Lumen
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PROJEC T NEO Vi tali y an d E len a Va s i l i eva
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Eat breath sleep photography Clear View Studio
Photographic Workshops 2013
Lumen Magazine is planning a series of photographic workshops in 2013 from its base at Clear View Studio in Nottingham UK.
Workshops will include alternative and historical process’s as well as digital. Facilities include a fully equiped studio and darkroom including 5x4 enlagers, a selection of large and medium format cameras and full tethered digital shooting. If you would like to be kept up to date with our workshop timetable then email us usin the contact form on our website.
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www.lumenmagazine.com
PLATINUM COLLODIUM CAFFENOL CYANOTYPE VAN DYKE GUM BICHROMATE CARBON TRANSFER POAn al o g v o l 1 ca l l fo r e nt r i e s LAROID AMBROTYPE FILM PINHOLE PAPER NEGATIVES POP PAPER GELATIN SALT LIQUID LIGHT CALOTYPE ANTHOTYPE CHLOROPHYLL ARGOYPE KALLITYPE CHRYSOTYPE An a lo g is a n an n u al p u b l i c at ion t h a t a im s t o p rom ot e a na log pho to gr a ph y within t h e p h o t og r aph i c com m u nit y. Ph ot ogra p h ers a t a ny l e ve l , from a n y w h e r e i n t h e w o r l d , ca n su b m it a p ort folio of 10- 20 i mage s f or p o s s ible i n c l u si on . www.l umen m ag az i n e . c o m
Follo w us o n F ac e b o o k an d Tw it t er.
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Welcome 68
Editor’s Note: This issue marks the 2nd anniversary of Lumen its our 7th issue and contains some fantastic photography. We have our usual photographer fearures as well as a look back at some of our favories from the past 2 years. Thank you to all the readers and artists who have cntributed to the magazine over the past 2 years! Enjoy this issue. Gabriel Van Ingen
On the Cover Project Neo by Vitaliy and Elena Vasilieva
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Contents
Benjamin Goss
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Vitaliy and Elena Vasilieva
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Mijail Vallejo
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Jen Jansen
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Symbols & Archetype
Project Neo
Round the Clock
The Bodie Boxes
Michelle Rogers
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2 Years of Lumen
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Philippe Mougin
The Imprint of Man on Place
Moments of Turbulence
A retrospective of some of our favorite features.
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B e nj a m in G oss For this new collection of experimental work I have been Using paper negatives and alternative color developing techniques. The cameras involved are 8x1o & 4x5 view camera to medium format. To gain these results I proccess and print my own work in the darkroom. My inspiration from this body of work comes from symbols and archetypes in history, mythology and our subconscience. Im facinated by fables, stories, rituals, nature, religion, psychology and humanity. I have always been curious and facinated about slight expressions and movements of the face. The story telling of the eyes, and who we are or become when in front of the camera. Im not interested in reality, but not fantasy directly either. More of a long and slow dance between the two worlds. I’m a 35 year old photographer from Texas/New York who has been living in Sweden for the past 10 years. I work as a commercial photographer as a day job which leaves me time and extra resources to pursue my personal photographic projects.
w w w.benj ami ngossphotography.com
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Project NEO Omnia Vanitas Aesthetic and beauty are two themes that have carried our conceptual discussion since the birth of time. They continue to weigh upon our contemporary consciousness.mutating from our contemporary perspective into how we “see” the future. Their definitions of aesthetic and beauty can change according to where we live, how we live, what we’ve experienced and how we process this information within ourselves. It is in a sense what makes us who we are or what makes something beautiful. It is quite different from what makes another person or thing beautiful in another’s eyes. We all have our own language for the judgement of aesthetics. It is what makes us human. Although human beings are basically all the same, we experience distinctly different social relations, we develop different desires, We have different preferences and tastes. These differences form the foundation of our definitions of aesthetic and beauty. They connect within us a deeper introspective of feelings through a constant barrage of emotion, This internal struggle between life and death ultimately leads to the birth and survival of our aesthetic consciousness. It is an intense game that satisfies but one purpose - our insatiable need and unstoppable fight for the survival of beauty. Believed to be as old as the Stone Age, jewellery and specialty necklaces were used to distinguish tribes, people, different social levels and roles in ancient times. Later, Egyptian jewellery from as far back as 5000 BC used materials like bones, stones and wood to serve religious and spiritual interests. Eventually, precious metals and precious stones replaced these earlier materials. The Egyptians used a precious stone bracelet for ceremonies and special occasions. Jewellery has traditionally been passed from and through different cultures, different times and aesthetic evolutions. Interestingly, nowadays when taken in the plural, the term bracelets, is often used as slang for handcuffs. Project NEO from the artists Vitaliy and Elena Vasilieva, encourages a strong reflection on the eternal game of survival. It conjures up a cacophony of conflict between mind, body and our definition of beauty. It also examines the inner human being of what we like and how we see it in ourown existence. Who are we? How can we survive? How can we keep the beauty that naturally surrounds us and imprisons us at the same time? At the moment we were born we acquire our beauty. Simultaneously, we start a conscious and unconscious fight to keep that same beauty eternally and irrevocably within our mind, bodies and souls. Precious minerals, gems and stones ... Are they stronger than us? Is our earch of beauty and perfection inferior to that of the power of nature? Or, are we taking the wrong direction in the search of eternal beaut and life? Will death ultimately free us from the chains of vanity?
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Embraced by these unanswered questions we follow life in its constant aesthetic search to avoid death, to achieve evolution - eternal beauty equals eternal life. Ricardo Chaves-Fernandes Member of AICA December 2012
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Round the clock Mijail Vallejo “The ultimate wisdom of the photographic image is to say: “ There is the surface. Now think – or rather feel, intuit – what is beyond it, what the reality must be like if it looks this way.” Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation and fantasy”. - Susan Sontag, On Photography, 1977. Russia is the biggest country in the world, whose economy is growing with huge steps everyday. The biggest incomes come from gas and oil, but an important source (not because of the amount of profits, but of the socio-economic fact) are the local stores in residential zones of cities and villages. Many of them are opened 24 hours a day, seven days a week. For the average russian citizen this schedules are common, people are so used to this abnormal normality and it would be very strange if it didn’t exist. There is a huge variety of stores: from pharmacies and “larechki” (small stores with food, alcohol, cigarettes and more) to flower stores, car washes, underground casinos, saunas and more. These small pavilions are a heritage of a post-soviet era, when people started to be allowed to have their own businesses. Some people got in the oil and gas business, some got their own factories, and others opened these stores. Since the fall of the soviet regime, the russians try to work better for themselves rather than for other people. But at the same time, these stores may be a projection (wanted or not) of dream-government, where everything works round the clock, 24 hours a day and seven days a week, and where people do everything they can, to save a little money. This is a dehumanizing perspective, where the right to rest is abolished by the people itself. The most frightening part, is that society doesn’t realize this. The present series of photographs should serve as a document of this part of the Russian daily life. The photographs were taken with an analog soviet camera between 00 and 06 AM in popular residential neighborhoods of St. Petersburg during the spring-summer of 2011. www.mishaka.com/photography.html
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The Bodie Boxes Je n J a n s e n
A California gold mining town preserved in a state of decay, a walk thru Bodie feels like a walk thru the past. Interiors of this once thriving town are left as they were by those that last lived inside the walls. Bodie is an abandoned mining town in Northern California that has been preserved as a state park. It remains in the same state it was in when abandoned in the mid 1920’s. The Bodie Boxes represent a doorway into the frozen past that is our collective history. ‘Bodie State Historic Park is a genuine California gold-mining ghost town. The town is named for Waterman S. Body (William Bodey), who had discovered small amounts of gold in hills north of Mono Lake. In 1875, a mine cave-in revealed pay dirt, which led to purchase of the mine by the Standard Company in 1877. People flocked to Bodie and transformed it from a town of a few dozen to a boom town that once had a population of nearly 10,000 people. Designated as a National Historic Site and a State Historic Park in 1962’ www.jenjansenphoto.com
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Philippe mougin “My principal objectif is to capture a serene and mysterious world, where places are minimalistic, and where each image shows the imprint of man on that particular place.�
www.philippemougin.com
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Moments of Turbulence Michelle Rogers Every individual has experiences in their past that mark them. My work is a fictional world created out of critical images and moments from my own childhood and the lives of others. Each image is made from moments of turbulence; loss, separation, loneliness and misunderstanding that flow throughout our lives and our relationships with those around us. These images speak of the complicated nature of our past and its relationship to our present
www.michellerogersphotography.com
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Years of u m e n A re tros pective
L u m e n i s 2 y e ars old. 2 years ma y not se e m like a mile stone to some , bu t f o r me i t ’s a h u g e a c hievem ent; the realiz a tion of a pla n tha t sta r te d ba c k in Se c ta Stu di o s i n 1 9 9 9 . I remem ber back w he n I ha d the ide a to e xpa nd the e xhibit io n s p a c e at S e c t a S t u d ios, enabling artis ts to e xhibit both in a ma ga z ine a n d o n lin e . O v e r t e n y e a r s later and the m agazine is still f inding its f e e t, de ve loping a nd gr o w in g w ith each p u b l i c a t i o n, but it is finding a str ong f ollowing f r om a r ound the globe . I ’ d lik e to th a n k al l o u r r e a d e r s , and of course all of the f a nta stic photogr a phe r s who ha ve c ont r ib u te d to each i ssu e . T h e follow ing pages are just a f e w of my pe r sona l f a vor ite s f r om the p a s t is s u e s .
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F ro m t op l e ft : J o ni S te r nb a c h . J a n Er i c Eu l e r. R u t h J o ne s , J o na th a n Ste a d . Ro s e Ly n n Fis h e r. J o d y A k e . D e n is Ro u s s e l. D e n n is Co r d e ll. Br a n d o n Fe r n a n d e z . Je n n i fe r K e a n y. Vi t a l i y a n d El e n a Va si l i e v a . A n t o n S o k ol o v. Vi ki R e e d .
Top: Alex Timmermans Issue: Fuzion 3 Above: Diego Verges Issue: Fuzion 1
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Right: Rose-Lynn Fisher Issue: Fuzion 1
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Top:Lambis Stratoudakis Issue: Fuzion 2 Above: Joy Goldkind Issue: Fuzion 4
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Right: John Bridges Issue: Fuzion 2
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Top:Viki Red Issue: Fuzion 4 Above: Gary Auerbach Issue: Fuzion 4
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Right: Alex Boyd Issue: Fuzion 4
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Top:Pierre Pellegrini Issue: Fuzion 5 Above: Ruth Jones Issue: Lumen 1
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Right: Gabriel Van Ingen Issue: Fuzion 5
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HOW TO SUBMITT TO LUMEN MAGAZINE
YOUR CHANCE TO TAKE PART! Submission form Name
Digital Submission
When sending your digital files please prepare your images as 300dpi Tiff files, Mac compatible and at least 10x8 inches. Please ensure you label yor work and include an artist statement, bio and full contact details.
Prints
Silver prints sould be a maximum size of 12x16 inches and inkjet prints should be no larger than A3. All prints must be unmounted and send flat, not in tubes. Please ensure you have included full posage for return. Address
Analog Vol 1 Submission
When sending your digital files please prepare your images as 300dpi Tiff files, Mac compatible and at least 10x8 inches. Please ensure you label yor work and include an artist statement, bio and full contact details. Please ensure you make clear your intention for inclusion in the 2013 book.
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Previous issues available online
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