#PHOTOGRAPHY - Issue 10 by #PHOTOGRAPHY Magazine

#photography the online photography magazine

inspired.

#10

#photography the online photography magazine

Issue 10

september

2014

a very special issue... From a simple idea in early 2012, #PHOTOGRAPHY has grown into a platform for hundreds of talented emerging artists, has been read in almost every continent worldwide...and now we’re in double figures, happy days! Issue 10 is part 2 in our inspired. collection, a selection of themed issues published yearly on subjects of interest to us. This year we have chosen to curate an assortment of images creating a tribute to the ‘Past, Present and Future’ whether it be via narrative, subject matter or photographic technique. In this issue you will see a variety of exceptional art from collages and experimental portraiture to landscapes and striking fashion all paying homage to the past, present or future. We received a vast number of applications for this issue which we are eternally grateful for and hope that we managed to do this theme justice. Before you begin your visual feast, we would like to thank you for helping make the magazine a reality, without the support of our families, friends, gifted contributors and of course our beloved readers, this magazine may not have been possible. So without further ado, may we present to you. #PHOTOGRAPHY Issue 10 | ‘Past, Present and Future’, we hope you enjoy reading it as much as we enjoyed producing it. Genea & Daisy

#PHOTOGRAPHY Magazine

Pp.6-43 |

pp.44-73|

pp.74-111 |

six

Zeren Badar

Eunice Cornejo

Sarah Palmer

KEITH GREENOUGH

Andrea Miliotti

ARTEBIEL

Anthony Leigh

Olga Sabo

Laurie Vidal

Kamyl zhurakulov

Lili Plasticienne

past

eight

Zeren Badar ‘Accident Series’

I always want to create a different perfective for a viewer. I want them to see how I see. My style is humorous, colourful and surprising. I’m interested in the conceptual aspect of photography and am inspired by Jasper John’s quote “Take an object. Do something to it. Do something else to it” I’m hugely influenced by dadaism and neo-dadaism. In this photography project, I explore a peculiar combination of photography, painting & collage. I created three dimensional collages with found objects, food and cheaply printed versions of old paintings. By using unexpected juxtapositions of objects, I try to create ambiguity and pull viewers attention deeper to my photographs. In many ways, I examine a new type of still life.

twelve

Sarah Palmer ‘There We Were’ My work focuses on the interaction of social and environmental changes that impacts human existence. Exploring how our collective memory is changed by these influences is the focus of my work. I have a feeling of a memory so far removed that it can’t possibly be mine or anyone else’s. A memory I’m constantly searching for, yet know it’s an unattainable time in my past that will never come to be. I guess that nostalgia really is just a history without guilt.

fourteen

My photography is not to invent a new product, but to try to interpret a concept with its own style. I am a young photographer who began working in still life photography and wants to enter the world of fashion and editorial with humility and passion. Being in a different world, painted with clothes of the past, trying to break the mold and open their minds to love your body.

Andrea Miliotti ‘Man of 80’s’

sixteen

Eunice Cornejo ‘Childhood Portraits’

I’m a follower of Jesus Christ, a student and lover of photography. My work explores experimental photography, mixed media and portraiture. I’m a photographic artist who lives by faith and not by sight. To reminisce. To reflect from one’s past self. To move away from adolescence. These photographs depicts the decayed (and decaying) childhood image and how it is both sad and beautiful.

‘Lifting the Curtain’

KEITH GREENOUGH

eighteen

I am interested in the nature of photographic meaning and how this is realised during production of photographs and the context of viewing. Recent work has included explorations of the pose in portraiture and the juxtaposition of text and image in documentary. In his 1889 sociocultural survey Charles Booth expressed the view that ‘East London lay hidden from view behind a curtain on which were painted terrible pictures’. Lifting the Curtain revisits Booth’s East London through a series of urban landscapes juxtaposed with texts extracted from his survey.

twenty

ARTEBIEL ‘Ávila’

I paint on anything and give it a distinct personality, so most of my work is about objects and worn surfaces. The father of my girlfriend had given me a number of old photographs of Avila (a small town near Madrid in Spain city). I decided to create a homage to this city. Old photographs tend to be very personal, my desire is to provide my story without corrupting the original.

Anthony Leigh

twenty four

â&#x20AC;&#x2DC;enter rightâ&#x20AC;&#x2122;

I am a photographer who is deeply passionate about shooting on film, developing personalised darkroom techniques and adapting traditional chemical processes. My photographic work is designed to work along side my animated films. These images form half of a long term photographic project, the stories are told by creating a set and producing it as an animated film, retold in photo format by shooting on film, printing and chemically altering the images by hand.

â&#x20AC;&#x2DC;Having a Thinkâ&#x20AC;&#x2122;

‘Cheer Up’

‘Station’

Laurie Vidal thirty

‘We Were Old _ WWO’ I’m a young graphic designer from France based in Copenhagen. My favourite statement : “Nothing gets lost, nothing gets created, everything gets transformed”. WWO is a personal project based on the observation of old portraits, I tried to give to my images this particular aspect. At a time where we live with speed and perfection, can we keep something from the past?

thirty two

Lili Plasticienne â&#x20AC;&#x2DC;Memoriesâ&#x20AC;&#x2122;

I’m an artist who uses different techniques in the medium of collage. My work is linked to movie themes in a passionate choice of the 50’s, ‘Serie Noire’ and echoes the creative heritage of surrealism. I work like a “film director”, the compositions are triggered by elements, objects, material in which significance is given. The “directing” can be seen through the organization of spaces (real/ unreal, temporal/eternal) inside their own frame or facing the exploration of a place and its investment. I create a bound between the reflection on time, memories and movie theatricality.

Model: Kristina @Lilas Model Management Style: Andreeva Daria, Oganyan Bella Hair: Pospelova Yana MUA: Anastasia Kobernik

thirty six

I focus on fashion and portrait photography. In my work I always trying to find the great beauty, using different ways. Now I’m really into instant photography and I experiment with old polaroid cameras. This photo project is a fashion story about a blending of tribal style and modern fashion. Parts of the photos were made using an old polaroid camera.

Olga Sabo

‘Tribal’

forty

Kamyl zhurakulov ‘Memoirs of Geisha’

Kseniya Arhangelova: I was inspired by the movie “Memoirs of Geisha” and decided to assemble a team fo produce a shoot in a similar style. Also, I’m in love with Asia.

Model: retoucher, art-director: Kseniya Arhangelova Photographer: Kamyl zhurakulov Stylist: Anastasia Kozireva

forty four

Adam Grear

Barney McCann

Alishia Farnan

Manuel Sch채fer

Stephannie Fell

Raul Guerrero

Renaud LafreniĂ¨re

present

forty six

Adam Grear ‘North West’

I am interested in empty spaces and simplicity. I started taking photos about three years ago and now I am a junior in high school. I want to focus on my learning and travel once I graduate. This series is the summary of my trip to the Northwest. This is the present north west that I visited and how I saw it in a minimalistic way. I always love to explore new environments and to see them through the camera. I looked for a balance between the way these places presented themselvs to me, and how I saw them.

fifty two

Alishia Farnan ‘Jelly Doughnut’

My work is driven by my inquisitive nature featuring incidental moments and occurrences that are often overlooked. My most recent work is made during the course of my daily routine and is exclusively made using a camera phone. This process allows me to work intimately and unobtrusively with my surroundings. Jelly Doughnut is an exercise in looking. A collection of images that detail the subtle nuances of place. Whilst the images themselves do not immediately give a locale, the title is meant as a slight tongue in cheek reference to the city; ‘Berliner’ translates literally as jelly doughnut.

fifty eight

Barney McCann

I take photographs all day, every day - I wouldnâ&#x20AC;&#x2122;t be able to stop if I tried. These are some of the images that happen when I do that.

These images show humans influence on the world that was here long before we were. We have moulded around nature and it has moulded around us, a bit of give-and-take in adaptation terms maybe.

sixty

Manuel Schäfer I am a self-employed designer and photo artist from Germany. In my photographic work I am less focused on merely picturing reality but on visualizing specific feelings and emotional states, driven by curiosity and an unrestrained passion for experimenting. The photography project ‘No Time’ is about how we deal with time as a resource. We hurry through our days to force “more” experience within a short period of time. We speed up our lives, not taking our time for anything, however, we hope for more time. Sheer nonsense leading to lunacy. Nonsense that blurs our experience and just manages to create more superficialities.

sixty two

Stephannie Fell ‘The midspace’

I am an architect who uses photography to explore the sociological aspect of space as a shared and evolving experience. I am drawn towards depicting the un-neutral stance of architecture and the way we inhabit it. My latest series ‘The Midspace’ was developed in Boston investigating social codes in shared spaces between houses.

Unlike Santiago de Chile, many Boston neighborhoods have low or no fences between houses. Reminiscent of the American Dream, this allows direct contact between people who were believed to be similar. In reality, it is a space where two sets of social customs, pragmatism and personal agendas concur. Sometimes as a battleground or a meeting place, â&#x20AC;&#x2DC;the midspaceâ&#x20AC;&#x2122; portraits the silent story of quotidian relationships in the US.

sixty eight

Renaud LafreniĂ¨re

‘Potton’ I am a photographer that is more interested in fine arts. I like to build series of images that speak one with another. I like to tell stories with my images, and to let them speak for themselves. Potton is a project based on a town in the eastern townships of Quebec province, Canada. The project is about Potton’s life, Potton’s people Potton’s realities. It is the story of a small town where time is slow and flexible, and where nobody ever runs after life.

seventy

Raul Guerrero ‘The Disposable Project’ With an extensive visual communication background, I rely on photography, as well as video and related media to explore conceptual projects. I attended Loyola Marymount University where I received the 2011 LMU Photography Scholar of Distinction award. I’m currently working as a Peace Corps Youth Development/Asset Building volunteer in rural Morocco.

‘Fieldwork’ by Kamili Kalist

The Disposable Project is a philanthropic photography undertaking based on the images produced by 9 children with 100 disposable cameras in rural Tanzania, in hopes of promoting the arts, education, and sustainability.

â&#x20AC;&#x2DC;Pepsi Deliveryâ&#x20AC;&#x2122; by Alex

‘Obama in TZ’ by Peter

seventry four

Daniel Ali

Liz Jeary

Sarah Sartain

Emma Uwejoma

Rosabel Mart铆nez Pinz贸n

Krzysztof Frankiewicz

106

Lucas Laurent

future

100

Daniel Ali ‘Sumo School’ seventy six

Within my photography I intend to document various lives, environments and cultures around the world. I capture and present staged portraits in direct juxtaposition to straight documentary imagery, in doing so offering alternative perceptions about these individuals allowing the viewer to engage in a familiar topic with the aim of presenting new interpretations. At the forefront of my photography is an attempt to represent the individual outside of circumstance.

Sumo School is a series I photographed at the beginning of April this year that documents the first few days of high school for children as young as 12 who have already decided they want to commit their future to learning the art of Sumo. The series follows a group of children on their first walk up to the training dohyo (the ring where sumo bouts take place) and through their first few practices where they learn about each other and get to know their seniors whom they will be training, eating, studying and living with for the foreseeable future.

eighty four

‘Somewhere We Might Have Known’

Sarah

Sartain ‘Somewhere Land’

I am a fine art photographer constantly searching for ways in which to push the boundaries of what it is to take a photograph whilst challenging our preconceptions of reality. Somewhere Land is an amplified representation of the beauty in our world. The series takes fragments from our landscapes, which presents a world familiar yet mysterious in the hope that we once again can look at the world with wonder and appreciation.

‘The Place We Could Have Stood’

‘Finding Ways To Fly’

‘Our Path To Everything’

eighty eight

Liz Jeary

‘Poppy’

‘Earth 2.0’

I am a Kimono wearing, budgie loving, picture taking, Bowie listening, Kate Bush singing, gap toothed artist. Having a love for textures, street fashion and extreme close-ups, my contemporary and innovative approach to photography and digital imaging produces results that are indicative of my perspective on lifeâ&#x20AC;Ś different.

â&#x20AC;&#x2DC;harryâ&#x20AC;&#x2122; The human race is gone; all that remains are objects of their creation... robots. Their existence has gone beyond servitude and the Earth is now theirs. Looking into our future, these images comment on the proliferation of digital imaging and remind us that the photograph is also an object.

‘sidney’

‘willow’

ninety two

Emma Uwejoma

‘Ngwako‘

‘Nigeria became independent in 1960. My father moved to England in 1980. He has never talked much about Africa so I don’t know much about his old home. I was brought up in a house that seemed so very English but always had a Nigerian underlay. I feel those two parts in me and need to reconcile the one with the other.’

I am a recent graduate of the BA (Hons) Documentary photography course in Newport. I am currently based and living in Brighton, UK. My photographic practice explores the African culture and uses photography in relation to capturing my identity and memory of her unknowing African heritage. In the near future I plan to travel to Lagos, Nigeria where my father originated to submerge myself in my heritage and discover the culture. When I grew up I never felt I belonged. I went to school in Dorset and was the only black kid in school. Was I English like my mother or was I a Nigerian Igbo like my father? I was a mixture of the two, an ‘ngwako’ as they say in Igbo, a hybrid, somebody who didn’t fit in here and didn’t fit in there.

‘I grew up influenced by European culture but my I am categorised by the colour of my skin. If I marry an Igbo will I still be able to be ‘European’, but if I marry a European will I still be ‘black’.’

â&#x20AC;&#x2DC;In traditional Igbo culture, girls are thought to be less capable than boys. If I were to marry into this culture, how would I bring up my daughters; to be proud and sure they are the equal of anyone, or to be modest and unsure of their own abilities.â&#x20AC;&#x2122;

‘My father’s friend ran an African hairdresser’s called Rosie’s. I have vague memories of my father taking me there when I was a child. I would sit for what seemed like hours while my father conversed with other Nigerians. I always felt uncomfortable here, as though my Nigerian side was hidden and I was disguising myself to be British. Now I want to be both.’

Rosabel Mart铆nez Pinz贸n ninety six

‘ice flowers’

Lucas Laurent one hundred

I fell in love with the photography when I first crossed Willy Ronis’ work through his Derriere l’Objectif book. I was 11. Then I started film photography and learnt how to work in a laboratory. Meanwhile, aged 18, I started to assist well-known photographers specialized in fashion, beauty, editorials, deco and commercials to acquire studio know-how. Summer ices’ heat. Classic modernity still lives. Always the same guideline: transformation, duality, beauty. Arianne’s Thread of my work. I know nothing stays the same. Still lives are back to life Always a matter of timing. I take pictures. I play with water and paint my own way. Symbol of past, present and future throughout different stages. Time as an abstraction. From liquid to solid, from technic to simplicity In the end: only one rule prevails: graphical love.

one hundred and six

Krzysztof Frankiewicz ‘Kelly’

I’m a mathematician who’s found a way to express his way of seeing the world through photography. I use it to make moments memorable on my way through life but also to create my own visions and evolve my sense of aesthetics. The goal behind this project was to achieve some kind of spring/ summer look that is unique and a bit futuristic.

one hundred and twelve

thank U8Kgermany

canada 2

france 1 ly ita 3

USA

South America 2

poland

you russia 1

philipines 1

We would like to say a BIG thanks to everyone who took part in this issue. A big part of this magazine is being able to bring creatives from all over the world together in one book. This map shows where all the photographers from this issue are based.

one hundred and fourteen

Photographers index Daniel Ali Zlatimir Arakliev ARTEBIEL Zeren Badar Eunice Cornejo Alishia Farnan Stephannie Fell Krzysztof Frankiewicz Adam Grear KEITH GREENOUGH Raul Guerrero Liz Jeary Renaud Lafrenière Lucas Laurent Anthony Leigh Rosabel Martínez Pinzón Barney McCann Andrea Miliotti Sarah Palmer Lili Plasticienne Olga Sabo Sarah Sartain Manuel Schäfer Emma Uwejoma Laurie Vidal Kamyl zhurakulov

www.danielali.co.uk www.behance.net/zlaty www.artebiel.com www.zerenbadar.com www.eunicecornejo.tumblr.com www.alishia.co.uk www.stephanniefell.com www.kfrankiewicz.co.uk www.adamgrear.com www.photo-graph.org www.the-disposable-project.com www.lizjeary.co.uk www.renaudlafreniere.ca www.lucaslaurent.net www.anthonyleigh.co.uk www.mrosabel.tumblr.com www.barneymccann.com www.artside.it www.sarahpalmerphoto.com www.wix.com/gliligil/lili-plasticienne www.behance.net/saboolga www.sarahsartainphotography.4ormat.com www.manuel-schaefer-fotografie.de www.emmauwejoma.co.uk www.laurievidal.com N/A

on the cover...

Zlatimir Arakliev

Photography: Zlatimir Arakliev Jewelry: Francesca Marotta by Milko Boyarov Style: Nikolay Pachev Hair and Makeup: Slav for MaxFactor Model: Didi Maximova @ Ivet fashion MA

www.hashtagphotographymagazine.co.uk hashtagphotography@hotmail.co.uk @Hashtagphotomag facebook.com/hashtagphotography