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ISSUE 2 A Child’s Landscape Photography. M G Jackson

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Cover image. Charles-Frederick Ouellet

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Design and Art Direction. Alec Jackson www.alecjackson.co.uk

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ED ITO R’S LE T TER Hello and welcome to Loupe Issue Two, otherwise known as the difficult second album written on the tour bus! Last time I forgot to thank our stockists, which was

One of the unique features of a free magazine

a big oversight as the free magazine model really

is that anybody can pick up a copy. We know

doesn’t work without them. Trying to figure out

from previous experience that good things

which tube station has the most photography lovers

can come from this and Loupe has been no

commuting through it and handing out copies

exception (we have been invited for enough

in unpredictable English weather really doesn’t

coffees to keep us awake for the rest of the year).

appeal to us! The response from all our stockists

But seriously, it has been great to meet so many

has been great, from the guys at the Pro Centre

interesting people involved with the medium.

playing around with the cover of Issue One for an amusing tweet, to Gary at EC One Lab remembering

Connecting with people is so important. I

us from Vignette days. So a huge thank you to our

attended the excellent BJP Breakthrough

stockists - each play their own part in supporting

Sessions during the Free Range degree shows

London’s vibrant photography community.

and all of the speakers stressed the importance of approaching people within the industry. To

And of course it’s not just about London. We want

emphasise the point, many shared their own

to reach a wider audience and are aiming to

contact details there and then. From experience

have at least one stockist in every major UK city.

it really does work. Whether you’re a recent

If you know of a place that would stock Loupe, or

graduate or just want to push your practice,

if you are that place, please do get in contact.

the best approach is just to say ‘hello’. As Frede Spencer from Twenty Twenty agency said, it's not ‘networking’ it's socialising - and it is pretty easy to do when we all share a common passion. On that note, please take a look at the opposite page, see how you can get involved and get in touch - coffee is on us.

Luke Archer Editor luke@loupemag.com www.loupemag.com

To be considered for the Portrait Page, please email one portrait with a brief description to hello@loupemag.com

MANDIP Portrait and words: Naomi Wood-Pearce

I am always inspired and moved by women who challenge standard notions of beauty and make me think about what we accept as 'the norm'. Mandip is one such woman. This image was taken on the eve of the EU referendum, in the pouring rain on the outskirts of South

very controversial. Mandip claims that

East London. As a British Sikh woman,

it was only by standing out so much

Mandip decided from a young age

in British and Sikh culture that she

that she wanted her children to always

was fully able to find her confidence

see their parents as equals. So about

and voice as a woman of faith in this

ten years ago, before the birth of her

society. Now the turban she wears

daughter, she began wearing a turban.

everyday serves as a reminder of her

In Sikh culture this is traditionally only

inner strength, beauty and faith, as well

done by men, making Mandip’s choice

as her role as a woman and a mother.


Naomi Wood-Pearce is a freelance photographer currently based in Bristol. She splits her time between personal projects and commissions.

Ramael Walker (18)

POSITIVE VIEW Words: Luke Archer

One of the many people to contact us after seeing Issue One was Andrew Page, CEO of Positive View, a charity working with young people on Brixton’s Somerleyton Estate. Undoubtedly one of the capital’s most deprived estates, Somerleyton suffers from a dangerous mix of neglect, drugs, and violent gang conflict.

I admit that I was initially a little sceptical about what photography could do to help—it is hard enough to make a career in photography even without such a challenging background. However, when I met Page he pointed out several valuable skills that many of us as Whilst the surrounding area has seen an influx

photographers utilise on a daily basis: the

of young professionals (including me—I lived in

focus and patience to wait for that perfect

a property guardian scheme on a neighbouring

shot, the ability to approach and engage

estate for a short period), much of the local

strangers in a portrait sitting, the confidence

population has yet to benefit from the

to pitch yourself to potential clients or funding

increased affluence, which seems to merely

bodies, to name just a few. Whether or not you

co-exist alongside Brixton’s poorer

go on to have a successful career, practicing

communities. For example, a stone’s throw

photography develops transferrable skills.

away from the low level social housing of

Perhaps the most fundamental of these is self-

Somerleyton—where a number of young

expression. The ability to communicate your

people have lost their lives—is a market

own interests and feelings to others should not

venue selling cheese and champagne. The

be underestimated; it can be the beginning

contrast is stark, and surely unacceptable

of realising who you are, where you are, and

in a world-leading city like London.

more importantly, where you want to go.

Positive View runs a ten week course for sixteen to twenty four year olds centred around film and photography, with workshops taught by industry leading photographers such as Simon Roberts and Dougie Wallace. Over the ten weeks the participants experience gallery workshops, shooting in the studio, film developing, analogue printing, digital retouching and print production.

Ramael Walker (18)



‘Since being around the Somerleyton estate in Brixton I have met people who I believed


were helping me and giving me directions but as I grew I understood that the path I was on was not that good because all types of things were happening around me and even to some of my friends. Living on the estate is hard but it's also fun because we are all like a unit; we love and support one another. The only time we have issues is if someone steals or puts you

Since taking part in the Take Aim Shoot project

in a difficult situation involving the police

I am now more focused and committed to

or your enemies. Since growing up on the

reaching my goals and ambitions because,

estate I have learnt to keep myself to myself

like the camera, what you frame is what you

as I do not want any problems from law

get. It’s the same with life, and what I frame

enforcement or anybody else for that matter.

in my mind is to be an A&R in music.’ Rea'kwon Warren.

‘I have been living on Somerleyton estate all my life. Growing up on the estate I am right now on the street trying to make some money to buy myself and my daughter

On the estate I have had so many encounters

some clothes, shoes and food. I had my

with law enforcement, gang members from

daughter when I was seventeen years old.

other estates, and also grown adults who don't

This is when I realized how important life is.

seem to understand my friends and me. I know photography has helped me to have a better understanding and view of my life. I now see where I'm going wrong and where I'm going right. In future I want to be a web designer and I can definitely say that taking pictures has helped me focus much better. I now also know how to use a camera so when I am designing I can also use my own pictures to create websites for people.’ Prince Ogunsanya.




LE NAUFRAGE Interview: Charles-Frederick Ouellet

Le Naufrage could be viewed as a throwback to the ‘glory days’ of embedded reportage, recalling a time when black and white was associated with ‘truth’ and the camera didn’t lie quite as regularly as it does now. Grainy monochrome for gritty subjects, it was a man's world of gruff and tough photographers and perhaps it is this style that lends itself to the male-dominated world of fishing.

Yet the addition of large format landscapes and inventive gallery installs points towards a deeper story. We spoke to Ouellet to find out more.

What drew you to photographing fishermen for Le Naufrage?

Can you provide some background on the fishermen?

Over the past few years I have been investigating the

What you see in the project are images taken mostly

particular energy that surrounds communities that

aboard snow crab and shrimp fishing vessels. I would

have settled along the sea. I examine the sea as an

go on different trips (lasting up to ten days) every year

active element, with the view that its constant motion

with fishermen I’d find on my way along the Gaspesie

and dazzling power leaves marks on people and

coastline. I have plenty of different stories to tell, but

places alike. In Le Naufrage, I recount everyday life at

one thing that always struck me was the fishermen’s

sea along the oldest waterway of North America, the

ability to read the seascape. For people living on land,

Saint Lawrence River. These photographs address the

the seascape is pretty much the horizon line, but

fragile balance that exists between people and their

when you live at sea you start seeing the elements. I

environment. The series moves from raw depictions

was interested in representing those elements in the

to dreamlike impressions, looking for situations in

project; by photographing the wind, the clouds and

which human and nature haunt one another.

the sea, I added another perspective to the narrative.

It seems like you were very up close and personal with the crew. Did they mind being photographed? Well some of the crab fishing boats are quite small, so being up close in the photographs is just rendering what it is to live and work on one of these boats. As you probably know, fishermen are usually men of few words, but they are really welcoming people too. I always tried to help as much as possible on the boat but there were usually enough men on the deck for the job.

The project is reminiscent of the several iconic photo essays from the heyday of black and white reportage. Who are your influences? Men at Sea by Jean Gaumy is probably one of the greatest bodies of work on the subject but I was most inspired by the life long dedication of Anita Conti, the first French female oceanographer to travel with the Terre-Nuevas fishermen. I was drawn to the fishermen because I wanted to talk more generally about the land and history of where I was born. I come from a land which was discovered and explored through its waterways and this is something I investigate through my projects. Looking at this body of work, people tend to think I’m really into reportage but I'm much more a street photographer than anything else. Amongst others, I’m influenced by the work of William Eggleston, Saul Leiter, William Klein, Mark Cohen and Lee Freidlander.

The influence of street photographers such as Klein is apparent. Others might have discarded blurred images that you have embraced to great effect. By using movement and blurriness I feel I can get rid of the descriptive nature of photography. The images become poetic, almost mythical in their potential to reveal or suggest invisible forces. Sometimes you do things unconsciously, especially in photography. Looking at my contact sheet one day, I felt I had switched from a descriptive point of view to an immersive point of view. Suddenly all those pictures of movement with the fishermen at work made me think of the figure of the spectre. From then, I stopped focusing on the individuals as they'd become faceless. I was more interested in making images with ghostly characters. The metaphor came naturally; my mind had given me the answer on how I was trying to photograph. There's no political statement attached to that, just the idea of a constant battle with the elements.


You were very drawn to the black and white work we featured in Issue One and you seem to work exclusively in monochrome. What is its appeal to you? I don't do colour work. That’s not a statement but I feel that I still have things to explore with black and white. If I ever feel limited by black and white in the future, colour work might just come naturally. For me black and white was not a choice but more a way of seeing; even when I do colour work it's usually quite monochrome!

There are different formats in the series including large format and panoramic. Why did you choose to have more than one? I don't think it was conscious. Depending on the subject, I usually take the camera which I feel most comfortable with. I work with many cameras but I rarely mix them as much as I did with this body of work. My work is mostly shown in galleries so I’m concerned by how the work interacts with these spaces. Since this project is about the feeling of being at sea, I tried to reproduce the space of the seascape in the gallery. I would use the images of the sea to create a horizon line and then hang the images of clouds above these. In the end, all these different formats give a delicate touch of chaos when mixed together on the gallery wall.

What is the significance of the images shot on land? At some point I thought I should try to get out of the boat to photograph the coastline. I was looking for areas relevant to the subject, photographing places where the fishermen communities had settled down as well as shipwreck sites. I’m fascinated by history, and navigation on the Saint Lawrence River is part of our maritime heritage. By photographing shipwreck sites along the coastline, I was adding the dimension of time to the project, linking past and present together.

I know you have more images to shoot - is there anything specific you need to add? You mentioned a book - will creating that make the project

Aside from completing Le Naufrage

complete for you?

what else do you have planned?

It's hard to end a project when you have been working

For the past two years I’ve been working on a project

on it for a few years. You keep thinking about all

around a French Canadian explorer barely known for

the images you missed or those you should have

his discoveries in North America. The intriguing part

taken. I still have to take photographs of a few more

of his story happened when he was returning to the

shipwreck sites during the summer. Sometimes you

colony after one major journey. His canoe was upset

have to think about the outcome of the project; it

in rapids and he lost his diary and the map drawn

helps you realise what is missing. I'm actually working

during his expedition. Having lost all his documents

on a prototype for this project which will hopefully

(which was not his only disaster), he rewrote and

be ready next year. By working on the sequence

redrew everything from memory, only to lose it all in

and the narrative of the book, I was able to identify

a fire later the same year. To complete the circle of

what images I should add to make it consistent.

misfortune, the missionary who accompanied him and had the job of writing the official records, lost the logbook and drawings in a fire a few years afterwards. From this I’m following and investigating his route, documenting the social and physical landscape that define our identities as North Americans.


Alpacas and Llamas, Sophie Adele Teasdale Colca Canyon, Peru, March 2016

www.cargocollective.com/ sophieteasdalephotography

To be considered for the Centre Fold please email one landscape orientation image with a brief description to hello@loupemag.com


/ COMMERCIAL Photography: Wren Artists

The importance of personal work for photographers is much discussed and rightly so. Photographers often shoot commercially to fund their own projects, so work which combines personal and commercial interests is an attractive prospect.

Jennifer Turner, founder of the diverse and vibrant Wren Artists, is a prime example of an agent who is highly aware of the significance of personal work, currently touring an exhibition of her roster’s own projects at leading advertising agencies. Turner has brought together a few examples to illustrate just how important personal work has been for securing work for her artists and bolstering her agency’s reputation.

Felicity McCabe Previous page: Cala Lily #4, from the series The Arrow Above: Leila Yavari for Tatler

We see photography pigeon-holed more and more. Genres such as still life, portraiture, landscape, lifestyle, fashion etc. can define who a photographer is and how we interpret their images. In this case we’re dealing with the boxes ‘personal’ or ‘commissioned’.
It’s these barriers that we attempt to cut through at Wren Artists. The photographers' ‘personal’ work is crucial, but the commissioned work equally so. We aim to inspire our audience, encouraging commissions in which the photographer can create a final visual that sits as proud in their portfolios as any ‘personal’ piece. The selected images here are an example of this, each one from the photographers' current portfolios.

With each and every project that comes through Wren Artists, be it personal or commercial, we endeavour to make relevant imagery that stands the test of time. The photographers' portfolios are built in a way to create a distinctive visual language in which each artist can continue to explore without constraint. It goes without saying how important the creation of personal work is for an artist, not just for our agency, but to the industry as a whole. Creating art work not only develops and progresses an artist's ideas and visual style, but can also shape and inspire ways of commissioning.

David Stewart Top: From a current personal series Bottom: For ITV’s series, Houdini & Doyle

Luke Stephenson Left: From the project An Incomplete Dictionary of Showbirds Above: From the Jigsaw S/S 15 Campaign For Life Not Landfill

The image here of the coated woman was created by Luke Stephenson with The Corner London for Jigsaw’s Spring/Summer ’15 campaign. It was the first project we worked on at Wren. The agency called to say they’d been referencing Luke’s work An Incomplete Dictionary of Show Birds and asked if Luke would be willing to create a fashion campaign in the same style. That was one of the first breakthroughs at Wren. We were able to work with the client to create an effective campaign which completely celebrated Luke Stephenson’s visual personality.


SHORT FLASHES Photography: Wiktoria Wojciechowska

An unbiased panorama of faces; fleeting snippets of lives unknown but momentarily captured. This is the essence of Wojciechowska’s Short Flashes, a photographic series consisting of brightly lit, candid and composed images of motorcyclists driving home at nightfall in China’s Hangzou & Beijing cities.

Wojciechowska created the series as an attempt to interact with her new home in a way that transcended speech. Within each and every image, we are presented with an audacious insight into the life of strangers, captured within a hail of camera flash that

in the series, but it’s worth pondering the ethics

leaves no wrinkle or detail obscured.

of Wojciechowska’s street photography. If asked, how many of the subjects would have consented

Vulnerability is a key theme of the series, with

to having their images taken? What separates

most of the motorcyclists appearing either deep

Wojciechowska's approach from the tactics

in thought or surprised at Wojciechowska’s

of celebrity paparazzi who we are so quick to

presence. Few seem completely neutral and

denounce? Are the resulting images no more

one or two seem almost intrigued. As subtle

than a profiting and parading of the struggle

as it seems, each person has a story to tell

and misery of strangers? Even Wojciechowska’s

through details as small as the coverings on their

most ardent fans might see an ethical ambiguity

face, their choice of poncho or hat, and their

when considering the images from the

acknowledgement or ignorance of the camera.

subjects’ perspectives, though Wojciechowska assures that the few one-to-one interactions

The use of nightfall as the consistent setting

she had with her subjects, were friendly.

for the images is also an important feature of the work, heightening the sense of isolation.

Still, Short Flashes goes where many

In the midst of darkness, these strangers are

photographers daren’t even dream of, treading

given an almost spectral presence, drifting

the trifecta of social survey, co-ordinated

by in their masses, otherwise unnoticed

artistry and relentless dedication. Within

by the bustling population around them.

the commute of the presented strangers is

Short Flashes is thus a fitting title, hinting at

a beauty both mysterious and accessible,

Wojciechowska’s guerilla approach and the way

making it hard not to wonder about what’s

in which she quickly but gently steals these

woven within their minds as they ride on into

moments before they disappear into darkness.

the night, drifting like vibrant phantoms.

It’s easy to see the technical and logistical skill www.wiktoriawojciechowska.com

The book of Short Flashes was published this year by Bemojake and is available to purchase from their website: www.bemojake.eu

Hold, 2015

E VA STENRAM Photography: Eva Stenram Words: Iris Veysey

The female body dominates Eva Stenram’s art. Frames are filled with arching torsos and lonely, disembodied limbs; ankles are flashed and legs stretched out. Stenram doesn’t show us any faces or complete bodies but instead gives us mere glimpses of the human physique, closing in on its component parts.

Arrangement, 2015

Stenram has been remarkably busy, producing five new works in 2015: Hold, Arrangement, Score for a Sequence of Poses, Home-town Item, and Daydreams are Nicer than T.V. The first three formed part of Positions, an exhibition at the Siobhan Davies Dance Studio in London. Hold, 2015

Positions was devised primarily to inspire the dancers at the studio, so Stenram created works that spoke to the idea of the body in motion. In Arrangement, Stenram crops and manipulates

Born in Sweden, Stenram studied Fine Art

Irving Klaw’s photographs of Bettie Page

at Slade School before completing an MA

and other pin-up models, isolating arms and

in Photography at the Royal College of Art.

legs. Abstracted, the body parts are by turns

Describing herself as a ‘kind of photographic

beautiful and poignant: an outstretched

archaeologist,’ she works largely with found

arm flexes its hand like a ballerina, and a

imagery and footage. Stenram crops, re-

dangling leg ends in a grubby-soled foot.

photographs and digitally manipulates vintage pin-up photography and erotica, playing with

For Hold, Stenram re-photographed small

ideas of voyeurism, objectification and sexuality.

sections of a single image found in a pinup magazine, which she then projected from slides. Stripped of their obviously erotic context, the model’s poses take on a new ambiguity. Two women, interlocked, could be dancers mid-sequence, animated by the progression of the slides. Images once reserved for private consumption – hidden in the pages of a dirty magazine – are now presented like examples from a History of Art lecture.

Arrangement, 2015

Daydreams are nicer than T.V., 2015

Stenram addresses the theme of dance most explicitly in Score for a Sequence of Poses. Once again, pin-up images are cropped and rearranged. The final selection is a series of close-

Score for a Sequence of Poses, 2015

ups: raised legs, pointed toes, a hand cocked on a hip and the small of a back. Pinned up on a board in neat rows, they appear like a storyboard or a choreographer’s set of notes, as though each indicates a particular step. There is repetition: first

and placed below framed photographs. The

position, second position, third position, second

world depicted in photographs is brought

position. Though made up of still images, Score

out of the frame and into the gallery space,

invokes a sense of movement and rhythm.

transferred to a tactile, tangible object.

Recently, Stenram has begun to experiment

At present, Stenram’s work is on display at

with textiles. For Daydreams are nicer than

the Ravestijn Gallery’s 2016 Summer Show

T.V., she created two textiles with patterns

in Amsterdam. She is currently creating

based on sections from found erotic images.

new works for a solo show in the same

These were wrapped around mattresses

space, due to open September 2016.



Eastfields Road, Mitcham, South London

TURNING POINT Photography and words: Niall McDiarmid

This is one of the first formal portraits I took in the street about twelve years ago. I was driving through Mitcham in South London when I caught sight of this older lady waiting for the bus, leaning on a road sign. I knew I only had a few minutes before the bus would come and she would be gone, so I quickly parked my car and rushed across the street. She seemed taken aback by my request to take a photo of her and it took quite some persistence to get her to agree. However, she eventually did and I took two frames. We chatted for a while about her life in South London and how she was off to visit her daughter before the bus arrived and she headed off. The photo was important because it gave me

Around six years ago, I began shooting more

the confidence to approach people in the street

regularly, travelling the country and building

and take formal portraits. Having the ability to

up a contemporary portrait of the UK. Since then

chat to strangers, explain what you are doing

I have photographed over 1500 people across

and the confidence to take a shot quickly is a

more than 150 towns, from Inverness all the way

good start to this style of photography.

to Bodmin in Cornwall.


Turning Point is a new feature curated

An exhibition featuring more than sixty

by Travis Hodges of Photo-Forum.

portraits from this project opens at the Oriel Colwyn Gallery in Colwyn Bay, North Wales from 1st Sept to 16th October.

Profile for Loupe

Loupe Issue Two  

Featuring: Charles-Frederick Ouellet, Wiktoria Wojciechowska, Positive View, Jennifer Turner ( Wren Artists), Eva Stenram

Loupe Issue Two  

Featuring: Charles-Frederick Ouellet, Wiktoria Wojciechowska, Positive View, Jennifer Turner ( Wren Artists), Eva Stenram

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