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CHRONICLES Elena Molina Spain Ovidiu Selaru Romania Eduardo Perez Sanchez Portugal/Spain #7

Oct 2021

Cover photo

Untitled by Ovidiu Selaru



FUJIFILM Portugal is our offcial partner and sponsor of PHOTO OF THE YEAR Founder, Director and Design: João Freire Administrators and Editorial staff: Elsa Martins Filipe Miranda Mário Barrela Trimestral online and Paper Magazine Follow us on Facebook: Follow us on Instagram: All images copyright are property of the respective authors © 2021 Photographers Magazine. All Rights Reserved

Thank you very much for the contribution of the authors: Elena Molina Eduardo Perez Sanchez Ovidiu Selaru Adolfo Carli Ainas Kazlauskas Alain Caille Alex Lo Alexey Balen Ana Abrão Ana Ramos Anastasios Gialopoulos Andrzej Walkusz Anja van Ast Anton Novozhilov António Bernardino Coelho António Carreira Antonio E. Ojeda Artur Kanicki Atiqur R'ahman Aurélien Bomy Boy Jeconiah Carlos Costa Cesare Bracciali Christopher Antunes Kapuwa Claudio Tonin Colin James Watkins Daido Fireyama Dan Leszek Debarshi Mukherjee Denis Trudel Dimitris Pagiantzas Dino Sirica Dipanjan Chakraborty Don Ricchilino Elsa Martins Emel Sefer Ernst Hohmann Eugénio Leal Fadwa Rouhana Fernando Jorge Gonçalves Fernando Peneiras

Filipe Miranda

Filipe Salgado Francisco Manuel Mas Mas Gergő Fábián Giuseppe Bartuccio Greg Goyo Vargas Han Meng Mak Henk Veldhuizen Hoan Hoang Thi Hugo Corte-Real Irene Perovich Jacopo Della Valle José Cardoso José Oliveira Josefina Melo Julio Cesar Garcia Karel Ševčík Khant Zaw Kiran Rawal Kuntal Biswas Laura Giammichele Lê Anh Dũng Lilian Fraga

Lucian Parvulescu

Ludwig Riml Luis Curiel Luis Machado Magdalena Wołk Mário Barrela Marko Klavs Mateo Candia Mattia Rinaldi Maurits de Groen Mauro Brienza Mauro De Bettio Michael Kavanagh Michał Tymowski Miguel Alexandre Pereira Miguel Antunes Minh Chau Ngo Mou Aysha Siddiqua Mustafa Celikel Nadia Eeckhout

Nguyễn Quang Bình Nicole Racugno Nick Papoutsakis

Niklas Lindskog Norberto Rodrigues Nuno Andrade Okan Yilmaz Olav Thu Paulo Gandra Peris Kotsiropoulos Petia Angelova Petros Kotzabasis Pinaki Das Quim Fàbregas Radana Kuchařová Rainer Neumann Ricardo Silva Robert Marzec Roberto Di Patrizi Roberto Gatti Roberto Zaninelli Rodrigo Melleiro Rhevie Sutedja Rui Caires Rui Pinto Sanjoy Mondal Simone Christina Sander Soumyadip Dey Stephan Treitler Steven Kwan Suvankar Roy Sven Harker Sylvain Devlichevitch Thomas de Franzoni Timurtaş Onan Wolfgang Gangl Yahia Fahid Yasmin Ayala Azuz Yosvany Martinez Zina Auzelyte












Akhu women at Wan Sai, Myanmar


CHRONICLES - ELENA MOLINA At the home page of my website, the following words appear: Paths. Furtive glances. Abysses. Silent heartbeats. Complicit winks. Steps, steps, steps... This is how I think I would describe myself, that's my search. It has always been like that and I would like it to continue to be so. I want to walk along those paths that allow me to see myself reflected in the Other, to verify that we are all the same, regardless of our history, our genetics, since, deep in my heart, I feel that we all belong to the Whole, to the Unity. I’m afraid that, perhaps, I should have started my bio saying that I am 67 years old, that I was born in Alcoi though, it is now more than 40 years when my feet stepped on Barcelona and, from the first day, they did it with dedication, with commitment, knowing that it was there where I wanted to live. I could have also said that my connection with Art began at a very young age. I studied Fine Arts in my hometown and also Graphic Design, but ... does all this data really matter? So let's move on to the interview. Hi Elena Molina, give us some background, how long ago did you start shooting and what made you start in this world of photography? My passion for travelling, for communicating and sharing my thoughts woke up on the day I was born, but it has been very recently that I accepted the challenge of expressing myself through photography. I bought the camera I have now, a Sony RX10 III, four years ago. Until that day, I had only had in my hands one of those cameras that we would call "pocket cameras". Do you remember the click that sparked your passion for photography? I don't think I've ever experienced such a click that makes something explode, but I do remember that, suddenly, I felt with a very intense force, like a stitch that presses you in a way that you can not help, the need to share and, it was then when photography was clearly shown.

Following the line, Myanmar 6

CHRONICLES - ELENA MOLINA Who are your main influences on photography? And outside of it? Nowadays , a great job is being done in photography in all its dimensions, thus, the list of great artists would be endless, but I would like to mention two photographers who are really special for me and, for whom, I feel a great admiration, as regards their work and also their lives. They are Sebastiâo Salgado and Vivian Meier. They have followed very different trajectories, but in both cases, of immense coherence and value. I notice that most of your photos are documentary photography. Why choose documentary photography? Love at first sight or did you discover your relationship with documentary photography over time? This is something I tried somehow to express, in my bio. Photography is the tool that allows me to go deeper into my personal search and it is through people, through the different cultures, that I get the answers. Also, and always within the documentary, I try to focus myself on the daily life of the different places I visit. However, I have to admit that, in most cases, a force that goes beyond the rational, takes me closer and closer to the face of the people, to their gazes, it does not matter so much if they look at me or not, that force is there, pushing me to the flash that only the retina is capable to light, and there I am magnetized, as if the rest of the world would not exist. This is why there are so many portraits in my work, through those gazes I try to search the essence, the soul itself. I also notice that you have a special taste for colour photography, why this choice? I try to be as true as possible to the reality I live when shooting, true to my feelings, to everything I see and vibrates in me. And for me, life is color. Only on a few occasions, obeying to the impulse to reach the purest essence, I convert, in post production, the images into black and white.

acceptance, Bangladesh


CHRONICLES - ELENA MOLINA The photographers' creative process is often overlooked. Can you tell me a little about your processes? Not in terms of equipment or technique, but in terms of motivations, from finding a place to photograph to the final photograph. Whenever you go out to photograph, have you studied everything already or do you let yourself be carried away by the moment? I do not usually prepare any scenario, not even look for it, I prefer to wander around feeling life around me, but yes, with my eyes wide open, always willing and with absolute receptivity.

sand transporters at Buriganga riverbank, Bangladesh

sand transporters at Buriganga riverbank, Bangladesh 8

CHRONICLES - ELENA MOLINA I notice that Elena Molina regularly photographs Africa. Any special reason? In Africa people look straight in the eye and show their feelings as they are, without pretending otherwise. Lost or misplaced gazes that reveal suffering, direct gazes showing pride and dignity, as well as joy and happiness. All these feelings are real, genuine, and for me, that has un immeasurable value. However, it would not be fair if I did not say that, although perhaps for other reasons, I have also been deeper attracted to Asia, especially to India.dia.

Saddhu looking without seeing, India



the strongest hope emerges from darkness, Kenya

El Molo elder, Kenya 10


an overcrowded school, Kenya

always ahead, Benin



offering life in the midst of filth, Guinea Bissau

Daily life in the streets of Korogocho, Kenya 12


No words needed, Benin

rubbing the ashes over his face, South Sudan

Laarim woman smoking her long pipe, South Sudan



the ever-present Kalashnikovs, South Sudan

This is only the entrance, Benin

Having a rest and a bit of fun too, Guinea Bissau 14



Menina VI (Santa Valha, Trás-os-Montes, Portugal - 07/1985)


CHRONICLES - EDUARDO PEREZ SANCHEZ I was born in Barcelona in 1950, and, very young, I came to live in Porto, the city that adopted me. With a degree in Mechanical Engineering from FEUP and a degree in Business Management and Management, it was in these areas that I developed my professional activity over more than 40 years of active life. I started shooting very early, around 1967, at the age of 17, first with a borrowed Rolleiflex 6x6, then with a Zenith TTL and later converted to Nikon when the F3 model came out. Dozens of Nikon Cameras followed. I currently use a Nikon Z7. One of the things that attracted me most about Photography, right at the beginning, was the discovery of the Laboratory, and the magic that it constituted. Seeing the images appear in negative, first, and then in positive, on paper, was stunning to me. And as a result of this fascination came the second challenge: shooting! I believe that I can qualify as an eclectic photographer, having dedicated myself, throughout my life, to different types of photography. I think I am fundamentally a 'humanist' Photographer, I like to document people and their surroundings. Scene Photography, and in particular Theater Photography, was another of my passions.

Pastor I (Agordela,Trás-os-Montess, Portugal - 06/1985) 16

CHRONICLES - EDUARDO PEREZ SANCHEZ I photographed very intensely during the 80s of the last century and for the next two decades, only returning to photography after finishing my professional activity, in 2013. Since then I have been fundamentally dedicated to digitizing and reviewing this kind of 'trunk' where there are many thousands of images, waiting to be rediscovered. I started in Trás-os-Montes, in the Northeast of Portugal, where the images in this portfolio come from, where I spent frequent seasons, for family reasons.

À Janela (Santa Valha, Trás-os-Montes, Portugal - 06/1985)


CHRONICLES - EDUARDO PEREZ SANCHEZ In Trás-os-Montes I discovered some fundamentals of what would constitute my photographic identity. At that time (the 1980s), the ills of the colonial war and emigration marked these lands and these people in a very hard way, where practically only women, children and old people were seen. Some, whom I affectionately called Widows, always dressed in deep black, winter or summer. The hardness of homesickness, work, the inhospitable climate and poverty observed in the elderly and women contrasted, however, with the joy of living and the freedom of life that illuminated the expressions of children in the villages.


Alegria (Santa Valha, Trás-os-Montes, Portugal - 06/1985)

CHRONICLES - EDUARDO PEREZ SANCHEZ The option for Black and White arose naturally in the granitic context I came across, and the 'hardness' of the sets forced it (the later dedication to Scene Photography confirmed the correctness of the option). Since then I have formed the conviction, which I have sought to follow throughout my life, that the Photographer must always expose the identity of people and capture reality without disguises or artifices. And also that Photography must always be taken seriously, with authenticity, with affection and in 'communion' with those photographed. I consider these principles non-negotiable.

Familia (Agordela,Trás-os-Montess, Portugal - 06/1985)


CHRONICLES - EDUARDO PEREZ SANCHEZ I must also mention another principle, which I acquired at that time, and which I try to respect. Although whenever I go out to take pictures I don't study this option beforehand, I am 'frugal' in shooting. I learned early on that each photograph is unique and that it has the right moment to be taken. I imagine that this conviction comes from the time when economy was fundamental for the photographer. Because it was expensive to photograph. It used 36-image film, the photography was entirely analog, and the cost associated with each shot was significant. Hence the obligation of a high concentration at the time of shooting, in order not to miss it.


Viúva I(Gerês, Portugal - 06/1985)

CHRONICLES - EDUARDO PEREZ SANCHEZ From this stage I recently published the book “Trás-os-Montes - A Black and White Vision on People and Their Living in the 1980s” From now on, I will dedicate myself fully to exploring my Scene Photography Archive. To speak of influences would perhaps be pretentious. My main references are, in Portugal, Eduardo Gageiro and Alfredo Cunha and, abroad, Sebastião Salgado and the ‘old’ photographers who founded Magnum.

Inquietação (Vilarandelo, Trás-os-Montes, Portugal - 08/1982)




Viúva V (Santa Valha, Trás-os-Montes, Portugal - 06/1985)


Viúva IV (Vilarandelo, Trás-os-Montes, Portugal - 04/1984)

A Gincana (Vilarandelo, Trás-os-Montes, Portugal - 08/1986)



Pastor II (Agordela,Trás-os-Montess, Portugal - 06/1985)


Pastor III (Agordela,Trás-os-Montess, Portugal - 06/1985)



CHRONICLES - OVIDIU SELARU I really only shoot in London. I like that over the years I know that I have documented the city in which I lived in a minimalist style. 26

CHRONICLES - OVIDIU SELARU Hi Ovidiu Selaru, give us some background, how long ago did you start shooting and what made you start in this world of photography? born and raised in an artsy family in the northern part of Romania, where my love for landscaping and passion to create things with my own hands have always been nurtured and encouraged by my parents. I have been living and working in London for the past 12 years now. I have been nursing fantasies about photo shooting art since I was a young boy. Back home, I used to watch my father painting and create his amazing drawings on canvas. I first dreamt of becoming an artist, just like my father never happened, I felt I was never as good as he was. I pay homage to his talent and artistic spirit through my work today. I started releasing my creative flows in photography about 10 years ago when out of the sudden I have begun collecting emotions through the lens of my camera. Educated in machinery, with a sense for exact sciences and geometry of things in life, I feel that I can capture specific emotions when the right angle of colour and light it's applied. The black-and-white photography segment is the one niche that I best identity myself with...with a bit of an 'eternal snapshot' twist. I like capturing the quintessence of someone's inner beauty and nostalgia. I feel I have a different experience than the classic stream as my models often tell me that I can metaphorically transpose their souls into black and white memorabilia, which lasts for eternity. Do you remember the click that sparked your passion for photography? The first cliché, I think, was with the cell phone. Then I started to fall in love with photography, to invest in my first camera and to try to discover myself as an photographer. 27

CHRONICLES - OVIDIU SELARU I notice that most of your photos are street photography. Why choose street photography? Love at first sight or did you discover your relationship with street photography over time? Yes, I loved street photography from the beginning. I like people, I like moments and I like the street. During my career I also flirted with landscape photography and urban landscape photography. But I have the greatest satisfaction when photographing the street in a minimalist way.In the street I feel free, I find that color in a chaotic world that runs to work or home. The street is where I like to create. 28

CHRONICLES - OVIDIU SELARU The photographers' creative process is often overlooked. Can you tell me a little about your processes? Not in terms of equipment or technique, but in terms of motivations, from finding a place to photograph to the final photograph. Whenever you go out to photograph, have you studied everything already or do you let yourself be carried away by the moment? To be honest, I haven't studied places before. I sing instinctively, reflexively, spontaneously. Over the years I have gained experience, I say, and I can see a scene, I can compose it, the human element adds so that something special comes out at the end. For editing I use the Lightroom program, where I adjust some contrast, clarity and colors. The camera is a small one called Ricoh gr3 Street Edition. 29

CHRONICLES - OVIDIU SELARU I also notice that you have a special taste for colour photography, why this choice? Then you know, to create something interesting you have to separate yourself from the rest. You have several ways: by composition, by color, by editing, light control. I chose to differentiate myself by colors and composition. As colors I like warm colors, golden and yellow tones. That's why it was nevkue to study Master Van Gogh.


CHRONICLES - OVIDIU SELARU I notice that Ovidiu Selaru regularly photographs London. Any special reason? I really only shoot in London. I like that over the years I know that I have documented the city in which I lived in a minimalist style. I really only shoot in London. I like that over the years I know that I have documented the city in which I lived in a minimalist style. 31







Spacecat by Sven Harker (Munich Subway, Germany) 36

instagram : @allesgrau_fotografie

Go Dog Go by Greg Goyo Vargas (Los Angeles, CA, USA)

Casamentos de Sto Antonio by Carlos Costa Lisboa, Portugal


Photo by Photo by Hugo Côrte-Real (Marquês de Pombal metro station, Lisbon, Portugal) 38

Instagram @corterealhugo

Untitled by Rainer Neumann (Florianópolis, Santa Catarina, Brazil)

Angels are everywhere by Nadia Eeckhout (Antwerp, Belgium)


Istanbul. October 23rd, 2019 by Niklas Lindskog

Thingyan Water Festival by Khant Zaw (Yangon, Myanmar) 40

Untitled by Alexey Balen Haifa, Israel

espelhos no interior casa da música - Porto by Eugénio Leal


untitled by Simone Christina Sander Stuttgart, Germany

Untitled by Rodrigo Melleiro (Florianópolis, Brasil - 2021) 42

Instagram: @rodrigomelleiro

Alicante en vivo by Francisco Manuel Mas Mas (Alicante, Spain) instagram _ manuelmasmas

Deconstrucción by Antonio E. Ojeda (Mairena del Alcor, Sevilla, Spain)


Woman in black by Aurélien Bomy (Arles, France - 2021) 44

Insta: @aurelienbomy

Lisboa, meu amor by Mário Barrela Lisboa, Portugal



Untitled by Filipe Miranda Terminal de Cruzeiros do Porto de Leixões, Portugal

The Light From Heaven by Daido Fireyama (West N.T. , Hong Kong)

Railway Station by Roberto Di Patrizi (Rome, Italy)


Let the sunshine in by José Oliveira


Waiting by Denis Trudel (Sri Lanka)

48 /

Slow Train Comin by Alex Lo (Tornakalns Railway Station, Riga, Latvia - 07/2021)



Untitled by Filipe Salgado Ponte D. Luís, Porto, Portugal

O homem da bicicleta by Ricardo Silva (Porto, Portugal)


Porto 35 by Fernando Jorge Gonçalves (Porto, Portugal)


Celebrazione dei Fantini del Palio by Cesare Bracciali

Untitled by Petros Kotzabasis (Chios, Greece)


Untitled by Norberto Rodrigues (Portugal)

Morning routine by Gergő Fábián (Kathmandu, Nepal)


Ghat of Kolkata by Dipanjan Chakraborty ( Kolkata, West Bengal, India)

Dream high, beyond the sky by Kuntal Biswas Canning,West Bengal,India


Untitled by Boy Jeconiah Belah kapal, kalibaru cilincing, North Jakarta, Indonesia

I believe I can Fly by Han Meng Mak (Kluang Johor, Malaysia) 56

Untitled by Sanjoy Mondal Kolkata, India

Backstreet of Vrindavan, India by Olav Thu


Jamaa el Fna - Marrakech by Mauro Brienza Instagram mb_travelshot

Mother and son by Lê Anh Dũng (Thang Long Avenue, Hanoi, Vietnam) 58

Untitled by Atiqur R'ahman Bogura, Bangladesh

Untitled by Hoan Hoang Thi Ninh Thuan, Vietnam


Lagoon fishing by Irene Perovich South Vietnam


Vietnamese soul by Ngo Minh Chau (Duong Lam, Hanoi, Vietnam)

Friendness by Adolfo Carli (Mandalay ShweIn Bin Kyaung Monastery, Myanmar)

Benzhai by Jacopo M. Della Valle (Benzhai, Yunnan, China)


Dhaka railway slum 4 by Radana Kuchařová


An Old Age Mask Maker of Purulia by Soumyadip Dey (Chorida, Purulia, West Bengal, India) Instagram: Soumyadip_dey-Photography

À luz do futebol de rua by Cristhoffer Antunes Kapuwa (Huambo, Angola)

The union by Quim Fàbregas (Burkina Faso)



Cleaning Time by Emel Sefer Benin

Money never sleeps by António Carreira (Myanmar)

Expressões by Nuno Andrade (Musseque de Sambila ou Sambizanga, Luanda, Angola - 20/06/2015)


The Ritual of Tarpana by Debarshi Mukherjee (Kolkata, West Bengal, India)

Our motive is individual but we are in same situation by Pinaki Das


Bidyarthi Girls F P School, Perbirhata, Burdwan, West Bengal, India

Untitled by Michael Kavanagh Rangoon train station, Rangoon, Burma

Ancient village by Nguyễn Quang Bình Hanoi, Vietnam


Untitled by Steven Kwan (Vietnam)

Stockfish and the fisherman by Okan Yilmaz (Na Thang, Vietnam) 68

Untitled by Mateo Candia (Delhi Junction, also known as Old Delhi Railway Station , India) /

Mother and child by Lucian Parvulescu Sighetul Marmatiei, Romania


Ruralidades do meu país by Fernando Peneiras (Várzea, Tarouca, Portugal)


Sweet lady by Josefina Melo Vila do Bispo, Portugal

wheelchair dreams by Yahya Fahid Hamed Alsharif (Doha, Qatar)


Lost time by Julio César García Martínez (Matanzas, Cuba - 2021)


New by Yosvany Martínez Matanzas, Cuba - 2021

Boy in the rain by Mou Aysha Manikganj, Bangladesh


Sadness by Claudio Tonin (Orissa Tribal Villages, India)

74 Instagram: claudio.tonin57

Young Mother by Giuseppe Bartuccio (Sapa, North Vietnam)

Friendship by Ana Abrão (Guajarati, India)


Almost Abdullah Abi by Timurtaş Onan (Sağır Han, Istanbul, Turkey - 08/2019) 76

Untiled by Don Ricchilino 77

Smile from "the second..." by Dimitris Pagiantzas


Untitled by Michał Tymowski


Gentlemen of Kibera by Mauro De Bettio (Kibera slum, Nairobi, Kenya - 07/2021)

La Pipe Pop by Ana Ramos (Sintra, Portugal) 80

Model: José Carlos Vieira

Dark rose by Anja van Ast (Studio Hansweert, Netherlands) /


O Lugar Perfeito by Paulo Gandra (Teatro da Cerca de São Bernardo, Coimbra) 82

Model: Bia Laschi

Grace & Marnie in Canewdon by Colin James Watkins

Me and my shadow by Henk Veldhuizen (Maasvlakte Rotterdam, The Netherlands) Dancer: Dennis Massar


Untitled by Ainas Kazlauskas Instagram @ainasainas

Sunflowers by Magdalena Wołk


Untitled by Andrzej Walkusz

Vigneron by Artur Kanicki (Cielętniki, gm. Zawonia, Poland) Model: Marcin Michlewicz - vineyeard owner


Yuriko by Roberto Zaninelli (2019)

Crying Madonna by Mustafa Celikel (Cologne, Germany) 86

Model: Nele Kuppens

Untitled by Anton Novozhilov (abandoned Krenholm manufacturing company building, Narva, Estonia)


Bodyart by Suvankar Roy (Mumbai, India) Instagram:royphotosutra

Rebirth by Petia Angelova (Greece)


Untitled by Miguel Antunes

Insta: @mantun01


" The Body and the Language of Silence" Project by Elsa Martins 90

up on the roof by Lilian Fraga instagram - fraga555

Iced by Karel Ševčík (Czech republic)


Elena Con-Turbante by Laura Giammichele 92

Untitled by Wolfgang Gangl Model: Stefanie K.


the little lady by Peris Kotsiropoulos (abandoned hotel in Greece about 10km from Athens) 94

Untitled by Alain Caille France

American God's by Nicole Racugno (Genova, Italy))


Under the Spot by Luis Curiel (Israel) 96

inst @luiscuriel21

Passengers in time by Fadwa Rouhana (Bethlehem, Palestine - 03/05/2019) Instagram :Fada_Rouhana

Untitled by Roberto Gatti 97

wrought iron ... by Sylvain Devlichevitch


Axel Deval by Yasmin Ayala Azuz (Paris, France - 2021)


Almost Full Moon by Zina Auzelyte (Vilnius, Lithuania)

Swan Pose by Rhevie Sutedja (SKARTstudio, Jakarta, Indonesia) 100

prima Ballerina by Ernst Hohmann (Koblenz, Germany)


Spaceport by Rui Pinto (Niemeyer center, Avilés, Asturias, Spain)

Casa da Música by Antonio Bernardino Coelho (Boavista, Porto, Portugal) 102

Fine Farming by Nick Papoutsakis Valley of Viotia, Greece

Untitled by Maurits de Groen 103

Untitled by José Cardoso


sometimes sun, sometimes rain by Robert Marzec Leszczydół Nowiny, Poland

The Flirting Beauty by Kiran Rawal (Bhadreshwar, Gujarat, India)


Nessie by Dino Sirica

No mundo dos pequenitos by Luís Machado (Vila Nova de Anços, Coimbra, Portugal) 106

on a dirt road..... by Dan Leszek

Porto Sentido by Miguel Alexandre Pereira (Serra do pilar, Vila Nova de Gaia, Portugal)


A Moment in Time by Thomas de Franzoni (Lago Antorno, Dolomites, Italy)

Untitled by Stephan Treitler 108

Algar Seco by Rui Caires (Portugal)


There was once a magical morning at the lake….. by Anastasios Gialopoulos (Hintersee, Bavaria, Germany)

Anybody out There? by Ludwig Riml (Hintersee, Ramsau bei Berchtesgaden, Bavaria, Germany) 110

The land of adventures by Marko Klavs (Rosenlaui, Switzerland)


Miniscule by Mattia Rinaldi (Cadini di Misurina, Dolomiti, Italy) 112

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