shadow with my right hand, tightly gripping the handle and merging with it into one. My eyes like radar scans people, birds, windows and walls, reflect their signals. Having reached the central square of Porto, after a few seconds I see it as a scheme, a completed plan calling me to action. And I act immediately.

Automatically I cock the shutter, focus and do what I am here for - stopping the time.

Every time this is something special, each time, as at the very first I feel this the feeling of a hunter, and everything around is something that should be caught 33

COLUMN

Pieces of Mind.

On Photography.

BY NIKITA STUPIN

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COLUMN

Pieces of Mind.

On Photography.

BY NIKITA STUPIN

by me. I will be shooting all day, and at the end of this day, while returning home, I will remember the words of the great Bresson, about how wonderful it is to carry my prey in my pocket, these very frames, for which everything was actually started. Hunting, the hunter and his Shadow. My invincible Pentax LX. Sometimes it is very difficult to understand, to explain to yourself why you are doing this or that action, saying or writing this or that phrase. You do it because you cannot do otherwise. You can not keep in yourself what should be given to the world, break out and belong not only to you but to everyone who can perceive it.

So with the photography - we do it because we don’t know any other way of living.

Because photography is us. Because we are in photography.

Good luck to you, my dear brothers and beautiful sisters, and may the Genius be with you. * * * NIKITA STUPIN - Russian-Canadian photographer. Founder of a creative street photography crew “Moustache & Glasses”. Adept of the classical Straight Photography style. Behind the back of the photographer are more than 25 exhibitions, both in Russia, and in North America and the USA. Besides international venues, Nikita Stupin’s exhibitions have gone over with success on “Red October”, in Fotoloft Gallery at Winery, Artplay gallery and other art platforms in Moscow.

At the heart of his thin insight and unique approach to work not only his talent, but also his degree in the field of clinical psychiatry.

Nikita is the member of the Russian Photo Union, an international organization of photographers of Group 7, the teacher of faculty of the photo of Institute of Arts Education (Moscow), Toronto Film School (Canada) and MOMMA (Moscow). Member of the international organization Fujifilm X-Photographers, ambassador of the Fujifilm company. The author of multiple publications on the Street photo and a phenomenon of Straight Photography, and also author’s own technique of “contactless shooting”.

Nikita is the creative director of Dessange Russia and Camille Albane Russia network, and also URT Subaru Russia.

WEB www.moustacheandglasses.com www.facebook.com/moustacheisart www.instagram.com/moustacheisart twitter.com/NikoMoscow www.flickr.com/people/moustacheandglasses

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DREAM CONTROL – WHEN FREEDOM ENDS

An art book and exhibition with staged photographs, illuminating essays, chilling stories and profound background texts: a rollercoaster ride through a virtual entertainment park for sleepwalkers, set in the near future; visually and literary compelling.

Conceived, designed and produced by Efacts Photography, Berlin In cooperation with Musée de cinéma et miniatures, Lyon Director of Photography: FRANK LASSAK Creative Director: Lena Naomi Krebs Complete crew and cast: www.efactsphoto.com/dreamcontrol.html

Berlin, March 27, 2019 The book “Dream Control – When Freedom Ends” describes and visualizes the fascinating and terrifying aspects of a future amusement park for sleepwalkers. It invites readers to scrutinize the value and integrity of allegedly life-enhancing services, whose primary aim is to jeopardize the clients’ ability to lead a selfdetermined, sovereign life.

The exhibition, which will be shown for the first time at Imago Gallery, Arezzo/ Italy, in June/July 2019, lets visitors venture through the so-called Somniverse – a virtual environment where sleepwalkers experience tailor-made dreams and interact with each other. In addition to the pictures from the book (20 C-prints, sized 160 x 100 cm), there is a soundscape (lasting more than 8 hours,equaling the daily opening times of the gallery), as well as several screens with continuous loop videos, showing interviews from behind the scenes of the production.

The project started in November 2017, when Frank was researching a story about the manipulative nature of hyper-commercialized social media. Inspired by Neal Stephenson’s iconic novel „Snow Crash“, the idea of a saturnine corporation emerged that drew its power from sophisticated behavior control in disguise of social media. “While the entertainment industry has conquered almost all areas of life but the realm of the subconscious, it is quite likely it will expand into that field in the near future”, Frank says. DC Corp., the fictional company that runs the Somniverse, is loosely based on the model of today’s multinational enterprises and an example of scrupulous entrepreneurship in the age of surveillance capitalism.

The staged photographs were produced using artistic miniatures from the famous collection of Musée de cinéma et miniatures in Lyon/France. Actors and actresses, including Oscar-winner Christian Harting („Son of Saul“, 2016) were photographed separately in a studio. In total, the production team consisted of more than 50 specialists, led by creative director Lena Naomi Krebs. All pictures of the series were recorded on film and digitally post-produced. The resulting composite files were transferred to film again (4x5“ format), for archival purposes.

“Feast your eyes on this stunning utopian tale of a nightmare come to life“, says master photographer and miniature artist Richard Tuschman (The Hopper Meditations). “These are sumptuously haunting pictures. Must be seen to be believed.”

The official launch of the book is on April 13, at The Ballery, in Berlin.

Dream Control – exhibitions and book presentations:

Barcelona – Revela'T Photo Festival; June, 2019 (book and selected pictures) Arezzo – Imago Gallery (solo show); June-July, 2019 (book and complete series) Athens – Athens Photo Festival; June-July, 2019 (book presentation) Vienna – tbc; August-September, 2019 Berlin – tbc; October-November, 2019 Lyon – Musée de cinéma et miniatures; Spring, 2020 (book and immersive exhibition) Rome – Impatto Gallery; Summer, 2020 (book and selected pictures)

ABOUT THE ARTIST:

Frank Lassak lives and works in Berlin, Germany, where he runs his atelier Efacts Photography since 2009. His works focus on staged cinematic scenes, narrative photography and portraits of actors and actresses. Frank became internationally known with his body of works circling around the movies of David Lynch (Welcome to Twin Peaks, 2017, True Velvet, 2011), and his conceptualseries Youborn (2014).

Several of his series were shown in solo and group exhibitions all over Europe, for example in London, Rome, Vienna, London, Thessaloniki – and of course in Berlin.

CONTACT: Efacts Photography Frank Lassak w ww.efactsphoto.com/news.html efactsphoto(at)googlemail.com Preview on Issuu: https://issuu.com/efactsphotography/docs/dream_control_final_small#

The book, priced at 78.00 €, plus postage, can be ordered online at: www.efactsphoto.com/dreamcontrol.html (Secure Payment)

PHOTOREVIEW MICHAEL DUCKWORTH

The motivation behind my work is to create a cinematic atmosphere; this style draws on my background in art and cinematography.

I hope my shots tell a story as they might in a film. While also evoking a sense of romance but also the solitude and darkness of the city

I’m very inspired by film and also music, so my shots are always accompanied by music lyrics that have inspired the photo or that have been part of that week’s shooting soundtrack, I always start each day trying to get lost in a city that’s become very familiar.

Seeking out A Hidden London…

A Hidden Story…

WEB www.instagram.com/_mikey_dee_/

Black crosses in the sun, wait for us down lonely horizons 42

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PHOTOREVIEW MICHAEL DUCKWORTH

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Let the shadows fall behind you

Burn my sweet effigy, I’m a road runner

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PHOTOREVIEW MICHAEL DUCKWORTH

Because of the rain I fell in love with you

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Oh, take your time, lif

fe moves too fast

work up this morning,can’t shake the thunder for last night

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PHOTOREVIEW MICHAEL DUCKWORTH

BOOK REALEASE “Lost in London“ Is the first photo book by Michael Duckworth, released in collaboration with @getinspiredmagazine (Instagram) Inside are 25 of Michael’s favourite black and white photographs taken while exploring his favourite city.

The book is available at https://shop.getinspiredmagazine.com/products/lost-in-london

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PHOTOREVIEW

RALF SCHERER TimeLines

My name is Ralf Scherer, born in 1969 and live in Hattingen/Germany.

I work in an intensive care unit for over 25 years. In my daily work, I get confronted by many different stories and fates from the patients.

This had a big impact on my life in the case of people and humanity. It leads my passion for street photography. This art form gives me the opportunity to capture people on the streets in a very sensitive and humane way.

Contact with people is the main thing in my photography.

Also showing my work in exhibitions in front of real people.

Instead of having a digital grave in social media.

The photos here are part of a new upcoming concept called „Timelines“ - These are all single moments of humans but sort in a lifecycle.

WEB

ralfscherer.com

Facebook: Ralle Buzz

Instagram: rallebuzz Flickr: rallebuzz

Twitter: @feedbackralf

TIMELESS 50

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PHOTOREVIEW

RALF SCHERER TimeLines

Q&A

1. How did you get into street photography?

After capturing all kinds of genres, I discovered street photography. I fell I love with the photos of HCB and his way to capture the moment. I studied the past masters on YT. I love humans, and I knew, this is my destination.

HELICOPTER MOM

SILVER ANGEL

2. What is it in your subjects, that makes you want to capture them?

Storytelling and humanity are the focus of my photography. Love to transport any emotions or mood. My goal is to spread positive energy.

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3. How does black & white vs colour play into your work?

I like colour streets. If the photo works, it doesn’t matter. But I prefer the b/w look. Cause I love it classic and timeless. For me, b/w has a special aesthetic in it. It’s a personal thing. It’s just my style.

LE TIGRE NOIR; SPIELKIND

RAW

4. Do you interact with your subjects or do you prefer to remain undetected?

Both can be wonderful. The candid shot is always my first approach. Natural and unposted. But it‘s advanced with a 35 mm fixed lens. When people notice me, I explain very friendly why and what I am doing here. And sometimes a wonderful conversation starts. Often, we keep in contact, and I send them a print.

I only shoot outside of Germany. Mostly in big European cities.

TEENAGE FREEDOM

OPPORTUNITY

ST. DIDIER

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PHOTOREVIEW

RALF SCHERER TimeLines

RUE TRIGANCE TRUE STORIES

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FLAMENCO BAR

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PHOTOREVIEW

RALF SCHERER TimeLines

Q&A 5. What equipment do you prefer to use and why?

I am using the Sony RX1r. I bought this camera in 2015. I wanted maximum quality for the picture in the smallest possible body. With the 35mm fixed lens, I wanted to force myself to step close to the subject. To choose this camera was the best decision. Perfect in the city. You look like a tourist with a powerhouse in the pocket. But in general, I think when a photo reaches you the gear doesn’t matter.

JOYRIDE

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BEST ROUND

FRENCH ACCENT

6. What would you tell a newcomer who asks for advice on how to start?

Go visit more exhibitions instead of wasting your time on gear or tech reviews.

Buy a good camera that fits for you and learns how to handle it to be fast enough to capture the moment. Study the old street masters. There’s so much to learn.

ITALIAN LADIES

FINAL LAP

NO FOLLOWERS

TO IDOLIZE 57

PHOTOREVIEW FRED ZAFRAN About the Artist and Creative Process Fred Zafran is a documentary photographer of ordinary things exploring the urban environment as a metaphor and map of our inner human landscape.

Photographing at the boundaries of illumination and darkness, Zafran’s work is a gentle observation of the city, its streets, and a “few of us” as we wander through the day and unanticipated moments of quiet and solitude.

“The principal barrier to image making is our readiness to receive… to see and to be moved by the world around us. I find a subtle profundity in things partially seen, illuminated, but hidden in shadow.”

Fred Zafran came to photography more 45 years ago. Today all of his images are captured digitally with careful consideration given to light, shadow, darkness and colour as key structural and emotional elements.

He has found a strong resonance with the black and white images of Ray Metzker and Fan Ho, the colour photography of Alex Webb and Harry Gruyaert, and the silent and empty spaces of Yamamoto Masao.

Fred Zafran lives in Loudoun County, VA and works in the Washington DC area. Over the last three decades, he built a successful career as a management consultant and senior executive in the technology services industry.

Now retired he devotes most of his time to travel and photography in small towns and cities throughout the U.S. and abroad.

Fred is a juried artist of the Torpedo Factory Art Center, a member of Multiple Exposures Gallery in Alexandria, VA, and exhibits his work throughout the DC metro area.

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Descending_02

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PHOTOREVIEW FRED ZAFRAN The River Styx

An Allegory and Photographic Essay by Fred Zafran Artist Statement

“Even in the midst of the most remarkable experiences, we still do just the same; we fabricate the greater part of the experience, and can hardly be made to contemplate any event, except as inventors thereof.”

Friedrich Nietzsche, from Beyond Good and Evil, 5:192

As the years pass and my photography practice deepens, I have come to understand and appreciate our art more as poetic narrative or even as a musical composition rather than the “making of images.”

I have also come to question the immutability of our perceptions of the world around us.

The boundaries between certainty and illusion seem just a bit tenuous and increasingly fragile.

As I wonder at our inclination to conjure up the stories of our lives, photography has become an artful device for illuminating these inner narratives.

And so it was, the daily commute by metro rail from northern Virginia to Washington DC. What is often a mundane commute has been transformed and reimagined in this photographic essay.

I see the travellers descending from the sunlight to the subterranean world of the metro, a realm of shadow and solitude.

I watch as they cross a boundary of darkness, waiting, suspended in transit between here and some unspoken destination.

I imagine the River Styx, and ferryman Charon transporting souls who upon reaching their destination, gratefully and hurriedly return to the surface and the light of day.

Fred Zafran January 2019 60

Descending_01

Listening

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PHOTOREVIEW FRED ZAFRAN The River Styx

Descending_02

Ferry Arriving 62

The Ferry

Waiting_01 63

PHOTOREVIEW FRED ZAFRAN The River Styx

Waiting_02

Boarding 64

Transit

Charon 65

PHOTOREVIEW FRED ZAFRAN The River Styx

Transmigration

Ascending_01 66

Ascending_02

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PHOTOREVIEW FRED ZAFRAN The River Styx

CONTACT INFORMATION AND SOCIAL MEDIA:

FRED ZAFRAN Photography Leesburg, VA 703-403-0200

Email: fred@fredzafran.com Website: www.fredzafranphotography.com Gallery: www.multipleexposuresgallery.com Facebook: www.facebook.com/fred.zafran Instagram: @fredzafranphotography Returning at Night

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PHOTOREVIEW MARCO HELENA

Photo artist Marco Helena was born in 1978 in Fontainebleau - France.

LOST ANGELES The Lost Angeles photographic series is a continuation of my work on women. After Femina, released in 2016 by Les Presses LittĂŠraires, Lost Angeles will tackle the laying bare of heart and body through a series of portraits.

Lost Angeles expressively mixes the highlights and the labyrinthine narratives.

It is framed under a revealing infrared, tribute to the film noir and its lack of morale for decor, which would leave in uncertainty these icons born in the passion, of all the passions for having dared the depths of life.

A life but an angelic life on the border of surrealism accentuated by a feeling of almost irrational lack and deprives you of any ideological reference.

Lost Angeles is dark, violent but realistic, highly codified even as would be a drama or tragedy in their narrative genre to deliver a poignant testimony.

Between artificial creatures and clown muses, the artistic project Lost Angeles has the sole reason to feed all women, immortalising the unavowable entrusted, the unfathomable obscure, the whimsical with its manage clumsiness and finally, the authentic in his purity.

You inspire, it’s insolent! - the author.

A diamond used to bounce without a finger to devote itself to 70

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PHOTOREVIEW MARCO HELENA LOST ANGELES

From left to right, from top to bottom: • Lorsqu’il neige des plumes, des anges baisent juste au dessus de toi.

• This wild rose of cobalt blue bears the ferric odour of a bullet • He is dying of reigns under your fingers, famines on your body

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PHOTOREVIEW MARCO HELENA LOST ANGELES

From left to right, from top to bottom: • Are you only a sugar baby, wild purity of just eighteen years old?

• Let the child play, but his wings in the wind will prevent him from moving forward

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Marco Helena is currently preparing a sequel to Lost Angeles. This new series is called Paradise. You can find it in my online book and Instagram, of course.

Contact:

marco.photo@live.fr

Books:

https://marcohelena.book.fr/galeries/lost-angeles

https://www.lespresseslitteraires.com/helena-marco Instagram

www.instagram.com/marcohelena

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PHOTOREVIEW ANTOINE RAZIEL

Steeped in the paternal Hungarian culture, Antoine RAZIEL has always favoured aesthetics in his homage to painting and sculpture.

The schoolboy who preferred the dark room of the photo club to the playground discovers a strange anonymous photo that will create a click for photographic art.

He understands that the photo is something other than an image or a memory, that it can cause strange and deep feelings. Since that day, he has been stalking the mysteries of the body represented ...

By throwing an amused eye on our world in representation, it gives us to see the other side of a mirror that also reflects the emotion of the one he or she is photographing.

With Fine Arts as a source of inspiration and coherence, Antoine RAZIEL photograph nude to perpetuate the quest of artists through the centuries the staging of his creations in sets made by him is also part of his approach.

The advent of digital technology and its role as a computer scientist in which it is a precursor allow it to exploit the possibilities of photography fully, thus bridging the gap between modernity and tradition.

Like an artisan photographer, he creates realistic illusions from every piece.

His research cannot be separated from data for him fundamental: the person, his body and his personality.

Antoine RAZIEL is in line with the photographers of curves and bodies: he traces in us, through his art of the ellipse, impressions independent of forms.

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PHOTOREVIEW ANTOINE RAZIEL

ANTOINE RAZIEL http://www.antoineraziel.com/?fbclid=IwAR0bxN4dbmKs7b4dy7fSH0_iPVn1rCS44orTFD1iYlJHdeT3BKZbjvNtPJ4 Instagram: www.instagram.com/antoine.raziel MODÈLE JULIE ABH www.facebook.com/ju.abr.37 www.facebook.com/julie.bance.1 http://julie-abh.book.fr/ MODÈLE BETTY LOU www.facebook.com/profile.php?id=100011763135526 MODÈLE OLGA TOPAZE www.facebook.com/profile.php?id=100027512610229 MODÈLE KAROLINA BLUE www.facebook.com/karolina.blue.399 MODÈLE LILOO BN www.facebook.com/elise.besson.790 MODÈLE NIRVAN ART www.facebook.com/NirvanaModele/ MODÉLE ANONYME BUTTERFLY modèle muse anonyme

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PHOTOREVIEW MIHAEL PETRIĆ

Photography has been a passionate hobby of mine for almost 20 years. I equally enjoy almost all types of photography with a slight preference in street, night and landscape photography and find it fulfilling learning all of the necessary skill sets required for each type of photography.

My thinking process when looking through the viewfinder of the camera can be best summarized by one of George Santayana’s quotes: “The world is not respectable; it is mortal, tormented, confused, deluded forever; but it is shot through with beauty, with love, with glints of courage and laughter; and in these, the spirit blooms timidly, and struggles to the light amid the thorns.”

Our everyday lives are often lived through without finding the time to stop, look around and immerse ourselves in small glimpses of beauty which either comes to exist only for a fraction of a second or are here and will continue staying here long after our own existence comes into question.

I give my best not to miss any of these moments and try to capture as many of them as I can and share them with those not present at the moment.

So far, my work has only been exhibited in joint exhibitions, but I hope to have my own in times to come. Everyone with thoughts, opinions or constructive criticism about my work can feel free to contact me at any time.

WEB www.facebook.com/miska.gomolj/photos_albums www.deviantart.com/shadowfaxkc

Where dreams may come 84

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PHOTOREVIEW MIHAEL PETRIĆ

Breaking through 86

Broken but not defeated 87

PHOTOREVIEW MIHAEL PETRIĆ

Is safety in numbers

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Road to somewhere

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PHOTOREVIEW MIHAEL PETRIĆ

A store of memories

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Perspective

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PHOTOREVIEW GORAN PAVLETIC

I was born, living and working in Zagreb in Croatia. As a film director, I did not have much opportunity, so I worked for a long time as a culture manager.

A few years ago, when I lost my job, I took the camera in my hands. In the beginning, it was great therapy, but after excellent feedbacks transform into something more. Suddenly awards and acknowledgements came after that exhibitions and publications came…

It opened a completely new world for me. I’m mostly dedicated to street photography and occasionally documentary photography.

BURLESQUE

My “Burlesque” photo series was created last year at the “Croatia Burlesque International Festival” in Rijeka, Croatia. I had the exclusive right to photograph the performers on the stage and behind the stage. This documentary series has won at the Tokyo International Foto Awards TIFA, bronze award in the Events category, and I hope that this year will be exhibited in the gallery.

WEB www.goranpavletic.com Facebook https://hr-hr.facebook.com/goranpavleticphotography/ Instagram @goran.pavletic.bnw Twitter @Goran_Pavletic

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PHOTOREVIEW SÉBASTIEN DURAND

I am an amateur photographer living in the Paris region, taking photos since 2017.

I spent a year photographing the subway world since I regularly use the metro for my work.

The unexpected that I meet has oriented my work towards street photography.

A finalist spot in the SPi 2018 award - another unexpected encouraged me to continue.

Today, I work more regularly in the street, seeking in the middle of the crowd and the urban setting what the street says about us and our society.

WEB http://sebastiendurand.photo Instagram: @flymetothestreet (color) @durandsebast (B&W)

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PHOTOREVIEW SÉBASTIEN DURAND

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PHOTOREVIEW SÉBASTIEN DURAND

“The now following series in colour, was made in 2018 and 2019 in Paris as part of works on street furniture. At the centre of the flow of distracted and indifferent passers-by, these objects seem to send us with force and malice their judgment on our condition.”

- the author

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PHOTOREVIEW SOFIA DALAMAGKA SHAME The idea of SHAME was born one-night last January in a hotel room in Budapest. For a long time, it didn’t have a project. Not even a title. Neither a substance.

It was hidden in the corner of my mind laughing secretly, like every other despicable and shameful though. After some time came a crucial point, when the idea was fired. A break between reality had to place.

The camera became a mediator between the unconscious and the existing.

The unit of photos is a kind of personal confession, an imaginary, symbolic mirror that reflects fears, desires, fantasies, nightmares, memories.

For its creation, I had to retrieve my memories and other people’s close to me to “borrow” stories or create new.

WEB website: www.sofiadalamagka.com Instagram: @sofia_dalamagka Facebook: Sofia Dalamagka Link to exhibitions and publications: www.sofiadalamagka.com/about

All images taken fron the “Shame” series - Sofia Dalamagka © 108

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PHOTOREVIEW SOFIA DALAMAGKA

SHAME

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All images taken fron the “Shame” series - Sofia Dalamagka © 111

PHOTOREVIEW SOFIA DALAMAGKA

SHAME

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All images taken fron the “Shame” series - Sofia Dalamagka © 113

eye Catching - Moments

At EYE-Photo Magazine, we champion the idea that photos need space and that they should speak for themselves. . . .

That's why you will find hardly any text in our column "EYE-Catching Moments" but the more pictures! In our monthly issues, we present a cross-section, a selection from the submitted photographs in our Facebook photo group. . . .

Our online editors, Helena Costa, Thomas FĂźngerlings, and Markus Brandstetter, nominate the best pictures for publication, regardless of their photographic genre. . . .

In this issue, we present the selection of March 2019. On almost 100 pages you can see pictures of over 50 photographers from all over the world. . . .

As cover photo for our column, our editors chose this time the photo of Elly Huang.

-+-+Visit or join our Facebook photo group: www.facebook.com/groups/eyephotomagazineeditorschoice

Elly Huang ©

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Lucian Olteanu ©, One man,one life

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Mukti Echwantono ©, prayer

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Elly Huang ©,

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Jim Graham ©, Titanic

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Marysia Bieniaszewska ©

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Nuno SG ©

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Joan Bosch ©

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EYE CATCHING MOMENTS Peter F. Wingerter ©, The wave breaker 130

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EYE CATCHING MOMENTS Asbjørn Lind ©, Nepal 132

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Chris Fraikin © Leiden XXI

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EYE CATCHING MOMENTS Takaaki Ishikura ©

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Selaru Ovidiu ©

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Mirjana Kovačević ©

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EYE CATCHING MOMENTS Pedro Grão ©, Adraga Beach, PNSC Portugal 142

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EYE CATCHING MOMENTS Nuno Andrade ©, Purification Site 144

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Amandio Antunes ©, The passage

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Jürgen Luger ©

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Salman Ahmed ©, explorer

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Daniel Castonguay ©, The Pillars

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Makis Makris ©

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EYE CATCHING MOMENTS Álvaro Vegazo © 156

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Pauline Ren ©

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Bedrettin Yilmaz ©

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Marta Lityńska ©, selfportrait

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Peter Cwoky Murín ©, bla, bla

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Steve Ininns © - ‘Zenaida’ MUA: Tashi Barrett, Model Zenaidaj Shabba Gonzalez

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Pter Wang ©

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EYE CATCHING MOMENTS Jana Luo ©, Fence in or out

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Ivan Kovalev ©, Escape

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Grace Ho Pui Wan ©, The world out there...

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EYE CATCHING MOMENTS 178

Carmen Jürgensmann ©

179

EYE CATCHING MOMENTS 180

Nelson Bolinhas ©

181

EYE CATCHING MOMENTS Andreas Kleucker ©, Morning mood

182

183

EYE CATCHING MOMENTS 184

Aitor Arana Arruti ©, Granma

185

EYE CATCHING MOMENTS 186

J Miguel Cabrita Matias ©

187

EYE CATCHING MOMENTS 188

Mário Pereira ©

189

EYE CATCHING MOMENTS Paul Mei ©, Purim2019 190

191

EYE CATCHING MOMENTS 192

Klaus Wegele ©, Anonymous, Model: Anna-Rashidova

193

EYE CATCHING MOMENTS 194

ElenArt ©, Outside the window Muse: Patrycja,

195

EYE CATCHING MOMENTS Antonio E. Ojeda, ©, STAIRWAY TOWARDS HEAVEN 196

197

EYE CATCHING MOMENTS ADzung Viet Le © 198

199

T INDEX ARTIST INDEX ARTIST The index is sorted chronologically according to the submitted date of the pictures and not in alphabetical order!

• Lucian Olteanu www.facebook.com/lucian.olteanu.9 • Mukti Echwantono www.facebook.com/mukti.echwantono • Elly Huang www.facebook.com/ellyelly.h • Jim Graham www.facebook.com/jim.graham.3114 • Marysia Bieniaszewska www.facebook.com/marysia.bieniaszewska • Nuno SG www.facebook.com/nuno.gonsalves • Joan Bosch www.facebook.com/joan.bosch.7 • Peter F. Wingerter www.facebook.com/peter.wingerter • Asbjørn Lind www.facebook.com/asbjoernlind • Chris Fraikin www.facebook.com/chris.fraikin • Takaaki

Ishikura www.facebook.com/takaaki77

• Selaru Ovidiu www.facebook.com/ovidiu.dishu • Mirjana Kovačević

www.facebook.com/mirjana.kovacevic.16144

• Pedro Grão www.facebook.com/pedro.grao • Amandio Antunes www.facebook.com/amandio.antunes.315 • Nuno Andrade www.facebook.com/nuno.andrade.779 • Jürgen Luger www.facebook.com/jurgen.luger.5 • Salman Ahmed www.facebook.com/hisalman • Daniel Castonguay www.facebook.com/daniel.castonguay.165 • Makis Makris www.facebook.com/makis.makris.54 • Álvaro Vegazo www.facebook.com/alvaro.vegazo • Pauline Ren www.facebook.com/ren.pauline • Bedrettin Yilmaz www.facebook.com/bedrettin.yilmaz.92 • Marta Lityńska

www.facebook.com/martasarablanka

• Peter Cwoky Murín www.facebook.com/peter.zajec.12

200

T INDEX ARTIST INDEX ARTIST • Steve Ininns www.facebook.com/steve.ininns • Peter Wang

www.facebook.com/profile.php?id=100000103806780

• Jana Luo www.facebook.com/jana.luo • Zinovi Seniak www.facebook.com/zinovi.seniak • Ivan Kovalev www.facebook.com/easeofsoul • Grace Ho Pui Wan

www.facebook.com/hopuiwan

• Carmen Jürgensmann www.facebook.com/carmen.jurgensmann • Nelson Bolinhas

www.facebook.com/nelsonbolinhasfotografia

• Andreas Kleucker www.facebook.com/bayernfoto • Aitor Arana Arruti www.facebook.com/aitor.aranaarruti • J Miguel Cabrita Matias

www.facebook.com/zemiguel.cabritamatias

• Mário Pereira www.facebook.com/marioserrapereira • Paul Mei www.facebook.com/paul.mei • Klaus Wegele www.facebook.com/artclassics • ElenArt Elena Wnuk www.facebook.com/ElenArt-222058104841499/ • Antonio E. Ojeda www.facebook.com/AntonioEOjeda • Dzung Viet Le www.facebook.com/dzung.v.l

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

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EYE-Photo Magazine is an independent online magazine, providing a platform to aspiring and enthusiastic photographers from all over the world, regardless of their genre.

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

EYE-PHOTO MAGAZINE - EST - 2013

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