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Dana Stirling : Editor dana.stirling1@gmail.com Yoav Friedlander : Editor-in-chief Contributing Photographers Maggie Shannon Rita Sherman Niv Rozenberg Tatiana Gulenkina Daniel Kukla Sabrina Caramanico

Cover Sabrina Caramanico Back Cover Niv Rozenberg Contact floatzine@gmail.com www.facebook.com/Floatphotomagazine

All images Published in Float Magazine are the sole property of the featured authors (photographers, contributers and editors) and subject to copy-rights. No image or text may be reproduced, edited, copied or distributed without the express written permission of its legal owner. No part of this publication may be reproduced in any form, digital or mechanical, printed, edited or distributed without the prior written consent of the publisher. All Rights Reseved.


Float v. float路ed, float路ing, floats Middle English floten, from Old English flotian; see pleu- in Indo-European roots. a. To remain suspended within or on the surface of a fluid without sinking; b. To be suspended in or move through space as if supported by a liquid; c. to put forth (as a proposal) for acceptance; to be lighter than air, and to move slowly through it; to suggest an idea for people to consider to see how they will react;

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“...The narrows of the river emptied into a wide lagoon and I saw upon its surface a singular miracle. A long curving neck rose from a dress of white plumage. Swan, my mother said, sensing my excitement. It pattered the bright water, flapping its great wings, a n d l i f t e d i n t o t h e s k y.

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The word alone hardly attested to its magnificence no r c onv e y e d t h e e m o t i on it produced. The sight of it generated an urge I had no words for, a desire to speak of the swan, to say something of its whiteness, the explosive nature of its movement, and the slow beating of its wings. The swan became one with t h e s k y. I s t r u g g l e d t o f i n d words to describe my own sense of it. Swan, I repeated, not entirely satisfied, and I felt a twinge, a curious yearning, imperceptible to p a s s e r s b y, m y m o t h e r , t h e trees, or the clouds.” (Patti Smith,”Just Kids”)

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Teeth Of The Sea / Maggie Shannon Ma gg i e Shanno n g rew up i n M art h a’s V in e y ard, a M as s achus et t s i s l and bes t k n o w n as a summ er beach co l o ny. Teeth o f t he Sea expl o res Is l ande rs ’ am biv ale n t r ela ti o ns hi p w i t h t he s ea and w it h o u t s ide rs b y fo cus i ng o n t he enduri ng me m o r y o f t w o histori cal ev ent s : t he 1969 t rag i c dro w n in g o f Ma r y J o Ko peckne, w hi ch ended t h e pre s ide n t ial hop e s o f Senat o r E dw ard Kenne dy ; an d t h e 1975 maki ng o f St even Spi el berg ’s t h rille r J aw s , which empl o yed l o cal res i dent s as e x t ras .

www.m ag g i es h an n o n ph o to g raphy.c om


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Teeth Of The Sea Maggie Shannon

Yours Forever or Until Tomorrow Rita Sherman

Ashokan

Niv Rozenberg

Things Merging and Falling apart Tatiana Gulenkina

Captive landscape Daniel Kukla

Are You Afraid of the Dark? Sabrina Caramanico 16


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Yours Forever or Until Tomorrow / Rita Sherman Fi ve s t ag es o f Breakup. . .

www.ri ta-s h erm an .co m


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1 . Shock a nd Deni al


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2 . Anger


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3 . Ba r ga ining


4 . Dep r ession

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5 . Accep ta nce

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In photography everything is so ordinary; it takes a lot of looking before you learn to see the >>>

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ordinary.

David Royston Bailey, (born 1938) interview December 1984

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Ashokan / Niv Rozenberg Ashokan is a photographic exploration of the area around the Ashokan Reservoir in Woodstock, NY. This reservoir is one of the main water providers of New York City. In this photographic series, the reservoir is held at a distance, giving way to the rumination and rambling of the journey to it. The result is the highlighting of seemingly ordinary moments, which usually happen on the periphery. These quiet, passive and lonely moments are the banality of everyday life. Using a minimalist aesthetic, the photographs dance around the edges of the water, but never near to it. This is a longing, search or journey. As the reservoir is a container, so too is the photographic frame. Holding back nature and science through manmade constructions. The work is a visual dialogue between humans and their surroundings. Here is a wild place, which has been modified and discarded by people, yet it nourishes one of the largest cities in the world. www.nivrozenberg.com


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Things Merging and Falling Apart / Tatiana Gulenkina My interest in cameraless photography came from a desire to capture not a decisive moment, but a time lapse, a movement or transformation of fragile organic objects caught on a lightsensitive surface. One of my inspirations was to watch the making of precious sand mandalas that take days of intense labor and, once completed, are destroyed without any regrets as a symbol of impermanence. Essentially, even the sharpest, most beautifully composed glossy image fails to represent reality because it’s trying to hold on to something that’s impossible to grasp. I started off working with recognizable objects that after long darkroom manipulations often would turn out looking completely abstract yet more appealing to me; physically acting on paper surface, they became tangible imprints of ephemeral emotional states.

www.tatianagulenkina.com


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ossi l e F

Fossiles are obtained by digging. They are preserved remains or traces from the past discovered and undiscovered.

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Dana Stirling - Found at 25 West , New York, Flea Market, 2013 53


Captive Landscapes / Daniel Kukla We, as humans, go to great lengths to satisfy our desire for a connection with the natural world, especially in our interactions with wild and exotic animals. Zoos are the primary site for this relationship, but they often obscure the conflicts inherent in maintaining and displaying captive wild animals. In this series, I photographed the interiors of animal enclosures at 12 different zoos across the U.S and Europe. These images invite the viewer to question the role of these constructed habitats, and explore the motivations behind collecting, preserving, and controlling the natural world.

www.dan i el ku kl a.co m


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Are You Afraid of the Dark? / Sabrina Caramanico

www.s abri n acaram an i co .com


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A r e You Afraid Of The Dark ?

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Sabrina Caramanico was born in a town b e t w e e n t h e m o u n t a i n s o f A b r u z z o , I t a l y. At the age of 22, she quit her studies of geology to dedicate herself to a self-taught art o f p h o t o g r a p h y. “ T h e r e a r e m a n y a r t i s t s t h a t I love and I take inspiration from. Everything that catches my eyes, my ears and I listen to what my emotions transmit.” Sabrina caramanicoís Work captured my eye when she was published as a “30 under 30 women photographer” for 2014. Her images are poetic in a dark and melancholy way; they are a reflection of her nightmares. Sabrina uses insects, skulls, birds and other objects that people would have run away from in repulse but she creates beauty with them. This objects a r e a p a r t o f h e r s t o r y.

in a very instinctive and unconsciously I know when the photo need to be in black and white or color” It seems as if her images are not only a reflection of her nightmares but also a passage to her memories and even childhood.

“An abandoned house in the woods” was S a b r i n a ’s a n s w e r t o t h e q u e s t i o n W h a t memory from your childhood could have been an inspiration for your photographic work. She creates a narrative of a lost yet assured childhood, a childhood of memories that are long gone and are been chased by the artist with a camera.

What Scares You In Photography ?

Her first ever photograph was of a tree, which can explain her passion for wood images, and her repetive use of nature. She dedicated a project to trees and titled it “Silent trees” where she gives them a voice. She describes this project as a self-analysis reflected in the loneliness and isolation of the trees.

“ Everything and Nothing ”

“I use photography to express my emotions. I was struck by how photography is able to tell stories, it is magnificent. P e r s o n a l l y, p h o t o g r a p h y i s m u c h c l o s e r t o the way I see things. With photography the moment is still and a thought or an idea are immortal” Her way of seen the world in a dimmer perception allows her to create a fantasy world o f h e r o w n . I n t h i s w o r l d s h e i s t h e c r e a t o r, and the subject. The black and white photos form a bridge between the real world and her fantasy nightmare world. The monochrome images are the hidden part of her self, which can only be a c c e s s i b l e t h r o w p h o t o g r a p h y. “I take photographs when everything is done

One of her images portrays a fox “I found the fox in the street, I have brought him home to cure it and then I took pictures. The next day the fox was fine and I freed him.” This image is captivating duo to his honest look at us. His eyes are telling a story of his voyage and his crossing with the camera.

“There are so many photos that I have not t a k e n a n d w o u l d l i k e t o , b u t I t ’s a s e c r e t . ”

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“A wo r d t h a t i n s p i r e s my wo r k i s d e f i n i t e l y anxiety”

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<<< Submissions >>> Submit your work to float photo magazine issue no.2 “White Noise”

Portfolio

10-15 images (one body of work) 72dpi ,Adobe sRGB, jpeg Image Size- 1000px on the long side (for submission) File Name Format- ArtistName_ProjectTitle_001 Artist statement (150-200 words) Project title Personal Website Email Subject : Portfolio

Fossile

One Image File Name Format- Name_Fossile_Caption add text - where it was found, who are the people ect. Email Subject : Fossile

DeadLine : April 6, 2014 floatzine@gmail.com Waiting to see your work e

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T h a n k you fo r r e a d i ng !

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Float magazine - Into the Wild Issue  

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