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Fine Art Photography Magazine

OCTOBER 2019

#61

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Copyrights to Peter Coulson Š All rights reserved

Lens is a monthly publication that exhibits the best and brightest photography works. Lens Magazine follows the same foundations laid upon by its predecessor, aiming to unearth and showcase both leading photographers and emerging talents alike. Lens Magazine takes a single concept each month, and allows its contributors to delve into any ideas and emotions evoked from this theme, leading to a rich and varied selection of photographs and stories behind them. 2018 has been a monumental year for the magazine, as monthly subscribers have reached an unprecedented high of 16,000. This achievement is a testament to the hard work and dedication of all every individual that contributes to monthly publication - both in front and behind the lens!

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The honorable Art Market Magazine’s

curators, Art collectors, investors and to

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visitors in each Art Fair: more than 30,000

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Founder&Editor : Dafna Navarro Dafna Navarro, CEO and Founder, Art MarketGlobal Media Company. Curator and art appraisals, Editor in Chief of Lens Magazine. Dafna Navarro, A Israeli - Spanish citizen, born in Jerusalem and lives in Tel Aviv, Israel. She is a known figure in the Israeli and International art world as the CEO & Editor in Chief of two international Art & Photography Magazines (Art Market Magazine, Lens Magazine) and as the CEO and main curator of the  "Israeli Art Market" Online Gallery, featuring the largest collection of contemporary art and fine art photography coming from Israel. Navarro serves on the Jury Panel of International respectable Art & Photography competitions, Including "Portrait of Humanity" runs by 1854 Media, publisher of British Journal of Photography, together with Magnum Photos, On the jury panel of the 'GOLD LIST' Special Edition, Featuring Top Contemporary Artists of Today, being published twice a year by Art Market Magazine.  Navarro is also a lecturer, curator and appraiser of art and collectibles.

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Dafna is the CEO, Founder&Editor of the International Art Market Magazine for contemporary fine art, The International Lens Magazine for Fine Art Photography and the successful Israeli Art Market Online Gallery. lensmagazine.net

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Copyright to The International Lens Magazine © Dafna Navarro, 2019, All rights reserved. No part of this magazine may be re-used without the written permission of the publisher. The content of this magazine is for informational purposes only and is, to the best of knowledge, correct at the time of publication.

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CONTENTS 12 MEET THE CONTRIBUTORS

14 AN EXCLUSIVE INTERVIEW WITH ROMAIN ESTEBAN 28 LUKAS MAIER - CAGE FIGHT46 RONEN TIVONY AMERICAN UNREST

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58 UPAYAN CHATTERJEE THE SPIRIT OF SPIRITUALITY | THE NUANCES OF EXPRESSION 74 NINA WELCH - KLING DUOLOGUES

92 CATALIN CROITORU THE NIGHT SHIFT 112 MONA PAMSARI LIGHT & SHADOW 126 OMRI SHOMER LIFE ITSELF

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Meet The CONTRIBUTORS ALLAN KLIGER "I explore, wander - that’s part of the adventure. Looking for the light, for something elusive, something perhaps around the corner, an open doorway, and some motion that catches my eye, beauty, frailty, something real. A moment, something that makes me want to make time stop.

Perhaps it’s something I can identify with, even if I don’t know it. A feeling." "I shoot the same. I look for the people, the places, the edges, the light that makes the story something more, something to remember, to go back to time and time again."

ANNE PINTO RODRIGUES Anne is a writer and a storyteller, with a keen interest in nature photography and fine arts. Having lived in 5 cities, in 4 countries, across 3 continents, and having travelled long-term to several more places, she identifies as a global citizen. When she is not out exploring, she can be found crafting

articles for magazines or blogging about her travel experiences on her blog 'No Roads Barred' . Anne has contributed to inflight magazines like Holland Herald (KLM), Silkwinds (Silk Air), SilverKris (Singapore Airlines) as well as cross-cultural publications like Passage and ScandAsia.

CATALIN CROITORU " In 2005 I decided to leave everything behind and to move to Canada. That was an ABSOLUTE ZERO for me: new people, no friends or relatives, two new (or almost new...) languages, different habits. Because of the languages barriers I felt myself restrained and unable to communicate properly my thoughts with the others.

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That was the moment when I decided to express myself through the images I was taking. They used to say that a photo is "worth a thousand words"; but I really think it is a language as well. When you feel crippled and the words limit you, just grab a camera: it will open for you a new horizon and a new life!"

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Meet The CONTRIBUTORS GUY GEVA I have been practicing art under the instruction of the artist Shimon Avni. I studied the Theory of Art at the Open University of Israel, and have a B.Sc. in Physics from Tel-Aviv University. I am the ambassador of the importer of Ferrino in Israel and one of the gallery artists of Efrat Gallery. I have been taking part in single and

group exhibitions since the age of 17 and have presented several single exhibitions since then. I do studio and landscape photography. They may seem like two different areas, but they are not. Both in the studio and in nature, I deal with the same subject: weaknesses and the end of existence.

ANASTASIA TSYPKINA Anastasia - half jewish and half russian started with the studies of linguistics and literature in Russia and after graduation in 2016 decided to get master`s degree on faculty of arts in Brno, Czech republic. Her main fields of interests and hobbies are not limited only by the world of literature, actually she wants to know everything about everything. Art,

architecture, travelling and meeting creative people – That's what she considers as the main sense and purpose of life. What makes her especially happy? - To share what she sees, hears and experiences with readers, with someone who wants to go ahead of routine and be involved in LIFE FROM ALL ITS SIDES AND VIEWS.

OMRI SHOMER Omri Graduated from Camera Obscura School of Art, Galitz Photography school and Sapir college where he studied and completed an academic degree in journalism. He also attended a workshop of David Alan harvey in London. In addition, he is a finalist of the London Photo Festival – Street Photography Category (2017).

Omri worked as a copywriter in advertising agencies for 7 years. At one point, he began feeling as if something was missing. Through his work with his art director, he had more and more contact with visual concepts, and this, in turn, stimulated him to photograph in a more conscious fashion.

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ROMAIN ESTEBAN

Copyrights To Romain Esteban Š All Rights Reserved

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'm mostly known as @romestebanr on social networks, I'm just over 40 years old. I started photography in 2012 after a tragic event in my life that led me to better observe things around me, to freeze them, to try to stop time, to accumulate memories. As many I took the trip to take some pictures on the iPhone and quickly enough with a Leica and for almost 2 years with my faithful Olympus Mark III. Childhood, faces, passing shadows, singular characters are my favorite models; I am also known for my texts under my photos, because I am above all an author, a storyteller, a storyteller of lives. My favorite fields are the streets or the landscapes of my travels, these last three years, with my family, we traveled France, Italy, Spain, New York, Quebec, Austria or the Czech Republic. , Each parcel of these lands has a story, I like to inspire them to pay tribute to them in the photo. My camera is never far from me, it's part of me, it's my 3rd eye and now part of my soul. 15


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An Interview With

ROMAIN ESTEBAN LENS MAGAZINE: Please tell our readers about yourself, what is your background and how did you start with street style photography. ROMAIN ESTEBAN: Initially, I am an author, and I have always been inspired by the lives of people who pass in the street, in railway stations, subways. One day in 2012, I started taking pictures of people with my iPhone and it was successful. Today my Leica and my Olympus accompany me everywhere. LENS MAGAZINE: What technology/software/camera gear do you use to keep focused on what you do best? What motivates you to continue taking pictures economically, politically, intellectually or emotionally?

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ROMAIN ESTEBAN: I mainly use my Olympus Mark III, I shoot a lot, to have the right light the right profile. After I sort and throw a lot, I want crude, emotion. A picture of my point of view must tell a story, make people laugh or cry. LENS MAGAZINE: What is your best post processing tip? ROMAIN ESTEBAN: Let the photos rest for a few days or even weeks. To review the possible defects and to diffuse only if one can say to myself: "If I see this picture in a magazine or an exhibition I say to myself wowwwww" LENS MAGAZINE: What is the one thing you wish you knew when you started taking photos at the beginning? ROMAIN ESTEBAN: The sense of framing, let me also say "do what you want to do, don't copy, be yourself." I was lucky to be told, since I have progressed a lot but I have always followed my path.

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LENS MAGAZINE: Whose work has influenced you most? ROMAIN ESTEBAN: Doisneau, Tish Murtha or one of my French friends Nikos Alliagas. Photographers who can bring out the emotion of an image LENS MAGAZINE: What is your best photography tip for a good street style shooting? ROMAIN ESTEBAN: Don't completely go on an adventure. Have some ideas of what you want to have. To stand there, we know that the light will not surprise, wait sometimes for a long time, press the click, start again and start again.

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ROMAIN ESTEBAN

email: romestebanr@gmail.com Instagram: @romestebanr

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t h g i F e g Ca BY LUKAS MAIER

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t h g i F Cage BY LUKAS MAIER Under a busy street in Salzburg lies an extraordinary skate park way out of the regular person's sight. Protected from the rainfall and caged in iron bars, athletes and spectators from all over gather to fill the concrete playground with laughter, adrenaline, music and beer to witness a contest where only the very best of their kind make it to the top of the podium. Shot on 35mm Ilford HP5 Plus film pushed 3 stops to ISO 3200. Photographed using a Canon AE1 with a 50mm lens and an Olympus Mju 1. Given the choice of shooting analog, the images develop to this roughness and become a unique surprise while carefully selecting what to capture and preserve for eternity.

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t h g i F e g Ca BY LUKAS MAIER Lukas Maier studies photography at the historic and internationally renowned Vienna Institute of Graphic Communications. Born and raised in Salzburg, Austria, Lukas grew up spending his summers with family from the USA. Traveling and exploration of the unknown has been a way of life for him since a young age, and wherever he goes, his skateboard and camera must always be. The next great shot is always waiting to be discovered for those with open eyes and hearts and you will probably find him somewhere in the streets shooting on 35mm film.

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LUKAS MAIER Instagram: @lukasm.raw

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AMERICAN UNREST BY RONEN TIVONY

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AMERICAN UNREST BY RONEN TIVONY

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American Unrest – a series of photojournalistic images that document the many protests and events that have taken place since the 2016 presidential election in the U.S. The series covers the many people who took to the streets to protest a variety of issues, including: Trump's election, gun violence, the GOP tax plan, the Dakota Access Pipeline, the Muslim Ban, immigrant detention camps.

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AMERICAN UNREST

ABOUT RONEN TIVONY

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’m a freelance photojournalist and the founder of 15IMAGES.COM, a Los Angeles based company that provides editorial images to media companies and wire services. I’m also a former IDF Military Photographer. My images have been published in: The New York Times, The Wall Street Journal, USA Today, BBC, TIME, CNN, VICE, The Smithsonian, Rolling Stone, The Guardian, Sports Illustrated, The New Yorker, The Washington Post and many more. My work is focused on politics, social and environmental justice, wildfires and breaking news. I also lead private travel and street photography workshops in Los Angeles and other destinations worldwide.

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For me, the ability to capture a moment and freeze it forever has a spiritual quality. Where else, in life, do we get to freeze time? - Ronen Tivony

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AMERICAN UNREST RONEN TIVONY Website: 15images.com Instagram: @15images_ronen

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UPAYAN CHATTERJEE 2 SPECIAL PROJECTS

THE SPIRIT OF SPIRITUALITY

T

he Essence of Spirituality has been felt and taught over generations and has necessarily undergone a lot of Distortions. So much so, that its true essence is almost completely lost today. Spiritualism had once represented a divine connection and relationship with a greater being, translating ultimately into the cosmos. It was a medium of preaching the true humane demeanor and selfless devotion towards passion. The layers of distortion have managed to bury deep the ideals that once

formed the pillars for spirituality. The vices of infinitely many modes of intoxication, drug abuse, and selfish-motive driven propaganda successfully masked the true concept. This is what speaks of the modern opinion of the mass towards spiritualism. Yet, we shall find another community who would defend spiritual activities to extreme ends and never accept that flaws have crept in. But all this has only turned our eyes away from the actual picture and that is what I wanted to experience.

INTOXICATED: Photographed at Gangasagar Mela Transit Camp, Kolkata, India Copyrights To Upayan Chatterjee Š All Rights Reserved

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THE SHADOWS: Photographed at Gangasagar Mela Transit Camp, Kolkata, India

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The Gangasagar Pilgrimage and Fair is the second largest congregation of mankind after the triennial ritual bathing of Kumbha Mela. The amount of enthusiasm surrounding this festival is nothing short of an intoxication and I decided to have a first-hand experience in getting up-close with the famous “Naga” Community.

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A Transit Camp is organized by the Government, in the open grounds of Kolkata where the Nagas and commoners from far and away set-up a makeshift residence before being transported to the Sagar Island by the Government.

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DEVOTION: Photographed at Gangasagar Mela Transit Camp, Kolkata, India

I had always been told that these were shadowy places and people. And that was what I wanted to explore. The shadows. I had heard stories of how the Nagas would cover themselves in ashes from the burning pyres and not bathe for months before it was time for the holy dip. Stories of how they travelled the world, the scorching heat of deserts and the biting cold of the Mountains, scantily clad and yet survive.

Copyrights To Upayan Chatterjee Š All Rights Reserved ENGROSSED: Photographed at Gangasagar Mela Transit Camp, Kolkata, India

How much of it is actually true? How deep were the shadows?

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CONCEAL: Photographed at Gangasagar Mela Transit Camp, Kolkata, India

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There was fire, there was smoke, there were all kinds of smells which I had never smelt before, there were fruits whose seeds told the future, but above everything, there were people, an extraordinary group of people. While most of them were engrossed, working on their stuff, readying them for the trip ahead, there were others who had very little to take care of. They believe in the principle that nothing belongs to them and they belong to none but the Almighty, the greater being ultimately translated to the cosmos, which astonishingly and surprisingly suggest that their community has been able to preserve a bit of Spirituality in its former glory amongst themselves, even if in an extremely crude demeanor. A tremendous life of atrocities and hardship, coupled with societal downgrading. Yet, they are never shy to flaunt who they are. Conversations revealed that most of them have forgotten what had led them to choose this tremendous exile. They accept the painful deaths and deadly diseases that await them after years of uncontrolled narcotic abuse and yet they believe. And yet, they are devoted. Yet, they believe that they, in entirety, belong to nature and to God. There is nothing that they wish to hide, nothing that they wish to reveal. They constantly push the limits to which belief can take a person. Explicit nudity, yet without a hint of vulgarity. Within the camp, it is the satin-clad sect who feel selfconscious of the layers of artificiality, superficiality, ego, hatred and infidelity they can’t let go of. The first myth to be busted was that regarding the story related to bathing. While, it’s true that some do avoid bathing all together, most of them take regular baths, but always maintain a cover of the holy ash on their skin. Perhaps the only time they would wish to conceal themselves is when they have just taken a bath and are yet to apply a new layer of the ash they carry; only cover they use.

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There are a lot of other myths about them and while some of them do have some sort of real connection, most of them are baseless and have been cooked out of our judgmental attitude towards a clan whose path differ from the mass by quite a large margin.

DETACHED: Photographed at Gangasagar Mela Transit Camp, Kolkata, India Copyrights To Upayan Chatterjee Š All Rights Reserved BREACHING BARRIERS: Photographed at Gangasagar Mela Transit Camp, Kolkata, India

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There were a lot of things within the camp, that did not conform to spirituality and that was of course what was expected, given how deep its true meaning is now buried. Yet the people in this camp had successfully dug deep enough to bring out and practice at least a few of its truest ideals. Yes, the voices within the camp far outweighed all that was good, but yet, a little bit of it was incredibly progressive too. Their incredible self-acceptance and gender neutrality practiced in the camps-site was something to take inspiration from. With the entire world being slowly polarized on these grounds, the camp, which is despised by the mass, sets an example as to how men and women could co-exist, prays to the same God together, share the same space and yet maintain each others with integrity. Their community, originally born out of the need for centuries to protect temples and religious shrines from being desecrated, have evolved into an extraordinary group of people like no other. There aren’t any that compare to them and they compare to none.

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UPAYAN CHATTERJEE

I

am a 3rd Year Under Graduate Student from Kolkata, India and am enrolled for a full-time Bachelors Course in Electronics and TeleCommunication Engineering. Photography and Visual Storytelling have been my passion for quite some time and it is in this beautiful field of artistic expression that my heart belongs to. My passion lies in the art of narrating stories through photographs it has always been the food for my soul. I have loved and hated my own attempts at weaving stories in photographs, yet the process has always felt captivating. I choose the medium of Fine Art Photography to narrate my stories. To me it is always more important to convey how I feel, at a place or with a person, through my photographs rather than what I see. Low-key images are my favorite mode of expression as I feel that it gives me a very handy tool to play with the lights and shadows and paint the frame according to my wish, with full freedom of emphasizing and de-emphasizing as and how the artwork demands. lensmagazine.net

I feel that photography is perhaps one of the best ways to express one’s feelings, while simultaneously creating meaningful insight or awareness among the audience towards a targeted issue and that is what I always aim to achieve through my work. While, nature and wildlife have always been my preferred path to tread, the works of Steve McCurry and John Stanmeyer have inspired me. In fact, their work has virtually educated me towards creating art out of human interaction and candid moments of spontaneous exuberance. My work on the Nuances of Expression and The Spirit of Spirituality are both based on the very simple grounds of human behavior. I have tried to thread my experiences, which span from faraway cities to my very own hometown, on the basis of how expressions, lights, shadows and a trillion other elements fall into perfect harmony, perhaps for a split second, towards narrating a story or making an indication, which carries greater significance than is apparent.

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UPAYAN CHATTERJEE THE NUANCES OF

EXPRESSION

Over the time I have spent in pursuing my passion in photography, I have always loved to get close to the people, the locals of every place I have visited or stayed at. As such, I have slowly fallen in love with how much our faces can portray in candid moments of spontaneity. From villages to cities, urban modernity to sub-urban simplicity, what has always caught my attention are the very honest moments of people with themselves. The expressions that those moments convey, wrapped in a beautiful mold of subtlety, are often lost because maybe they come and go in a flash. That was what I wanted to document, those nascent moments of truth, the stories that they conveyed, the way the lights graced the curves at that very juncture in time, the way the shadows lined the highlights, the way the lips bent or the eyes sparkled, the way the wind caressed the hair and all of it coming together to highlight the “Nuances of Expression “. The lights fell perfectly, highlighting all the structural detail in the photograph, creating the perfectly warm mood for an engrossing morning read. Perhaps, almost tailor-made to be the opening image of my series, which attempts at creating a visual narrative out of a lot many elements, falling in perfect harmony for, perhaps, one split second.

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INTENSE: Photographed at Varanasi, India.

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PENSIVE: Photographed at Futnani Chambers, Dharmatala, Kolkata, India Copyrights To Upayan Chatterjee Š All Rights Reserved

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The photograph comes from one of my most cherished visits to " Sarai Mohana “, a village which has been the hub for Indian Hand-loom over generations. But yet, amidst all that was unique about the place, there is this one cliché that is never absent; the comforting presence of the mother. The little champ was unhappy over a little fight with her brother and was on the verge of tears when her mother decided to comfort her. While, the magic was about to happen in just the previous frame, here you see its power. All it took was her mother's presence to have her smiling and confidently posing at my lens, to a complete stranger. Mothers are special, they invariably are, and so are the children of India. There always are bubbly little girls running about the village thoroughfare, who almost trick us into believing that everything out there is as bright and the future as safe as her little amigo in her arms. There always are two quarrelling siblings, who almost trick us into believing that all the problems out there are just as easy to get over with. My quest in search expressions and moments that often define an entire experience has taught me that these expressions and the fleeting moments, often carry greater significance than that is apparent. The Futnani Chambers has stood and witnessed Kolkata change for several decades, but has been deemed “unfit” to bear the stress likely to be caused by the boring of an underground tunnel beneath it (as was initially planned by the Kolkata Metro Railway Corporation). As this legendary building, standing over 100 acres of land and housing more than 150 residents, faces a time of turmoil and an uncertain future, this pensive expression photographed at this very building, months before the unsettling news surfaced, signifies more than that it was meant to.

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CONFIDENCE: Photographed at Sarai Mohana, near Varanasi, India Copyrights To Upayan Chatterjee © All Rights Reserved

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AMITY: Photographed at Dwariapur, West Bengal, India Copyrights To Upayan Chatterjee © All Rights Reserved

That is perhaps how life works, we never are truly in control of it. We can perhaps never predict or say for sure what amount of importance a particular moment or a particular experience may carry. Each and every moment that passes us has its own story to narrate, the foggy mornings, the lonely evenings, the calm nights all of them. They narrate through the way they make us feel and to listen to their stories, we must express. These expressions aren’t the regular ones, which are made to serve a purpose or make things understood. lensmagazine.net

These intense expressions are the ones which come from within, from the subconscious, the expressions we don’t control. Those are the ones which tell you the story, those are the ones which lead you to experiences, those are the ones worth looking for, in others and within our very own selves.

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ENLIGHTENEMENT: Photographed at Varanasi, India.

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UPAYAN CHATTERJEE Website: Instagram: Facebook: email: lensmagazine.net

storiestotellup98.crevado.com @upayanch98 The Fleeting Moments upayanch98@gmail.com

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DUOLOGUES BY NINA WELCH - KLING Nina is a photographer living with her husband and two daughters in New York City. She grew up in Germany, spending much of her young adult life studying art and architecture around the world. Nina graduated from the School of the Art Institute of Chicago with a B.F.A. And from UCLA Architecture School with a Masters Degree.

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DUOLOGUES

NINA WELCH - KLING

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take a deep breath and move purposely. Rhythmic steps help settle my mind into a calm, almost meditative state. My senses sharpen, and the noise in my head retreats. With my finger on the trigger of my camera (permanently paired with its 35mm lens), I scan - light, people, details. Repeat. And again. I move as if pulled by invisible strings, roaming the streets with a sense of wonder. I have anonymity-no one sees me, or if they do, they seldom care.

Sometimes there is a split second in which we connect-my eyes, the lens, the other person. A nod, an attempt to hide or a middle fingerwe take note of each other-it is temporary, but recorded. I pair the images by playing a game of Memory: finding in each image shape, gestures, and symbols that rhyme. Connections are formed. The photographs are in a duologue, A play between two images, creating meanings belonging to neither, a discovery that each viewer renders in his or her own mind.

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NINA WELCH - KLING Website: www.ninaklingphotography.com Instagram: @ninakling Facebook: nina.w.kling 91


THE NIGHT SHIFT By Catalin CROITORU

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ever seen by the vast majority of the other peers, there is a category of working people that is almost invisible. Just because they are working covered by the night blanket. Those ones that I have met started their working shift when most of us, the "usual guys", we're almost ready to go to beds and to wrap us in a sweet dreamy sleep. Wearing helmets and orange vests, carrying on the duties in a dusty or noisy environment, zigzagging between huge machines, sometimes at more than 50 degrees Celsius, these people become ordinary during the daytime: they are pushing the grocery charts in the superstore alleys, they are taking care of the kids, they are husbands, or fathers, or mothers... lensmagazine.net


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THE NIGHT SHIFT BY Catalin CROITORU

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I had the chance to witness, for two months in a row, this unseen and almost invisible world of the night. The shift usually starts around 10 pm and finishes not often when the sun casts the first point of light on the sky. In this whole interval over hundreds of meters of the highway is laid new asphalt, edges are adjusted or concrete boards, markings are made that will serve the traffic... There is an intense noise that envelops everything, clouds of dust obstruct the vision, shout, be horned, conduct and coordinate operations. lensmagazine.net

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I was there and I saw everything. I witnessed the jokes that were cracked while the sweat was flowing over the forehead and over the cheeks, I saw how a man can fit sharply between two huge trucks to coordinate them precisely; I saw how a sandwich could be eaten on the go, between two shovelling movements that gathered together the hot asphalt; I saw truck drivers who, in the late hours of the night, were carrying their sleeping children in the cabins of trucks, for the simple reason that they hadn't no one else to leave them with; I was amused by the ingenuity of those workers to heat up their metallic pots with food, or to make ripe corn: hot asphalt was just as good for both; I saw people wasted by the fatigue, near the end of their shift, who still found the power to laugh and to get amused; and I saw the joy move on the faces of those workers, as well as the glimpses of joy in their eyes when everything was finished to perfection. And I decided that this world full of heat, dust, and terrible fatigue, should be brought to light.

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About Catalin CROITORU Lens Magazine's contributor since 2017

A Compulsive Thief "I am the biggest thief of my city‌ And I love being this way! Because I like to rob pieces of Montreal. From everywhere and every time I have the chance... I am a vicious stealer; with the help of my camera I am robbing this city the images of it. I sit in a corner of an intersection, or next to a bus stop, or on the subway platform. I hold that accessory that captures fragments of life in my right hand, ready; the thumb covers gently the shutter release button; the light of the intersection is changing, or the bus is stopped next to the embarking zone; or the subway arrives in the station, no matter what station is that one. That is the moment when two lovers will offer each other a "goodbye" kiss; and that is the moment when the teenager will check his cell phone before he or she will get on... And because I was ready before anyone else I am pressing the trigger! Once, twice, or many times in a row. I never check what I captured with my camera right there, right after I have stolen the image of my city. I wait, again, patiently for the next moment to become a thief again... and again... A smile, or a kiss, or a face, or an attitude - I collect all of those. I am like a magician that will stuff all his rabbits and his pigeons and his colored fabrics into his highhat at the end of the show. Except the magician owns the rabbits and the fabrics; I don't own any - I am stealing! And except the magician has his magic hat; I don't wear lensmagazine.net

one... I am just using my camera... This passion for taking pictures grew up inside of me little by little. I didn't dream of becoming a photographer; actually when I graduated the high school back there, in Europe, at the very end of the 80s, I wanted to become a writer. A short-stories teller. However the times were rough and I decided to follow a technical vocation, to become an engineer. So once I enrolled at the University I started to learn about how to prepare the concrete and what are the best additives for it... In 1992 I have visited a friend of mine who worked for a local newspaper. I wanted to ask him to train me for the same job that he performed. Because I was thinking to get your story and your news published in a section of any journal takes a lot of time to be prepared; so I imagined I had to start from the bottom like undusting the typewriters, like changing the ribbons for the typing machines, and after that, after a long time of training, someone will be allowed to write a tiny information that will be published on the last page... eventually... It happened exactly the opposite for me: armed with a pen and a notepad I was sent to collect "news, good news" - as I was told. Even more, after a month I was wearing the skin of a journalist. I was sent into a war-zone. To report about the killings and about the victims; to witness how the machine guns were firing at a high speed and the tanks were burning in flames.

There, on the frontline, I was the writer. The other guy that was next to me was the photographer... And the writing job continued for more than fifteen years. It did not matter whether they were stories, or interviews or straight news - I always was the writer and "the other guy" next to me was the one who took pictures for my interviews or stories. In 2005 I decided to leave everything behind and to move to Canada. That was an ABSOLUTE ZERO for me: new people, no friends or relatives, two new (or almost new...) languages, different habits. Because of the languages barriers I felt myself restrained and unable to communicate properly my thoughts with the others. That was the moment when I decided to express myself through the images I was taking. They used to say that a photo is "worth a thousand words"; but I really think it is a language as well. When you feel crippled and the words limit you, just grab a camera: it will open for you a new horizon and a new life! This is the world I live in. Together with me there are so many others that are doing the same thing. Except that I see the pieces in a different light. There, on the streets of Montreal, I see the world with my own eyes. And I love what I see! And that's why I became a thief: to keep those skirt wrinkles and faces and attitudes forever."

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Catalin CROITORU Website: cataphoto.net Instagram: @catacroi email: catacroi@yahoo.com lensmagazine.net

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& SHADOW LIGHT

BY MONA PAMSARI

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& SHADOW LIGHT

BY MONA PAMSARI

I'm Mona Pamsari, a freelance photographer based in Tehran. I'm a graduate of architecture, and interested in photography. When I was studying Architecture, I realized that I am interested in photography, so I started to learn photography, to practice and to look for the combination between Architecture and Street Photography. I prefer to use natural light for my projects and I usually use natural light for indoor photography as well. I'm looking for forms and lines, shapes that combined with light and shadow to create pure scenes. I try to capture the simplicity and the beautiful natural outcome, that sometimes life is filled with simple scenes that are deeply beautiful. In my opinion, images have to be a reflection of us, as we look, as we think.

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Light and shadow, I'm always interested in these two. They give the identity to everything. The depth they create, the reflections, The game of Light and shadow give life the FORM. These two are mean to each other, they are also merged one into each other, as lovers. These are the thoughts that come to my mind as I'm Looking at how light is opening its way. It crosses through the forms and identifies them, and it creates beauty every day. As Rumi said “Both light and shadow are the dance of love�. I took this series in the streets and shopping centers of Tehran and Istanbul.

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MONA PAMSARI

Website: monapamsari.wixsite.com/monapamsari Instagram: @monaapi Facebook: mona.pamsari lensmagazine.net

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Life Itself By Omri Shomer

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Life Itself By Omri Shomer

Street photography is the mirror to my soul. Sometimes It's an escape from the routine of life and sometimes Its just life itself. My street photography changes every day, every hour and every minute. Because of it, I am so transparent, sometimes it is creative and sometimes it is what it is: The smell of the street, the breeze of the alley or even just an Israeli snapshot as I catch it. At different times, I seek to change the Israeli reality and the only way I know is through my photos, with the camera shutter sound. On other days I try to preserve the compassion through the eyes, the story, the moment.

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Street photography is a very important field, as it records the evolution of the street, The development of the city, the people in it and of course the changing cultural trends. Many times, I thought to myself while editing my photos, "Wait, this building didn't exist a few years ago". And at this moment, I understand a simple thing, that the camera, however sophisticated or simple it is, is just a tool, the photo is much more important. The photo captures the decisive moment in a split second, freezing life and allowing us to save it as a gift. 129


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The legendary photographer David Hurn once said it is very simple to operate a camera, there are two main switches, where you stand and when you press the shutter. If you do that at the right time, and you are lucky, the photo will consolidate into a unique, cohesive but complex concert, it will become life itself. Today I know that street photography is already a part of me, it reflects my soul, when I'm inspired I strive to change, take more photos and be in the right place and at the right time. And sometimes when I break down, I stop taking pictures and just look, letting life take command. 130

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Life Itself By Omri Shomer O

mri shomer was born in 1982 and was raised in Ge'a, a small village in the south of Israel. He started to take photographs at age 13, both stills and video. His love story with the camera began when his father bought an 8mm video camera, and he became obsessed with documenting everything. At the same time he took stills photos with a 35mm pocket camera too. In 2014 he married to Tamar, and today he is father to one daughter, Noam. Omri Graduated from Camera Obscura School of Art, Galitz Photography school and Sapir college where he studied and completed an academic degree in journalism. He also attended a workshop of David Alan harvey in London. In addition, he is a finalist of the London Photo Festival – Street Photography Category (2017). Omri worked as a copywriter in advertising agencies for 7 years. At one point, he began feeling as if something was missing. lensmagazine.net

Through his work with his art director, he had more and more contact with visual concepts, and this, in turn, stimulated him to photograph in a more conscious fashion. His statement is "Que Sera, Sera, whatever will be, will be". "I believe that everything that is supposed to happen, happens. People don’t just stand where they stand in the street, or in life, by chance. It is not luck that makes you take a good picture, but what was supposed to happen at a particular point in time, and at a particular place, that is fate, and we need to accept it". "I don’t care if I'll be the best photographer in the world, if things will happen so be it. I Just do it cause I need to, It's like a meditation. I keep my sanity when I shoot". Finally, he believes that a good street photographer can shoot streets everywhere, Because his vision will remain the same.

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Life Itself By Omri Shomer

Website: www.omrishomer.com Email: mrshomero@gmail.com Instagram: @omri_shomer lensmagazine.net

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THE SHADOWS: Photographed at Gangasagar Mela Transit Camp, Kolkata, India Copyrights To Upayan Chatterjee Š All Rights Reserved

Copyright to The International Lens Magazine Š Dafna Navarro, 2019, All rights reserved. No part of this magazine may be re-used without the written permission of the publisher. The content of this magazine is for informational purposes only and is, to the best of knowledge, correct at the time of publication.

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Lens Magazine Issue #61 STREET STYLE  

This month's issue is dedicated to the great subject "Street Style". In this issue we feature an exclusive interview with Romain Esteban ab...

Lens Magazine Issue #61 STREET STYLE  

This month's issue is dedicated to the great subject "Street Style". In this issue we feature an exclusive interview with Romain Esteban ab...

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