DOGS photography magazine / issue_8
Johan Bryggman Marc Gass贸 Alexandra H枚hn Giuseppe Mileti Wendy Morgan Tolo Parra Jean-Christophe Recchia Petra van der Ree Ding Ren
Curator/Editor/Designer: Isa Gelb Cover & back cover: Alexandra Hรถhn All images and text published in Underdogs are the sole property of the featured photographers. NO image can be reproduced, edited, copied or distributed without the express written permission of its legal owner. NO part of the publication may be reproduced in any form without the written consent of the publisher.
One aspect of photography that intrigues me is the diﬀerence between photos produced “for the wall”—e.g., for an art gallery space—and photos produced “for the table,” e.g., for a magazine such as Underdogs. (I note in passing that we could speak of a third category, photos produced “for the Internet,” which, in my mind, combine qualities of the ﬁrst two categories.) The diﬀerences between such modes of production have been explicitly discussed by the critic Walter Benjamin, and more recently by Michael Fried in his book Why Photography Matters as Art as Never Before. Acknowledging their contributions to the discussion, I wish to guide it in my own direction. For me, the diﬀerence between photos produced for the wall and for the table mirrors the “professional” and “amateur” divide in photography. As the title of Underdogs is a nod to the status of amateur photographers, this divide is one that has interested me from the very beginning. I have often questioned the premises of the divide between professional and amateur photography, and I continue to do so with respect to image quality. However, if I were to concede such a divide, it would be on the basis of the ability to make a photo presentable on a wall. This is where I believe professional photography has a unique edge. I feel sharp pangs of frustration whenever a photo I love mysteriously loses its power when it is framed and hung on a wall. This feeling is compounded when I am forced to admit that an image I would otherwise ﬁnd middling is more eﬀective in the same context. Because there are always forces at play outside of the image itself that inﬂuence its reception, it would be hypocritical of me to say a type of “gamesmanship” is occurring on the wall that does not occur on the page. If anything, I would take pride in the ability to present photos in a way that is subtly ﬂattering, when compared to a completely random arrangement. If similar processes occur on the wall and on the page, why do I feel there is such a major diﬀerence between one and the other? Could it be that walls are the hallmark of institutions, which impose their values, such as professionalism, subconsciously, in a way that can’t be ignored when viewing the photo on display? Or maybe the page creates a more intimate relationship that envelops the viewer, one that has the power to resist such institutional forces? I also wonder if the relation I described between the wall and the page is a necessary one. I am not a gallery curator, so some of my frustration may be due to inexperience. At this point in time, these issues are food for thought for me about the place of a magazine such as Underdogs, and the deeper ways I can work as a curator, editor, and designer to shape the reception of photography.
JOHN KOCH www.ﬂickr.com/photos/orphotographer/
JOHAN BRyGGMAN Pite책 / Sweden
HIS CAMERAS Leica M6, Mamiya 7 II, Ricoh GR1s for personal and a Fuji X-T1 for work.
MARC GASSÓ 11
MARC GASSĂ“ Barcelona/ Spain
HIS CAMERAS Olympus mju ll, Leica Minilux, Canon 300 V, Contax T2, Contax G2 and in digital Canon 5D mark ll.
AlExANDRA HรถHN Hamburg / Germany
HER CAMERAS I use a Contax T2, a Nikon F3 and sometimes a Sony Nexx.
GIUSEPPE MIlETI Zurich / Switzerland
Canon A1, Pentax 6x7, Mamiya 7, Pentacon Six TL
WENDy MORGAN Toronto / Canada
HER CAMERAS Contax G2, Olympus OM-D
TOlO PARRA Sevilla / Spain
HIS CAMERAS Mamiya 7 and Canon Eos 1D Mark IV
JEAN-CHRISTOPHE RECCHIA Nantes / France
HIS CAMERAS Canon Eos 350D and Canon Ixus 300 HS
PETRA vAN DER REE
PETRA vAN DER REE Rotterdam / Netherlands
Nikon D7000, Fuji x100T, Nikon D750
DING REN Amsterdam / Netherlands Born in China, grew up in USA
HER CAMERAS All photos shot using a 35mm compact camera: Canon Sure Shot 85 Zoom
MANy THANkS TO JOHAN BRYGGMAN Piteå / Sweden www.ﬂickr.com/photos/105702979@N08/
MARC GASSÓ Barcelona/ Spain www.ﬂickr.com/photos/51460709@N04/
ALEXANDRA HÖHN Hamburg / Germany alexhoehn.tumblr.com
GIUSEPPE MILETI Zurich / Switzerland http://giuseppemileti.com/
WENDY MORGAN Toronto / Canada wendy-morgan.tumblr.com www.ﬂickr.com/photos/wendymorgan/
TOLO PARRA Sevilla / Spain http://toloparra.tumblr.com/ http://www.toloparra.com/
JEAN-CHRISTOPHE RECCHIA Nantes / France https://www.ﬂickr.com/photos/picsagain/ http://picsagain.tumblr.com/
PETRA VAN DER REE Rotterdam / Netherlands https://www.ﬂickr.com/photos/rosehobart/ http://cargocollective.com/pvanderree
DING REN Amsterdam / Netherlands www.dingren.net halfcrystalline.tumblr.com www.ﬂickr.com/photos/dingren/
Next issue July 2016