#PHOTOGRAPHY the online photography magazine
#photography the online photography magazine
JUNE 2015 curated by genea bailey & daisy ware-jarrett
inside this issue... 6
SAFOUANE BEN SLAMA
Edward (Edd) Fury
with JUNO CALYPSO
Ole Marius Joergensen
ON THE cover
Marion Luttenverger ‘Sugar teeth / dentist love‘ I was raised in a small Austrian village as the oldest sister of 8. After having worked as a graphic designer, I switched to photography because I preferred working in a three-dimensional way instead of only facing a screen. I’m very grateful for my job and look forward to a lot more experimental work with my camera in many places. The concept for the project ‘Sugar Teeth’ was made for a dentists website. I illustrated dental topics by working with the opponent suggar. If you look at the pictures long enough, they will soon get a more bitter taste. Oh sweet delusion.
Art ‘8 stories Vivienne’
I’m Victoria Art. My pictures are on the verge of dream and reality. A modern view of the fairytale style comes from realising that fashion photography is surreal and fashion will always be mysterious island of dreams, down to earth and at the same time sublime. I am inspired by talented people and photography ‘8 stories Vivienne’, was devoted to rethinking creativity British designer Vivienne Westwood. This is my subjective view of her contribution to the history of modern fashion.
Megan Bayliss ‘Bird Watching’
I am a fashion, beauty and portrait photographer who is based in London. My work aims to challenge society’s perceptions of normality with contemporary imagery. To create these narratives I work with a range of make-up artists, stylists and clothing brands from across the UK. This project, Bird Watching, was inspired by the binocular structure. The work explores the relationship between twins whilst reflecting on key A/W14 trends using a combination of designer clothing and high street brands.
Edward (Edd) Fury ‘Blok Knives’
I am a still life and portrait photographer based in Bristol, UK. I take inspiration from everything in our day-to-day lives and convey that in my own way through photographs.
Ben Edmonds is a knife maker based in Derby, UK. I got to know Ben whilst working with him on this, his passion for his craft was inspiring. His passion shows through in beautiful designs.
‘The Projections Series’ I’m a first year photography student from Montreal, but my passion for photography began a long time ago. When photographing I try to follow my instincts and remind myself to be as authentic and creative as possible. I love to create photos where the subject and their environment are equally important and interesting. This series started as a project for school , at the beginning I felt lost and did not really know what I was going to do since it was my first time using a projector. I did one trial session and was very pleased with the results. I continued to explore different images and body movements as well as the placement of the subject. All this ended up with some colorful and graphic images. I’m really grateful for all the help from some of my friends and boyfriend concerning this project, otherwise it wouldn’t have been the same without them.
EXCLAVE Bargehouse 25th June
Introducing â€˜Exclaveâ€™ A collaborative photography exhibition presented by the final year photography students of The University of the West of England. The exhibition will showcase the work of 45 individuals photographers, through a range of media including books, zines, archival prints and moving image. Each photographer uses their talent to reflect on a range of issues, predominantly through the genre of landscape, portraiture, fashion and still life.
18:00 - 21:00 Private View
26th - 28th June 10:00 - 18:00 Free admission
Leigh- Anne James
Leigh- Anne James
Madeleine Lidster Megg Evans
Jonathan Li, Existence
Amy Adlard, The Eternal Misery of a Flower Beth Randall
Chelsea Rooke, Parys Mountain
Mia Rose, Arbor
Joe Youens, Loom 208
Staś Zawada I guess I’m a slow photographer, I take pictures so rarely that I had to give up 35mm and move to medium and large format because it took me months to reach 36 exposures. I’ve always found it easier to go somewhere far away and see the place with fresh eyes, discover and contemplate. It changed when my kids were born, for some time now I haven’t been able to leave my little town of Hafnarfjörður, Iceland, so this project was a very new experience for me. I can’t look at my neighborhood without preconception, I don’t even try to be fair-minded these pictures show my moods rather than my town.
Frances Sousa â€˜Mint Photo Diaryâ€™ I am a mixed media artist working in Toronto. My works here encompass a photographic diary which experiments with pattern, colour, and texture. These pieces give insight to process and the relationship between medium and form. Mint Photo Diary encompasses a photographic diary which experiments with pattern, colour, and texture. This body of work centres on a theme of mint colour and its gradients in relationship with various textures and form. The diary is composed of 10 images which are juxtaposed in pairs, adding complex combinations in which the viewer may experience ethereal and tactile perceptions.
giordano faustini â€˜pure spiritâ€™ 34
I was born in Riva del Garda April 6, 1992. I started my studies in Pozza, in the mountains of Fassa Valley. Once I received my diploma for teaching art, I moved the Academy of Fine Arts in Venice. Fate then brought me to Milan, where I finished university and continued to work, spanning all the plastic and visual arts. In this series I wanted to represent the mountain in its purest form, we work every day and I see this every day. I can always see them but some moments are magical and unique and I can feel when itâ€™s time to capture the image.
SAFOUANE BEN SLAMA ‘Cross’
My name is Safouane Ben Slama, I am a French-Tunisian artist based in Paris. My work is related to my own life. I am very interested to marginality and what is in the shade. Rather than assert, I try to show things to create a discussion. What I want is to see people take ownership of my images, to categorise, to create links between my images, memories and mine. I donâ€™t really work in series. I have divided my work across different geographical areas that I had the chance to cross but I have the feeling of having lived and worked with the same energy, the same breath. I think my work expresses some things very intimate, I mele my daily to other people, I was interested in their roots, their habits.
I have an affinity to imagery driven by culture and economics. These two parameters, coupled with photographyâ€™s ability to frame, creates for myself a visual dynamic of expression from the hand that produced the thing and my hand that frames and produces the image. This work stems from my traversing cities, looking for and discovering things (objects, architectures, and landscapes) that are humorous, revelatory, and strange. I believe, in general, a negative correlation exists between the amount of capital and degree of expression or trace of a hand involved in the production of the thing. That is, the less capital involved, the greater the degree of humanness the thing possesses. For myself, that is where the art starts.
Ping Wang ‘Where Are You Looking At’
I was born and raised in Beijing, China. I live and work in New York City. My photographic works evidence a delicate balance between Eastern and Western visual culture, resulting in a personal style characterized by drama and restrain. My emotional sensitivity drives him to focus on the subtleties of light, architecture and the moments that often go unobserved. My photographs focus on the subtle interaction of human beings and the environment— carried out by solo figures, couples or groups, the photograph expresses the emotions including solitude, loneliness, regret, boredom and resignation in various environments. My subjects examine their alienation from disenchantment with daily life. I invest light in spaceless dimension. People who are framed by light share the same look of expectation and meditation. Using modern and minimal elements in my photographs, my works evoke a stillness of mind while develop depth and clarity at the same time. I create stills for a movie or tableau in a play, to position these characters as if they were captured just before or right after the climax of a scene.
Anne Kraemer ‘Sailor’s wife’ I am totally in love with photography. I love to create and sometimes it’s just what I need to do. It’s a kind of medicine that I need sometimes. It is also so fantastic to hear that people are touched when they see my images, that they “feel” something, this is also something that makes me carry on. I want to photograph images that tell stories. I love them to be magical and dreamy. They have to create worlds that I would love to live in. A world where everything is possible and freedom is infinite.
AN INTERVIEW WITH
JC: I’m Juno Calypso, I was born and raised in London where I still work, and I’m an artist and photographer
It’s true, the beach is the best place to be. I have done some photography work in Malta, though. Actually, most of the pink photographs from Joyce II were done in Malta.
Nice to officially meet you! This might sound a bit cheeky but is Juno Calypso your real name?
Oh that’s interesting to know - is that including 12 reasons you’re tired all the time too?
Yes and no... Juno is my real name and my last name does begin with a C, but it’s a Maltese name that no one can spell or pronounce. So, I decided to make things easier for myself and use Calypso instead, which was the name I was originally going to be called as a baby.
Yes, that was the best location I’ve ever found! It was just on Airbnb for 10 euros a night.
So I read that you’re half Maltese, is that right? What’s the other half?
Yes, it was insane! I had to crop out all the crucifixes on the wall, and she had a copy of ‘Men Are From Mars, Women Are From Venus’ on her bedside table!
#P: Ok, so, please introduce yourself!
A bit of english, a bit of Irish. So I’m pale and hairy and I look like I should tan but I don’t. It’s an interesting look.
Interesting mix, that sucks about the tanning! Malta’s always been a country of interest to me, I went there once when I was 14 and it seems like such a beautiful country. Have you been much? What’s the culture like? It’s beautiful. It gets used all the time as a film location, and I think Brad and Angelina were there the last time I was there, filming on a beach. I prefer the interiors though. Many of the houses have that time warp look about them... matching curtain sets and lots of tacky Catholic ornaments. They even have a baby Jesus museum there that I really want to go to!
Oh wow that sounds like a really interesting place to photograph, a baby Jesus museum!? I have to admit when I went I spent pretty much 99% of my time on the beach! Regret that now..! Have you ever done any photography work there or plan to?
Amazing, so you actually found it like that? Pink curtains, pink walls and pink couch, they were already there?
Wow... that’s pretty mad, it sounds like something straight out a movie! I think it’s my favourite image from the whole series... it just has this slightly sinister tone to it because of the mask. What is that by the way? It’s my other favourite discovery - The Linda Evans Rejuvenique Facial Toning System. It’s a ‘rejuvenating’ anti-wrinkle mask. It’s got all these gold pins on the inside that vibrate and electrocute your face to make it look plump and beautiful. I’ve never turned it on, it freaks me out.
That sounds terrifying! Where did you find it!? eBay!
Of course, the things you find on eBay..! It’s my inspiration for sure.
Let’s go a bit deeper into this image. Like I was saying, it’s a bit sinister because of the mask, and yet the pink hues make me think of, well, happy little girls. The combination of that is
really strange - even the fact that everything is pink is a bit strange! I just can’t stop looking - what is the concept behind it? What were you trying to show? Did the mask come first, before the concept? The room was the first step. I didn’t really plan a concept or using the mask in there, I just had it in my suitcase of props. I think I was so overwhelmed that I’d found the perfect room that I didn’t really plan anything, I just let it happen. I spent 4 days in there, trying things out. I remember putting on the white, beaded dress first, then the wig and finally the mask, and the first shot I took with that combination I fell in love with. This was after 4 days of zero success and months of sourcing and planning beforehand, so it wasn’t simple!
So this project in general - it began quite suddenly didn’t it? If I remember correctly you started out playing around with selfportraits because you didn’t have a model? Yes, exactly. I did have a model, but I would always use myself first to check the
set-up… but then I would never show any one those pictures. It was my university tutor who saw them and loved them, so I have her to thank for this whole thing!
Had you ever done “proper” self-portraits before this then? By that I mean not from testing for a shoot etc, but work that you’ve shown to other people, or is “Joyce” your first project involving self-portraiture as a photography genre? I’ve always taken pictures of myself, but only for myself, or to send to boys as a teenager. I have a whole folder of self-portraits from the age of 7 to the present day.
You kept self-portraits you’ve taken since you were 7? That’s pretty intriguing. Are you thinking about making some work about them? I already have, sort of. I made a timeline when I was at university with all the images in a neat line, and the same tutor who I mentioned above also loved this work. This was just months before ‘selfie’ became a thing though, and so now I’m not sure how interesting it is, when we’re so saturated with selfies. Maybe I’ll bring it out when I’m 65 at my retrospective!
I’d love to see that to be honest - even with the selfie craze. It seems like an interesting follow-up to Joyce, where you put on a character. This would be quite “revealing” I guess, as I suppose it’s the opposite to the Joyce images in a way. I’m glad you said that because I’ve been thinking about it a lot actually. I think there’s always doubts about putting out work like that, when it’s so personal or could be seen as narcissistic. On the other hand, every person I’ve shown it to, it makes all the work click for them, so I suppose it’s a useful piece. Once, this guy kept going on about me being a
‘pastiche’ of Cindy Sherman in a really patronising way, So I emailed him the timeline and that shut him up! It’s like, I’ve been doing this since I was 7 man.
Urgh there’s always one! But there you go, it’s a good piece of work that you’ve be interested to see if you develop it any further. Thank you.
Bringing the conversation back to Joyce - you said your university tutor saw some images you’d made and persuaded you to carry on. So in a sense the images came before the concept? Because there’s some ideas in your project that have undertones of feminism, that challenge gender identity. Is that what you had in mind when you began the project? Or did it just kind of grow into it, as projects
things. Is it a style you’ve been carrying on in future projects or are you looking to try something new? I always find it funny to mimic fashion poses and facial expressions, and take them to the point of absurdity. I think that it’ll always be a part of my work, here and there. As for the style, I think I’ll always be attracted to glossy images, pictures that look edible. I would like to continue experimenting, though. I’d like to make darker work alongside funny work. I’ve been doing a lot of blue work recently, which is a nice change.
“the images did come first… but I’ve always been interested in Feminism” tend to do? Yes, in a way the images did come first… but I’ve always been interested in Feminism. My photography work before Joyce, however, was very fashion and beautybased, and very typical in the way it portrayed women - looking gorgeous, but not really saying anything.
So that way of working, with fashion/beauty, seems to have influenced your style in the Joyce images. It’s interesting to see this style being brought over to a project with a serious concept, it’s something that you don’t see often, perhaps because it comes from the fashion/beauty genre which tend to portray women as you said, looking gorgeous but not really saying anything, or saying negative
That is a great saying, pictures that look edible. I love that, it’s such a perfect way to describe them! I’m glad to hear you want to make darker work, we would absolutely love to see that. You’ve definitely got a great eye for juxtaposition. Talking about blue work, your project ‘Eternal Beauty’ is new work correct? What’s the story behind this? Yes it’s new work. I started it last year when I was feeling a bit disillusioned with the whole pink theatrical thing in my work, I just wasn’t feeling happy and energetic enough to make those type of images - I wanted to make something a bit more melancholy, which is why the blue worked so well.
We’ve all been there. So what is the project about? Is it a video piece? Yes - well, those stills are from a video that I’m still experimenting with. I want them to loop in a very particular way. I was going to re-film it because something about it wasnt quite right, and it was driving me mad so instead I published the stills first, and I quite like the mystery that came from that. Now, everyone wants to see the film but there might never be one! Which is easier for me, but I would like to exhibit it somehow.
Mysterious is the word, I’m very curious about the film. It’s so intriguing to see film stills published first though from a film that might not ever exist fully, it’s quite a backwards way of doing things but definitely an interesting way to play around with things. Are we allowed to know any of the story/stories?
I would if there was one! There’s purposefully not much narrative to the work; there’s a feeling, a mood. It might be the mood I’m in at the time, or the imaginary mood of someone in my position wearing these weird masks, but I don’t really sit down and come up with a story or meaning. I like the audience to read into it them selves. So, it’s especially lovely to hear women telling me that they relate to the character, even though her story is so ambiguous.
That’s pretty awesome, and I’m glad you let
people read into it. Already just from the two stills on your website I’m forming my own little story in my head… It does remind me of like a dark version of Grease, the part where the girl drops out to go to beauty school but finds out it isn’t for her. Oh my god yes, I love that scene they did for the ‘Beauty School Dropout’ song, with
the silver hair rollers! That would be my dream shoot. ‘The Skin We Live In’ is a really good film that looks visually similar to the blue work.
“I always find it funny to mimic fashion poses and facial expressions, and take them to the point of absurdity.” Let’s move on from your projects and back to you. I’d like to know where you get your inspiration - is it books? Films? People, locations or other types of art? A lot of films - anything by Pedro Almodovar, Stanley Kubrick or Matthew Barney. Books as well - ‘The Beauty Myth’ by
Naomi Wolf was a massive inspiration for the project. I’m also always inspired by people - I love reality TV and the people you get on there.
I can definitely see the film inspiration! Especially the Stanley Kubrick actually, now that you mention his name. Reality TV is an interesting inspiration! It does make me want to hit my head on something hard sometimes but the people on there are fascinating. The stories are so ridiculous sometimes. They are. I like it when you see the cracks in a perfect life though, and the awkward moments and the fake tan!
If you could, what advice would you give to your first-year university self? Pay attention in practical lessons, because you’ll never want to learn that again. Use all the equipment you have access to while you have access to it, and don’t worry about making money from photography, just be weird and have fun!
All great pointers! And finally, what’s next? My next step is to have my first solo show in London, which I’m making all new work for at the moment. As for the distant future, I just want to get better at what I do, and for more people to see my work!
Wonderful! Well, we hope that we get to see your solo show soon - thank you for talking to me, it was a great interview and I hope you enjoyed it although I know it was a bit long! Thank you so much for having me! I loved it.
It was my pleasure, good luck for the future and hope to speak again soon! Thank you, you too!
Ole Marius Joergensen 64
‘N O I R W A Y - L’Heure Blue’
I am working as a fine art photographer based in Oslo. I started out studying film before moving onto photography. I have always loved the use of light in films and how they create magical looking scenes. This series is about creating mysteries. I like to look at these scenes as dreamlike situations, where youâ€™re not sure if you are awake or dreaming.
Guadalupe Acevedo ‘The Unfolding of Perception’ As an artist, I try to keep it as real as possible. I try not to label myself and my work. I do what I do and I like what I like. I’m still very young and I have so many different interests it’s sometimes really overwhelming. I don’t think I have a particular style, my influences and inspirations are incredibly different from each other, but I do have recurrent topics. I don’t try to prove anything, I’m just a girl who’s constantly changing and my work is part of who I am. It compliments me and it helps me to keep on growing. This series is about my first time in Japan visiting the country and also my boyfriend who lived in Osaka. When I was there, I faced not only a different country and culture but also a lot of aspects from my boyfriend’s daily life and intimacy I never experienced before. Thus, this series was born. I blended film and digital pictures all in one portraying that contrast I was seeing: the public’s eye vs. the intimacy, the mixture between the maelstrom of the most famous cities in Japan and my boyfriend’s private world and how my mind and heart absorbed this and blended all together in one, creating infinite layers in my perception and perspective.
‘Him // Kobe’
‘His neck // Osaka’
Ryan Steed ‘Went Out for Cigarettes’
I’m a documentary photographer living and working out of Memphis, Tennessee. My work has always been about exploring social commentary within a region. I believe that the greatest photographs are shot from the side of the road. If not for the camera, I’d still be working in a lumber yard. Other interests are whiskey, dive bars and rural towns. ‘Went out for Cigarettes’ is social and cultural commentary on a region that takes pride in its definition unlike any other place in the United States. Southerners are constantly witnessing things dying away. Right before something breathes its last, be it landscape, structure, or conviction, we try to revive it, forever trying to grab hold of a fleeting moment. This series is a Southern take on Cartier-Bresson’s belief in the decisive moment. Went out for Cigarettes is largely trying to capture that fleetingness.
I used to be a journalist (for music and culture magazines), in 2006 I started to learn photography. Today I live and work in Paris as a portrait, still life and fashion photographer. As far as my personal work is concerned, I am interested in emotions, strangeness, in what can be found under the surface. ‘Little Cracks’ is a personal series that tries to catch the moment when the surface begins to crack and shows what was not supposed to be seen: Madness under sanity, absence under emptiness, nonsense under rationality, face under skin. Some of the images were set in advance, some are the result of unexpected encounters, all of them were born in response to the pervasive and daily shallowness we have to face; all of them want to let things toggle and go awry.
PHOTOGRAP # talks to Roma founder of the platform for produce comp digital med
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Stampsy is the new platform on the internet for you to create beautiful photo stories, mood boards, zines and more. A home for the visually driven and a frictionless way to share an idea or assemble a narrative. In a sense, it’s a hybrid of everything you love about Flickr, Pintrest and Tumblr set to become a major player in future of online magazines and creative content. “We believe that today people are the media. We all have gone from reacting to the news to creating the news. With that in mind,
Stampsy gives people greater visibility because we give them the tools. The more tools we provide, the more expressive your content can get.” Stampsy is interested in the underdog, artists that don’t necessarily have the money or resources to express themselves in a
professional way. veloped in respo limitations of pop blogging platform vent users from po expansive ideas a events in their e ing an exciting n of publishing “Sta users quickly their ideas and e as cohesive visua that leave a more memorable impac
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photographers ourselves and we understand that sometimes it’s not enough to keep your pictures on Flickr on Tumblr circulating with virtually no context.” You can make something very simple or intricate. Compatible with Youtube, Vimeo and Soundcloud, you combine images with text, video or audio. For the experienced and inexperienced alike, creating beautiful sleek editorials combining visuals and sounds requires limited effort and importantly looks beautiful on a phone format too. “At Stampsy we don’t really care where people keep their images, we think about the process as an editing table where people can bring all the content they have and provide structure and narrative to an idea.” Now, not only is it important for photographers to expose their work but sell it too and this is an issue Stampsy is attending to. Experimenting with adding Widgets to profiles which enable users to buy work within the Stamp. A bonus for some that wish to cut out the middle man and advertise directly to interested followers. “The internet is the internet, when you post something online, you can’t really protect it
Stampsy lets you keep your vision together rather than it becoming disjointed across the internet, giving a refreshing element of control back to the creator and letting your work been seen the way it was intended. Mazurenko explains that they don’t have right click on Stampsy, but they know it’s virtually impossible to stop someone from using an image if they’re determined to have it. Instead they truly believe in remix culture. Unlike reblogging on Tumblr or repinning on Pintrest which then loses all context which Mazurenko describes as an “out dated paradigm”. Stampsy creates a context for all visual content out there. Using the collect an image feature, you can give images alternative narratives by posting them in your own collections or create an aesthetic using other peoples stamps. There’s also probably no need to mention that credits always remain attached. Launched in 2012 and gaining 1000+ members daily, this is just the beginning for Stampsy. Well established photographers and publications such as Fotographia Magazine, Theo Gosselin, Brett Lloyd and Hugo + Marie are amongst the impressive variety of creatives all exploring the future of online curation. Explore for yourself.
photo essay competition
Through the years of practicing photography I have been creatively driven to develop my visual communication skills. Although I practice with many formats, I have developed a particular interest in studio-based work. As well as sourcing inspiration from photographers, I look to painting work, studying subjects that express identity and cultural impact. There is no clear definition of death. For some it might be viewed simply as the ceasing of an earthly existence. For others an understanding of death and dying is vital to finding meaning in human life. Limina explores how identity is changed through experiences of death and loss, describing a transitional state that is both indeterminate and speculative. The imagery questions human fragility and what of our existence remains during this state.
photo essay competition
‘A form of view’ I grew up in the valleys of the Judean Desert between Jerusalem and the Dead Sea. My work presents the chaotic perception of an “Americanised Israeli”; composed of mediated American culture, desert landscapes and war, which became integral throughout my life. I mix scale models with straight photographs, both of Israel and the US, and I form a conjunction between two different cultures and sets of geographical locations.
The work is based on the recognition that our refer to the reality they record and my models reworld is informed by images, as photographs rep- fer to the images that represent reality. Both enable external observation of a reality’s-proxy. resent and replace experiences and memories. I am relying on preexisting images when photographing the landscape, as I am aware that I cannot reverse the influence of those images on my vision of the landscape. I found my self photographing the landscapes of both, Israel and the U.S., from the same stand point; the margins of the road. While in Israel I am adapted to the war torn restricted access to the land in the U.S. I am Scale models I build accompany the landscapes I bound to the same position only due to the privatiphotograph. They are recreations of places I don’t zation of the land as property. have physical access to: memories, and images of places and spaces that I saw through photo- Perhaps we’ve changed places and now we look graphs. I make them, and photograph them with at our world through the perspective of the camthe intent that they will echo the realism of the era. Maybe we haven’t just mixed the origin and original and bare the illusion of the photograph. the copy, perhaps we’ve swapped between them. It seems as if ever since the invention of the phoThe models act much like photographs, they tograph, reality has become augmented by its own image. share an indexical relation to the origin. Images Various aspects of our reality, are being described by photographs and have never being experienced by us in person. Photographs have set the expectations for things we’ll might experience; at times we find ourselves considering what is real to be different from how it should be according to its own image.
photo essay competition winner YOAV FRIEDLĂ„NDER
I am a self taught photographer living and working in Cape Town, South Africa. I strive to take pictures that I find engaging to look at and like my work to have a strong narrative quality. Â I enjoy shooting documentary style content but still appreciate straight lines and a minimalistic photographic approach. Â Music and film influence my work and I still have a romantic attachment to film shooting most of my projects on my Mamiya RZ 67.
This series is part social commentary and part 1950s sci-fi homage. Each photograph was captured in a single frame at various locations around the Western Cape, South Africa.
By simply removing the support framework of existing everyday structures found on our horizon such as cellphone, water and aviation towers, I want people to stop and take note of the technology that now surround us. How much do we know about these objects on our horizon and if these structures were transported back in time would people perceive them as alien?
Angela Datre â€˜Music Fansâ€™
I am a photographer from New York. I shoot a variety of things, including portrait, music, sport and documentary work. I began photographing music fans in 2007. I am always intrigued by the people who keep a music scene alive the people who get to a show early to get spots up front, the fans who get band tattoos or just the concertgoers whose faces and bodies are so full of emotion and energy at a concert.
Alexis Clerc â€˜Sado-Chadoâ€™
(Tea Ceremony in Japanese) I take photos to explore the strange sides of reality, and I look for the uncanny where itâ€™s not meant to be - in the bizarre, the vulgar, the absurd, the mundane, etc. Until recently, photography was mostly a distraction, but seeing how I have stuck to it in the past years has led me to step up and take it more seriously. Now I am working on a couple of projects around pop culture and daily life in Japan. When I moved to Japan, I expected to land in what is often described as one of the most advanced postmodern societies. Indeed, there is a broadly accepted strive for collective prosperity, and technology can make life very comfortable. But like any other place, there is another side to these polished appearances and Japan can be less glorious in some moments and places. The way social pressure gets released often contrasts greatly with appearances. In the series SadoChado, I am trying to capture the small moments of these pressure releases.
Andrea Costa ‘The Thin Veil‘
My name is Andrea and I was born in Rome, Italy in 1966. I’ve been taking photographs since 1989, after a brief introductory course on black and white photography, as a means of expressing myself. I started with a simple reflex film camera, then later moved to digital. I’m mainly interested in conceptual and minimalistic photography. Last autumn, I discovered the works published on the Japanese magazine “Provoke” at the end of the Sixties and fell in love with them. So, I decided to make a series about the city where I live, shooting recognisable places but avoiding the usual “postcard” photostyle aimed at tourists, and trying to go beyond what I call the “thin veil of complacency”, the concept of our city as a mere background of our lives.
Nádia Maria ‘Origins’
My name is Nádia Maria, born in 1984, I’m a Brazilian photographer living in Bauru/ São Paulo. I’ve worked with photography for about 12 years and began when I was 7 or 8 years old making pictures of my dolls and toys. My relationship with the camera and the images I capture was also born in childhood, but it grew stronger in my teenage years, becoming my personal journal of feelings and transformations that I went through in my life. A dialogue about life and death, the formation of bodies, organs... this series was born out of a personal questioning, regarding the phase in which I lived after the birth of my third daughter. With the health problems that affected my postpartum, and also with visual impairment who was born my youngest daughter, I went on to seek meaning beyond matter. What would be the faculties of the soul, present in all beings, the same who run the organs, and that can develop beyond the organ. It is an experimental test, a dialogue of the time / space / matter / reality ... pages of a story already completed, which we still do not know the end. The origins.
Photographer, Art Direction: Maria Svarbova Scenographer: Zuzana Hudakova Make up artist and Hair: Zuzana Puchrikova Models: Anna Kristofova
ON the cover
Guadalupe Acevedo Victoria Art Megan Bayliss Rhiannon Buckle Juno Calypso Alexis Clerc Andrea Costa Angela Datre Giordano Faustini Edward (Edd) Fury Yoav Friedländer Melissa Gamache Chris Hill Ole Marius Joergensen Anne Kraemer Marion Luttenberger Nádia Maria Frances Sousa Alyz Tale Hayden Phipps Safouane Ben Slama Ryan Steed Mária Švarbová Ping Wang Staś Zawada
www.guadalupeacevedo.wix.com www.victoriart.tumblr.com www. meganbayliss.com www.rhiannonbuckle.co.uk www.junocalypso.com www.alexisclerc.tumblr.com www.andreacosta.zenfolio.com www.angeladatre.com www.giordanofaustini.com www.edwardfury.com www.yoavfriedlander.com www.mel_g.vsco.co n/a www.olemariusphotography.com www.flickr.com/photos/-anne_k www.marionluttenberger.com www.nadiamaria.com www.francessousa.com www.visualyz.com www.haydenphipps.com www.safouanebenslama.com www.ryansteedphoto.com www.mariasvarbova.com www.pingwangxin.com www.stan.is
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Published on Jun 1, 2015
#PHOTOGRAPHY is an online magazine run by two Coventry University photography graduates with a passion for image making. www.hashtagphotogra...