Page 1

Special Issue #01, 2018

EYE-PHOTO www.eye-photomagazine.com MAGAZINE 1


Cover photo by: James Tappenden Š

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

Follow us 2

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

3


Content

Adrian Sa k e r Page 6

amir lavon Page 12

Debora Sanso Page 16

Federico Arcangeli Page 22

4

EYE-PHOTO MAGAZINE


Content

James Tappenden Page 28 Kenneth C. clason Page 34 Larissa Zauser Page 40 Paulo Monteiro Page 46 Wilhelm Kleinรถder Page 52 EYE-PHOTO MAGAZINE

5


PHOTO

REVIEW Adrian Saker A

drian Saker was born in Marston Green, Birmingham. Raised by his widowed mother in a single-parent family he went on to study Art History at the Courtauld Institute. His interest in photography began at the age of sixteen when he started taking the bus and his Pentax ME super to travel around Birmingham making black and white pictures of industrial landscapes. Even though he studied art at university he maintains that he has learned far more about life, himself and ultimately how to create art from walking the streets, talking to people and being in the world. Saker’s fascination with suburbia stems from both a desire to understand and to connect with the people and places around him and is motivated by the drive to express his feelings about the cultural idea of the suburban location coming out of his own background and memories. Photography, for him, is about suggestion, fragments and the tension between reality and fiction, as he takes things existing in the world and then transforms them according to his subjective vision. These fragments, he sees as a record of both these random encounters and a record of the complexity of the interplay between photographer and subject and the relationship (however brief) between two human beings. His work has been published widely in FotoFirst, C41, Dodho, Positive Magazine, ROP Magazine and F-Stop. Today he lives in Hall Green with his partner a musician and the occasional visiting cat.

WEB: www.facebook.com/adrian.saker.1

6

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

7


PHOTO

REVIEW Adrian Saker

8

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

9


PHOTO

REVIEW Adrian Saker

10

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

11


PHOTO

REVIEW AMir Lavon About the artist: A 36 years old street and documentary photographer, based in Afula, Israel Also an English teacher and photography teacher for special aids students and student at high risk community in the education system. Learned for his P.E Degree in photography and new media in PCK Photo center College Finish B/w photography and printing from creative photography school, TLV and culture photography in National geographic Israel. Most of my work is being done in the streets, telling the story of the simple man, the story of life and place. Lately started to learn photo therapy as a tool for life and Education. Artist statement: More than anything Street Photography is an attitude, it is an openness to being amazed by what comes your way, it is unlearning the habit of categorizing and dismissing the everyday as being ‘just the everyday’ and beginning to recognize that extraordinary, beautiful and subtle stories are occurring in front of you everyday of your life if you can see them. I actually think you can be a Street Photographer without a camera and without making photographs; it is really just the more insecure Street Photographers like me that actually have to record and show off their ability to 'see’. As a street photographer you must to be a "street animal" , to wander the streets watching, observing, hoping that something will occur before of you I don’t have preference of whom to photograph and since Street Photography is reactive and spontaneous, there is little to no time afforded to think or intellectualize, but I also look for those who seems like nobody will ever tell their story . There is only one subject in Street Photography: people, Street Photography concerns itself with Life, Humanity, everyday random moments, human interaction and because of that you are using small cameras, it's less about photography and more about people and the life in the streets. Street Photography helps me understand the nature of my society and my place in it, it's a lot about the place you live and the community around you, many people will say that more than Street Photography is a kind of art it's an attitude.

12

EYE-PHOTO MAGAZINE


THE FENCE PROJECT A border barrier is a separation barrier that runs along an international border. Such barriers are typically constructed for border control purposes such as curbing illegal immigration, human trafficking and smuggling. In cases of a disputed or unclear border, erecting a barrier can serve as a de facto unilateral consolidation of a territorial claim that can supersede formal delimitation. Twenty years after the fall of the Berlin Wall, the question remains ’do good fences still make good neighbors'’? Since the Great Wall of China, the Antonine Wall, built in Scotland to support Hadrian's Wall, the Roman ’Limes’ or the Danevirk fence, the ’wall’ has been a constant in the protection of defined entities claiming sovereignty, East and West. But is the wall more than an historical relict for the management of borders? In recent years, the wall has been given renewed vigour in North America, particularly along the U.S.-Mexico border, and in Israel-Palestine. But the success of these new walls in the development of friendly and orderly relations between nations (or indeed, within nations) remains unclear. What role does the wall play in the development of security and insecurity? Do walls contribute to a sense of insecurity as much as they assuage fears and create a sense of security for those 'behind the line'? Exactly what kind of security is associated with border walls? This project explores the issue of how the return of the border fences and walls as a political tool may be symptomatic of a new era in border studies and international relations. Taking a multidisciplinary approach, this series examines problems that include security issues ; the recurrence and/or decline of the wall; wall discourses ; legal approaches to the wall; the ’wall industry’ and border technology, as well as their symbolism, role, objectives and efficiency.

EYE-PHOTO MAGAZINE

13


PHOTO

REVIEW AMir Lavon My main question for this project was what are the purposes of borders in 2017? How relevant are traditional borders for coping with contemporary security and development challenges? And what are the unintended consequences of stricter border control? Are we headed for the old system of inward-oriented nation states or towards a more interconnected and interdependent world? When I started photographing this project I wondered about the question Do walls contribute to a sense of insecurity as much as they assuage fears and create a sense of security for those 'behind the line'? Exactly what kind of security is associated with border walls? I wanted to check and ask people what they think about my question while I was taking pictures of them in order to explore the issue of how the return of the border fences and walls as a political tool may be symptomatic of a new era in border studies and international relations. I also asked them questions about their own feelings about the meaning of the term fence and why do they change their attitude or body language when they go next to it? Taking a multidisciplinary approach of frames and research, this artwork examines problems that include security issues ; the recurrence and/or decline of the wall; wall discourses ; legal approaches to the wall; the ‘wall industry’ and border technology as well as their symbolism, role, objectives and efficiency. Moreover I wanted to find answers about the Theory of Border Walls? Walls and borders in a globalized world: the paradoxical revenge of territorialization.

14

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

15


PHOTO

REVIEW Debora Magliaro Sanso I

am a native New Yorker living in Paris, France. With studies in art and design, creativity is etched from within.

Travelling extensively I always had a camera in hand, documenting and capturing my travel visions. After arriving in Paris in 2009 my photographic visions took off. Living in Paris I am influenced from the varied art that surrounds myself. Venturing out to museums, galleries, exhibition halls, concerts or just walking about the city itself I am inspired. I tend to see things not as the literal, what is the obvious to others. My images are simple in theory, though my visions tend to be abstract in nature and always with a bit of mystery and even whimsy at times. I prefer that the viewer sees something different, offering a perspective where the viewer may think and wonder. There is a certain emotion felt when I capture my ideas and visions, transferring them to my camera. I tend to be drawn to shadows and reflections that are unique and perhaps tell a story. Much of my work tends to be done in black and white, though there are times when color moves me. My black and white work, is a special passion, and is always shot in black and white, and never converted. I am also not big on post-editing, I work within the camera. By working within the camera itself, this enables me to capture an image exactly as I visualize it. My images may be defined as being lost in a special place, where I am alone if even in a crowd. This place I create enables me to feel each and every image.

WEB: https://500px.com/debbymag https://www.instagram.com/deborasanso/ https://thephotoseye.wordpress.com/

16

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

17


PHOTO

REVIEW Debora Magliaro Sanso

18

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

19


PHOTO

REVIEW Debora Magliaro Sanso

20

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

21


PHOTO

REVIEW Federico Arcangeli PLEASURE ISLAND Rimini is my city, where I was born and where I still live. It’s a little town, but it can surprise you behind every corner. Rimini is fun, sexy, seductive, and enchanting like the night. If you want really live it the only thing you can do is go with the flow. Now you are in the island of pleasure.

WEB: www.federicoarcangeli.com

22

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

23


PHOTO

REVIEW Federico Arcangeli

24

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

25


PHOTO

REVIEW Federico Arcangeli

26

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

27


PHOTO

REVIEW James tappenden M

y name is James Tappenden and I am from the North-East of the UK; most of my photos share this location. I have only been doing photography for around 2 years and I am incredibly passionate, so much that I have joined Cleveland College of Art & Design to pursue photography as a career. I am currently 17 years old and I am a film enthusiast, after starting college I learnt the processes of shooting and developing film and I fell in love. I pour a lot of effort into this process and I think this reaps the most rewards as the beautiful film grain is unparalleled to any photography process out there in my opinion. I did a year of A-levels but they did not fit my creative ambitions so I switched to fully committing to photography as a course. The first time I picked up a camera was about the age of 8, it was a small digital compact camera and I’ve always liked taking photos as well as videos, and now in the past couple years I’ve had the tools to explore the medium and keep on progressing. The projects that I have worked on during my college time is diverse, however my most proud project was a magazine of beaches in the north-east and I shot the entire 20 page magazine on film. After numerous rolls of film I created a magazine using some of the images in the file I’ve attached. Only using and learning about film for approximately 6 months I have learnt how to enlarge onto prints, develop black and white images and push film and it has truly been an experience so far and I want to keep developing my skills in this area. I don’t think my style is fully defined yet, as I have only been doing photography for a short period. But I am willing to try as many styles and techniques as possible to refine my skills in a range of areas. All that I do know is that I like more abstract photos which leave questions and discussions and create different narratives depending on the person watching it.

WEB: https://www.instagram.com/tapp.photos

28

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

29


PHOTO

REVIEW James tappenden

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

31


PHOTO

REVIEW James tappenden

32

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

33


PHOTO

REVIEW Kenneth C. Clason

Artist Information: Ken Clason is a photographer in Ohio in the United States. Ken uses conceptual photography to explore the ideas of time and memory. Project Information: “Pack All Your Things” grew as a response to the sudden, unexpected death of my father.  Do the places and people from our past still exist, if they only exist in our memories?  When people die, is memory enough?  If the places from our childhood change over time, does that change create an entirely new location, or does the childhood location still exist, buried within time? Links: Portfolio:  http://kenclasonphoto.com/ Instagram:  https://www.instagram.com/clizznas/

34

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

35


PHOTO

REVIEW Kenneth C. Clason

36

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

37


PHOTO

REVIEW Kenneth C. Clason

38

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

39


PHOTO

REVIEW Larissa Zauser

Larissa Zauser was born in 1991 in Innsbruck and grew up in the lovely mountains of Tirol. Early the photography came up in her mind. The reason why was the fascination in technique and the aesthetic of pictures and this is still a reason why she is a photographer. Another reason why she’s intrastate in photography is the power of this media. Its impressive for her, how we use photography to affect in a good or in a bad way people and how the people consume pictures. Its important for her to create pictures with a content background. Larissa is a young photographer, who deals in her works with human and nature. She is raising the question, how present the human in the natural landscape and how they define and act in a space. In addition to her photographic works, room installations are constantly being created as well as texts that she combines with pictures. At the moment, she is occupied with the topic, facility and portrait in this day and age.

WEB: www.larissazauser.com/bhnenderrealitt

40

EYE-PHOTO MAGAZINE


Series “Human”

EYE-PHOTO MAGAZINE

41


PHOTO

REVIEW Larissa Zauser

42

EYE-PHOTO MAGAZINE


Series “Bühnen der Realität” EYE-PHOTO MAGAZINE

43


PHOTO

REVIEW Larissa Zauser

Series “ein Weg der im Kreise der Geraden führ” 44

EYE-PHOTO MAGAZINE


“Schneefelder die dich queren”

“Tree of life”

EYE-PHOTO MAGAZINE

45


PHOTO

REVIEW paulo monteiro

P

aulo Monteiro was born June 1963, in S. Miguel, Azores, Portugal, where he currently live and work. He is a photographer since 1985.

He has developed long term projects about various subjects, such as popular religiosity, profane festivities, architecture, landscape, Nature, or the world of work. His work has been displayed in the Azores and abroad. His book “Açores Profundos/Profound Azoresâ€? portraits the genuineness of the popular religiosity in the archipelago of the Azores. WEB: https://paulomonteiro.jimdo.com/

The soul of my people Officially, the archipelago of the Azores was discovered by the Portuguese in the fifteenth century. The first inhabitants of these islands brought with them ancient practices, whose rituals, religious or non-religious, are still practiced in a more or less pure manner. Those rituals take very different forms in each of the islands. These differences are a result of the isolation that each island was voted to for centuries. As an Azorean and a photographer, it seems important to document these rituals, before they are tainted by globalization, mass tourism, or power-seeking politicians who often appropriate popular culture, as a way to get the support of the people. In addition, the economic and financial crisis affecting the world, and particularly Portugal, begins to have consequences in the realization of these rituals. There are worrying signs of the decline of a culture that, if not documented in time, will disappear without leaving any traces. Started in 1998, for me, this series will always be an ongoing project. It portrays all that it is real and authentic in the culture of the archipelago because these black and white Azores that over the centuries have existed as a soap bubble are about to burst and disappear. While this small community insists on retaining its cultural identity, I will be here to document a combination of information and aesthetics, photography and anthropology.

46

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

47


PHOTO

REVIEW paulo monteiro

48

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

49


PHOTO

REVIEW paulo monteiro

50

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

51


PHOTO

REVIEW Wilhelm Kleinรถder

P

hotography has been my hobby since childhood and youth. My first camera was a simple Agfa box with 6x9cm roll film. Unfortunately, there are no pictures left from this period, but in my mind, the impressions are still present. The cameras have changed over the years and also the footage. Above all, slides were shown and discussed in the photo clubs. Good pictures were taken, which were published in photo magazines and books and also hung in exhibitions. However, I don't like that especially at competitions, the images always had to correspond to a certain zeitgeist to be hanged (and today?). But then this was not my pictures anymore, how I wanted to do them. That's why I concentrated on my own exhibitions which are shown widely e.g. in Erlangen, Munich, and Heidelberg. Today my pictures are shown on my own website at meine-art-zu-sehen.de as well as at local exibitions. After all, the interest in black & white photography was so great that I attended workshops with Peter Gasser and Bob Werling in order to be able to do my work in large format (8x10 inch). This was probably the most intense phase of photography with all the possibilities to push the tonal richness of black-and-white images to the limits. Since I retired, I only take pictures digitally. The theme of nature and landscapes has always accompanied me photographically but also people. This is shown in my black & white series from children and couples where time goes back approximately 30 years. For nature and landscape photos, I also started making the conversion to black & white. Real masters in the sense of Ansel Adams are unfortunately very few. Here I have much more to learn to build on the analog time. Till then I will provide the photos in color.

Today, with digital photography, where you can see the result immediately after taking a shot, a certain experimental style has also been added to my work. Particularly with longer exposure times, good results can be achieved with aesthetically pleasing images, which, precisely because of the blur, trigger a special stimulus and cause the viewer to linger on the image. My work can be found on meine-art-zu-sehen.de. 52

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

53


PHOTO

REVIEW Wilhelm Kleinรถder

54

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

55


PHOTO

REVIEW Wilhelm Kleinรถder

56

EYE-PHOTO MAGAZINE


EYE-PHOTO MAGAZINE

57


Follow us:

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

58

EYE-PHOTO MAGAZINE

owner, no distributed

photo or text in any form.


Cover photo by: James Tappenden ©

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

Gerri McLAUGHLIN

Editor:

Thomas FÜNGERLINGS

Online Editors:

Helena COSTA, Mona REHMERS, Markus BRANDSTETTER

All rights reserved. ® Copyright by Stefan CIMER ©

E-Mail: Web:

office@eye-photomagazine.com www.eye-photomagazine.com

EYE-PHOTO MAGAZINE

59


Eye Photo Magazine, Special Issue #01  

EYE-Photo Magazine, is an independent online publisher, providing a platform to aspiring, enthusiastic and talented photographers from all o...

Eye Photo Magazine, Special Issue #01  

EYE-Photo Magazine, is an independent online publisher, providing a platform to aspiring, enthusiastic and talented photographers from all o...

Advertisement