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Hyde Park

photography

the magazine made by photographers thinked for the photography addicted

MONTH'S THEME

street PHOTOGRAPHY INTERVIEW WITH

MARKUS HARTELand ERIc KIM FELIX LUPA ANNA MONTUORI DARIO DUSIO IAN BRUMPTON LUCA NAPOLI LUIGI ZEZZA LUCA FARINELLI PAOLO BOLOGNA MASSIMO NAPOLI MARCO MARASSI SAGI KORTLER GARY GUMANOW SERGE BOUVET LUIS A.DE JESUS ED HAWCO JIM WICKS LUKAS VASILIKOS MADDALENAZAMPITELLI JANE MACNEIL OMAR BIAGI BIAGIO DE GIOVANNI RAFFAELLO FERRARI SARA NICOMEDI


index 4 editorial

FELIX LUPA

6 ANNA MONTUORI

interview with MARKUS HARTEL

DARIO DUSIO

IAN BRUMPTON

10 LUCA NAPOLI

street photography and pop

LUIGI ZEZZA

PAOLO BOLOGNA

MASSIMO NAPOLI

12 LUCA FARINELLI

the best camere for the street

14 MARCO MARASSI

SAGI KORTLER

interview with erik kim


GARY GUMANOW

SERGE BOUVET

ED HAWCO

JIM WICKS

LUKAS VASILIKOS

MADDALENAZAMPITELLI

JANE MACNEIL

OMAR BIAGI

BIAGIO DE GIOVANNI

RAFFAELLO FERRARI

SARA NICOMEDI

LUIS A.DE JESUS

18 NACHO LOPEZ, the hystory instigator

web site - http://photo.rivistahydepark.org email - redazionehydeparkphoto@gmail.com ART DIRECTOR - MArco Savarese photo editor - alessio coghe

20 the troublemaker

editorial assistant - antonio borghese cover photo - ian brumpton REGISTRATION TO THE COURT OF NAPLES CON IL N. 66 DEL 28/09/2009


REDAZIONE hyde parkPHOTO@GMAIL.COM

EDITORIAL

alessio coghe

W

hen Marco contacted me to talk about the project HYDE PARK PHOTOGRAPHY I already knew that it would have been a success, especially considering my previous contacts and collaborations with him as photographer and columnist of HYDE PARK, the free press magazine from which this new editorial challenge stems and in whom I figure as photo editor. The minute I accepted, I thought: this is the chance, one in a lifetime, to create the magazine of my dreams, the one which I have always wanted but have never found in a bookstall! The project is ambitious: to offer a magazine that talks and focuses on photography in terms of language and form of art that “writes with light”. Art, of course. When we talk about photography we often forget that we’re talking about a form of art, and this unfortunately holds true even more for Italy where, with the exception of a few cases, specialized publishers consider photography nearly exclusively in terms of updating potential readers on the latest photographic equipment and camera models found on the market, instead of publishing articles that talk of the “daguerreotype” or of important personalities like “Henri Cartier Bresson”. The end result is that readers who are not interested in buying a new camera will end up with a magazine full of articles that are not of their interest. This is where our idea stems from: the creation of a photography magazine done by photographers and for photographers, both at an amateur and professional level. Our intention is thus to offer a magazine totally open to the collaboration of readers giving care to the final product by offering a magazine of quality and, equally important, that is novel to the market. The editorial and market needs impose us to keep pace with time so that the magazine will also have a web interface. Also communication has changed since the advent of internet and this will be taken into consideration by HYDE PARK MAGAZINE in its way to propose itself to its readers and collaborators. We have an internet site that presents the magazine well and functions as active instrument in terms of presenting the product as well as functioning as interchange between the editorial staff and our readers/collaborators. From a personal point of view, my role as photoeditor and supervisor of the proposed projects is a role that is involving me a lot and will continue involving me constantly also in the future. This implies contacting the possible photographers who we want to involve in the project of the month: the magazine will have a main theme on which we will build our planning and selection of photographers and columnists. Behind this project is an editorial board focused on selecting and choosing the theme and contents offered to readers month by month. Inevitably, my work and that of the editorial staff implies rejecting many projects that do not correspond to the quality and standards of HP Photography and this is necessary to be credible at an international level. We expect that who proposes to publish for HP Photography is not a professional photographer, but rather an amateur or experienced photographer who has the need and will to be known and to be able to present his/her work in an effective manner. In these past weeks I have had the chance to analyze many portfolios, some being incredibly valid projects others appearing instead more like a scattered bunch of photographs put together but disconnected one with the other both in style and contents. We will have the chance to go back to this subject in a later issue as my intention is to prepare an article strictly focused on the tips to consider in the presentation of a photographic or image portfolio/project. This said and going back to our editorial choices, I would like to underline that we will not for bias automatically exclude to publish articles that talk of camera models and photo equipment within the magazine but will however try to talk about these subjects using a different approach, focused maybe on where the market is going more than classically reviewing a certain product tested. So we start from here, certain that this editorial adventure will take us far. We believe in this project and in its potential and are sure that we will capture the heart of many readers and collaborators willing to get involved in a magazine of quality done by photographers and devoted to all those having a passion for photography.

4 4 ||editorial EDITORIALE


HP PHOTOGRAPHY | STREET PHOTOGRAPHY

photo.rivistaydepark.org|| 5 5 photo.rivistaydepark.org


FELIX LUPA

FELIX LUPA

street photography www.felixlupa.com ukraine


HP PHOTOGRAPHY | STREET PHOTOGRAPHY


FELIX LUPA


HP PHOTOGRAPHY | STREET PHOTOGRAPHY


ANNA MONTUORI

ANNA MONTUORI

street photography http://flickriver.com/photos/annamontuori italy


HP PHOTOGRAPHY | STREET PHOTOGRAPHY


ANNA MONTUORI


HP PHOTOGRAPHY | STREET PHOTOGRAPHY


markus hartel street photography http://www.markushartel.com

INTERVIEW WITH MARKUS HARTEL

6 | INTERVISTA A MARKUS HARTEL


HP PHOTOGRAPHY | STREET PHOTOGRAPHY

W

hen we thought of this first issue and has been accepted my proposal to dedicate to street photography, immediately my mind is stroke to Markus Hartel and the idea of interview him. I know virtually Markus for several years, and sometimes we have to discuss in the various platforms where we meet online about hamburgers in the street of tour respective city or about web initiatives, up to the photography of course. I know him as kind person extremely helpful and courteous. His affability, confirmed during this interview, is a lesson in humility for photographers all over the world, and he is for me - but i’m not certainly alone in thinking this - is the greatest contemporary photographer.

Hello Markus, thank you for your time and sharing your expertise and experience with us. Can you tell us a little bit about your background before you came to New York? Tell us how you got started with street photography. Thank you for inviting me… I have a professional background as a typesetter, one of the remaining old-school graphic and print designers. I remember using my grandma’s rangefinder camera for family pictures and I always had an interest in photography, but never photographed in the streets until I moved to New York, which was a great inspiration to me. How do you work are you a photographer in constantly moving, looking for interesting scenes or do you find a backdrop and wait for people to fill it? What’s your approach to taking photos in the streets?

Normally I’m not very patient and can’t stick around in one place for a very long time. I need to keep moving to keep things interesting. Tell us about your project Americans 2010… The idea of traveling the US by public transportation sounded romantic at first, but was incredibly hard to do within a short timeframe and a very limited budget. I have done quite some interesting work in the Northeast and in the South, especially New Orleans, and I hope to get back on the road soon. The economy has been unstable for some time now and it shows anywhere one goes. How much more difficult has your street photography become in these last years, with the increased suspicion over photography in public places? There certainly is a heightened awareness of photographers in public, but I also must say that upcoming street photographers need to be aware of their surroundings and should never forget to shoot with a courteous attitude in mind. Do you think the public have become more paranoid about photographers too? The public gets driven by the media and is generally more aware of photographers in public. How important is gear to you as a photographer and what are you shooting with at the moment? What do you think is the “ideal” camera for street photography? The camera is important on a subconscious level, and one should use what feels right in their hands. After shooting with a lot of different systems, I keep going back to Leicas, because rangefinders feel right to me. photo.rivistaydepark.org | 7


markus hartel

Leica, overall. Why? They’re simple cameras that get the job done, computer aids and autofocus tend to be counterproductive for my work, with some cameras I like to use aperture priority though. What do you think about the mirrorless camera systems? The 4/3rd system does have potential, paired with the right lenses, and image quality gets better with every generation that comes out. Finally manufacturers have learned that one can cram only so many pixels on a sensor without degrading image quality. What is one of the most memorable street shots you have taken? I personally love the subway motion studies and have a huge 60” print in my living room. In your website there is a section with great tutorials. I’m talking about the section LEARN FROM MARKUS… Thank you. I love to share my knowledge – feel free to send questions my way and I will publish tutorials around them when I get a chance. You are born in Germany. How much is important for you a city like New York for your photography? I grew up in a pretty rural area in Germany and coming to New York inspired me tremendously – there is so much to discover at any time of the day. How much do you thank the smoke in New York City? The smoke is a very characteristic “element” in NYC during the winter, and I’m absolutely fascinated by the visuals it presents. Tell us one tip you would give to aspiring street photographers… Act natural in your environment, as if you belong there, don’t try to “sneak” a picture.

Additional quick questions:

MAIN CAMERA: LEICA M9 PREFERED LENS: 28MM ELMARIT POST-PROCESSING SOFTWARE: ADOBE LIGHTROOM 3 FAVORITE LIGHTING: NATURAL LIGHT, ESPECIALLY DURING OR AFTER RAIN ONE CHOICE: BLACK AND WHITE OR COLOR? BLACK & WHITE FILM OR DIGITAL? DIGITAL FAVORITE QUOTE RELATED TO PHOTOGRAPHY: I PHOTOGRAPH TO FIND OUT WHAT SOMETHING WILL LOOK LIKE PHOTOGRAPHED A STREET PHOTOGRAPHER FROM THE PAST: GARRY WINOGRAND A CONTEMPORARY STREET PHOTOGRAPHER: BRUCE GILDEN A LIFE WITHOUT PHOTOGRAPHY IS... UNINSPIRING FAVOURITE BOOK: “CHOKE” CHUCK PALUHNIK FAVOURITE MUSIC: REGINA SPEKTOR 8 | INTERVISTA A MARKUS HARTEL


HP PHOTOGRAPHY | STREET PHOTOGRAPHY

photo.rivistaydepark.org | 9


DARIO DUSIO

DARIO dusio

street photography web: www.dusio.net italy


HP PHOTOGRAPHY | STREET PHOTOGRAPHY


DARIO DUSIO


HP PHOTOGRAPHY | STREET PHOTOGRAPHY


IAN BRUMPTON

IAN BRUMPTON street photography www.ianbrumpton.com UNITED KINGDOM


HP PHOTOGRAPHY | STREET PHOTOGRAPHY


IAN BRUMPTON


HP PHOTOGRAPHY | STREET PHOTOGRAPHY


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