a black and white photobook
September 2009 #3
grey Σχεδιασμός /Design: Κωνσταντίνος Ανδρώνης [www.c-andronis.gr] www.greymagazine.gr |email@example.com Τα πνευματικά δικαιώματα των φωτογραφίων ανήκουν εξ’ ολοκλήρου στους καλλιτέχνες.Απαγορέυεται η αναπαραγωγή των φωτογραφιών που δημοσιεύονται στο grey με οποιοδήποτε μέσο χωρίς την εκ των προτέρων γραπτή συγκατάθεση των κατόχων των δικαιωμάτων πνευματικής ιδιοκτησίας. All rights lie with the artists. No part of the material published in grey may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the artists.
Το δεύτερο τεύχος του grey έλαβε την ίδια ανταπόκριση και υποστήριξη όπως και το πρώτο. Αυτό δεν θα γινόταν χωρίς την ιδιαίτερη φωτογραφική δουλειά των καλλιτεχνών που έλαβαν μέρος, τους οποίους ειλικρινά ευχαριστώ για τις φωτογραφικές στιγμές που μοιράστηκαν μαζί μας. Επίσης, θα ήθελα να ευχαριστήσω όλους όσους υπέβαλλαν το portfolios τους για το τριτο τεύχος αλλά δεν βρίσκουν το όνομά τους ανάμεσα στους συμμετέχοντες. Οι υποβολές ξεπέρασαν κάθε προσδοκία και γι’ αυτό το τεύχος, αλλά αυτό δε σημαίνει ότι δεν υπάρχει χώρος στα επόμενα τεύχη για τα portfolios που ήδη έχουν ληφθεί. Το τρίτο τεύχος του grey παρουσιάζει δουλειές απο την Αγγλία (David Dunnico), την Ελλάδα (Jonnek Jonneksson, Χαράλαμπος Κυδωνάκης), τη Βραζιλία (Flavio Coehlo), την Τουρκία (Erdal Kinaci) και την Ουγγαρία (Adam Magyar), διατηρώντας έτσι τον πολυμορφικό και πολυπολιτισμικό του χαρακτήρα. Κάθε φορά που “χτίζεται” ένα καινούργιο τεύχος, χτίζεται κι ένας καινούργιος κόσμος και είναι αυτή ακριβώς η οπτική ιδιαιτερότητα του καλλιτέχνη για το πως βλέπει τα πράγματα γύρω του που οφείλουμε να αναγνωρίσουμε, να μοιραστούμε, να αναλογιστούμε και να προωθήσουμε. Καλή ανάγνωση.
Κωνσταντίνος Ανδρώνης firstname.lastname@example.org www.c-andronis.gr
The response and support for the second issue of grey was of the same extent of that of the first issue. This would never have happened had it not been for the particularity of the portfolios of the artists who took part, who I sincerely thank for the photographic moments they shared with us. I would also like to thank everyone who submitted their portfolio for the third issue, but do not find their name among the participants. The submissions for this issue were beyond any expectation, however, this does not mean that there is no room for the portfolios already submitted in subsequent issues. The third issue of grey presents portfolios from the UK (David Dunnico), Greece, (Jonnek Jonneksson, Charalampos Kydonakis), Brazil (Flavio Coehlo), Turkey (Erdal Kinaci) and Hungary (Adam Magyar), thus continuing to retain a versatile and multicultural character. Every time a new issue is being â€œbuiltâ€?, a new world emerges and it is this very optical uniqueness of how the artists see the things around them that we have to recognize, share, ponder and further. Enjoy reading grey. Constantinos Andronis email@example.com www.c-andronis.gr
Ρυθμίστε την οθόνη σας, έτσι ώστε να βλέπετε όλες τις διαβαθμίσεις του γκρι Adjust your screen settings, so that you can see all shades of grey
Flavio Coelho A Impossibilidade do Olhar Livre David Dunnico Seasiders Jonnek Jonneksson The Sparrow Village Erdal Kinaci O an Charalampos Kydonakis Street Photography Adam Magyar Urban Flow
FLAVIO COELHO A Impossibilidade do Olhar Livre The Impossibility of the Free Sight
Fotografar a cidade de São Paulo é um grande desafio: postes, fios, muros, placas e intervenções das mais variadas bloqueiam e intimidam nossa visão a todo o momento. O que fazer com esse ruído impertinente? Deixar que ele nos impeça de registrar uma imagem ou aceitá-lo e incorporá-lo àquilo que pretendemos captar? Photographing the city of São Paulo is an intricate challenge: poles, wires, walls and all kinds of obstacles block and prevent our vision all the time. What to do with this disturbing noise? Let it prevent us to record an image or accept it and merge it into what we intend to register?
DAVID DUNNICO Seasiders In the early 1990s I started photographing the seaside resorts of England and Wales. When I began, these places were economically at their lowest. Most of the people I saw there were daytrippers. They were in a place associated with fun, but didn’t seem to be having much. Their unhappiness looked a bit like despair. It was as if they had been washed up on the shore and – they realised there was little for them inland and now they stared out to sea; I’m not sure what they were looking for. All the photographs were taken looking out to sea. Sometimes I put my camera down and stared out to sea – I’m not sure what I hoped to see either. I found the English seaside (and the English at the Welsh seaside) melancholic. I was drawn to people who looked ‘apart’. Hopefully the pictures show a gentle sense of humour, and portray people who have resilience. Some, where determined to enjoy themselves no matter what had become of the resorts. The seaside is changing, as people buy up coastal bolt holes, but the people I photograph are still left mourning for something that has gone.
JONNEK JONNEKSSON Sparrow Village This is Sparrow Village in the area of the ghetto of Soweto, South Africa where is measured as the region with the largest AIDS rate in the world. It is a hospice that collects HIV and AIDS patients from the streets of the ghettos and tries to offer a dignified last period of their life. Children affected with HIV who follow an organized treatment can prolong their life span to a point that the illness could even be difficult to notice. They could be transformed from patients into normal human beings. But this treatment costs a lot and Sparrow Village makes an enormous effort to make it accessible for more people is possible, but without the realistic help of official mediums this is impossible. It is clear that the realistic progress of this project is totally depended on governments, organizations, economical trusts who can decide to help, or not. When someone passes away in the village the staff strings up on a big trunk a small Sparrow made of brass, engraved with the name and the birth-passing away date of the deceased. South Africa January-February 2008 The Sparrow Village essay has been nominated for the 2008 Unicef Photo of the Year award.
Sisanda, an HIV patient and her sister Charlene in her bed, a heavy AIDS patient
Small kids sector
A mother suffering from a heavy illness caused by AIDS, surrounded from her children who are HIV patients
A Sparrow Village view
Elisabeth, a heavy ill patient
Ben, a heavy ill patient
When someone passes away in Sparrow Village the staff strings up on a big trunk a small Sparrow made of brass, which is engraved with the name and the birth-passing away date of the deceased
In the big living room
O an Humorous Photography
ΧΑΡΑΛΑΜΠΟΣ ΚΥΔΩΝΑΚΗΣ CHARALAMPOS KYDONAKIS Street Photography Η διαδρομή κάθε μέρα είναι σχεδόν η ίδια. Η πόλη, οι δρόμοι, οι πλατείες, τα κτίρια αλλάζουν ελάχιστα και με αργούς ρυθμούς. Το μόνο που αλλάζει συνεχώς με αμείωτο ρυθμό είναι η ανθρώπινη παρουσία που δίνει ζωή στην πόλη, στους δρόμους της, στις πλατείες της. Δεν υπάρχει κάτι πιο αινιγματικό κι ενδιαφέρον από το ανθρώπινο θέατρο και τους πρωταγωνιστές του που γράφουν με το χαρακτήρα και τη συμπεριφορά τους κάθε στιγμή τη δική τους ιστορία. The everyday sidewalk is almost the same. The city, the streets, the public space, the buildings barely change, with a slow rhythm. The only thing that is always changing rapidly is the human presence, that gives life to the city, to the streets, to the public space, to the buildings. There’s nothing more enigmatic and interesting than the human theatre and its protagonists that make, every moment, their own history with their character and their behaviour.
ADAM MAGYAR Urban Flow I CAPTURE TIME What you see in my images is not space but tangible time. It is the translation of reality through my own designed camera. With slit-scan technique, a fraction of a moment is recorded through a 1-pixel wide slit several hundred times per second. The time and space slices recorded this way and placed right next to each other generate an image without a perspective; it is the passing of time itself that turns into space by moving forward in time from the right side towards the left in each image. This method is capable of recording movement only. All the static objects appear as stripes and lanes, like the windows of city buildings in the background. Photo-finish cameras operate based on the same principle, so I could also say I took photofinishes during the preparation of this series in an urban environment without a finish line and ranks.
#211, #247, #915, #484, #1462
#54, #255, #292, #293, #316
David Dunnico firstname.lastname@example.org www.dunni.co.uk http://daviddunnico.wordpress.com/
www.jonnekjonneksson.com email@example.com Breisgauer Strasse 2, 14129 Berlin
Erdal Kinaci firstname.lastname@example.org email@example.com
Charalampos Kydonakis firstname.lastname@example.org http://www.flickr.com/photos/dirtyharrry/
Adam Magyar email@example.com
grey is an online bimonthly black and white photography magazine. Its purpose lies in presenting portfolios of artists who express themselves through black and white photography. grey is free for anyone to download. www.greymagazine.gr
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Published on Nov 28, 2012
grey is an online bimonthly black and white photography magazine. Its purpose lies in presenting portfolios of artists who express themselve...