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télégramme

issue three spring

2012


Telegramme: issue 3

Contact Details @gmail.com

email: telegrammemag

@telegrammemag facebook: facebook.com/telegramme.magazine twitter:

Editor Sarah Hill

www.sarahmia.co.uk/ff

Special Thanks To Mike, Hayley, Tzevai, Giles and James for the proofreading, inspiration, encouragement and faith.

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Editor's Note This issue has been a long time coming, I hope you’ll forgive me for making you wait so long. We’re here again, cosying up to idea of the oncoming spring now that winter seems to be behind us and there is a hint of summer in the air. In this issue we had the chance to interview the wonderful photographer Daniel Regan who explains how he got started and what he loves about his craft. Writer Amy Jones talks about regaining lost inspiration and Mia Nolting talks us through life as an illustrator (and a pretty damn fabulous one to boot). Télégramme is switching to a (roughly) six monthly issue, to give me more time to work on it. Take care, enjoy the crisp, cool mornings, that golden hour of afternoon sun and we’ll see you when the days start to draw in again. Love from

Sarah [This issue is dedicated to Lisa & Peter Lynch, the most inspiring people I’ve ever had the grace to know] 3


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Contents

Spreads 006 Indelible: Tattoos & Ink 048 In The Palm Of Your Hand 078 Inspiration Desired 096 Group Work

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Featured Artists daniel regan

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mia nolting

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katie merchant

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george song

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paul gonella

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Contributors Writers

Featured

amy jones

daniel regan

sarah hill

george song katie merchant mia nolting paul gonella

Photographers Тдцюг

jules andre brown

spookieship*

adele m reed

julie lavelle

tomika davis

ayana*

karen jules

tori steffen

bunny jennyy*

kate gilbert

wakingphotolife*

christie ann young

kevin meredith

夏先生

christopher landin

laina briedis

ciro miguel

lindsay unsweetened*

dennis miles

metin*

eslam abo el-enien

momography*

hidden shine*

ninasaurus rex*

jesse lundstrom

olivia boone

*denotes flickr username

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indelible

tattoos & ink

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“3rd beach” © lindsay unsweetened


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“guy’s tattoos” © ninasaurusrex


“untitled” © christopher landin

“san fran tat” © adele m reed

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“untitled” © christie ann young

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“bandito” © hidden shine

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“but don’t you lock when...” © julie lavelle


“н в л” © hidden shine “shark ashore” © spookieship

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“untitled” © tomika davis


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daniel


regan

featured photographer

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We unfortunately live in a world where nowadays not much of the imagery that we see is real

�

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Telegramme speaks to: Daniel Regan Daniel Regan is a self confessed geek with a talent for photographing the unusual, the ignored and the uncomfortable. His photography has been showcased in exhibitions across the UK. He’s given Telegramme an insight into the man behind the camera. What made you pick up a camera for the first time? My grandpa was always interested in photography and although I had no real talent in drawing or art as a kid, when I picked up his old Pentax SLR it seemed like a completely different world. I quickly went digital with my first 1 megapixel (actually 0.9!) camera and soon became obsessed with capturing literally everything surrounding me. I later noticed that my parents didn’t take many photographs, so I guess my obsession for capturing moments and memories stems from that.

imagery that we see is real. Retouching keeps moving to the next level and I can’t help but feel that this creates unrealistic expectations that people place on themselves. Not that it’s all bad - modern technology has certainly paved the way for people to create some astounding imagery that otherwise would never be possible. What would be your dream job? I often like to combine my photography skills with my knowledge and (self-taught) background in Internet geekery/design/online marketing, so something in the online world that still focuses on fashion, design and a slice o’geek pie would be ideal.

If you could live in another time - what would you choose? Definitely not the past. But the future (and the way technology is advancing so fast) kinda scares me. So I think I’d like to live in a time where technology has advanced so far that Do your personal experiences influence your eventually it comes back around again. Think postwork a lot? Initially photography for me acted as a apocalyptic, think post-Matrix. It’d definitely creative outlet and subsequently most of my work make for some interesting photos, either way. (specifically when I was at university) was shaped by personal experiences and feelings. Nowadays What is your favourite thing about being a there are almost two facets to my work: personal photographer? People, always. If it’s anything work which includes documenting relationships I’ve learnt in the last 18 months it’s that connecting, and creating the strange images straight from my supporting and sharing people’s stories is what head, and professional work in which although is the most rewarding for me. Fashion is nice I may have creative direction, needs to adhere and it’s often more creative, but ultimately it’s to certain rules/guidelines. I always try to keep this hybrid of creating striking imagery as well elements of my style in anything I do though. as collaborating with charities and people for a greater cause that gives me the most reward. What do you think the world would be like without photography? Perhaps a little less self-conscious. We unfortunately live in a world where nowadays not much of the 19


Telegramme: issue 3 Congratulations on your upcoming exhibition - what made you decide to create a project about Alopecia? My main interest in portraiture has always been about photographing people with stories. I’m inquisitive and naturally find it interesting to sit and listen to people and then hopefully capture some of their story. I met Nataleigh, my first model for the Alopecia people project at a mutual friend’s birthday. I was instinctively drawn to her huge eyes and gorgeous hair, it was when she said “It’s not mine!” that I became really captured. She mentioned her Alopecia and I invited her over to the studio to take some photographs. It was the first image that I took of her that really took me back. I wasn’t used to seeing a woman with no hair, no eyelashes, no eyebrows. It felt alien and I wanted to bring that into the common sphere Alopecia shouldn’t be something that is hidden (and it is). I wanted to make people affected by the condition feel comfortable in themselves.

Was it fun to collaborate with Agata Cardoso? Agata and I met about a year ago and hit it off instantly. Our styles and approaches to photography are completely different. I’m a digital kid, she’s analogue, yet we compliment each other so well. It’s funny when we collaborate because neither of us really understand each others craft yet we respect it so much. I love working with her because we both inspire each other every time we meet. Plus she’s someone I love to photograph in my diaristic approach to life.

What do you have planned next? Once my joint exhibition (‘Uncovered’) is over with Agata I will probably need a break! Working without gallery representation and organising a show almost solo can be a lot of work. Saying that it’s true that I’m never not working. I’m planning on diving straight into a project on burns survivors supported by my friend Katie Piper and her charity The Katie Piper Foundation who I have been supporting for the last six months You’ve received a lot of recognition for the or so. I expect this project will take two years project - how does it feel to be working with or so to complete - enough to keep me busy! Alopecia UK? Working with AUK was my first foray into working with charities and the reward Do you have any more travel plans following you get from the individuals and the overall your US road trip last year? Actually I’m doing charities can make it all worth the effort. I’ve a similar thing this year, minus L.A (hopefully). worked with AUK for about 18 months and I’ll be attending Burning Man festival in they’ve helped make one of my projects turn into Nevada but taking a lot more photographs. a huge success before it’s even been exhibited My partner and I will most likely be taking and I’ve enjoyed helping raise their profile. the trip from Portland (Oregon) down to San As someone that has benefited in the past from Francisco, then across to Nevada for the festival help from charities in my own personal issues and then back to London. I’m learning to love it’s been a pleasure to work with a charity like road tripping and it’s all those crazy motels this in raising awareness for a condition that on the west coast that really catch my eye. is incredibly under acknowledged, yet can still have catastrophic effects on its sufferers. 20


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Is there anything that stops you from wanting to take photos? The terrible seasons in England can be really disheartening, but if anything it inspired me to visualise and create better setups in the studio which was something I was really apprehensive about when I was younger. Light is everything and sometimes, when there’s no light, you’ve really got to create your own.

go back after I realised how important it was an artist to create large bodies of work. I’m known for working on small bodies of work that get completed quickly. My Alopecia is probably the longest and most condense project I’ve completed. It’s incredible being back in an environment that thrives on bouncing ideas amongst tutors and peer groups. It’s a lot of work but I wouldn’t want to be doing anything Your currently studying for an MA in else. It’s strengthening my style and approach Photography - are you enjoying studying to what I do - that’s nothing but positive. again? I am! At first it was a little weird since I graduated in 2006 and I’ve been out of that academic scene for a little while. I wanted to 22


‘Uncovered’ 14-20th May 2012 ‘An exhibition exploring and challenging contemporary attitudes towards body image by artists Daniel Regan & Agata Cardoso’ Frameless Gallery 20 Clerkenwell Green London EC1R 0DP http://uncovered-exhibition.co.uk

[portfolio] www.danielregan.com [web] www.funnytimeofyear.com [twitter] @funnytimeofyear 23


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all photos

Š daniel regan

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mia featured illustrator

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nolting

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Telegramme speaks to: Mia Nolting Mia Nolting is an illustrator / graphic designer shouldn’t be copied or forced - it comes from currently based in Portland, Oregon. just making things all the time and is something I never ever think about. How long have you been drawing? My entire life. We love the lists that you write. Do you have plans for them, or are they just for you? If I What is the reason you do what you do? had better photos of them, I’d probably put them Drawing seems to be built in to my anatomy in a book. They started with the idea of having or something - I look at things and just want a book of lists - quantifying complex feelings to draw them and can’t imagine myself doing and putting them into something manageable. anything else ever. I only make them as I think of them, and lately nothing has come up, so I’m not sure if there will What are your favourite things to draw? be more or not. I’ve lost the originals of most of Flowers, people when they’re not paying them and only have those crappy photographs, attention, letters/words, plants. which is fine because I don’t really think that anything should be permanent or precious. It’d Are there any items that you struggle to be nice to collect them all somewhere other capture? Hands are always difficult but I love than my flickr page though! them & think they’re so expressive. What are your plans for the future? I’d love You have quite a definite style to your to teach drawing at a university, and continue illustration - do you draw inspiration from doing freelance illustration, and work on anyone? When I work I don’t look at other publication projects. Someday I hope to make artists in particular because there are so many enough money to live on my own in a cute amazing ones out there! In general, I look apartment with a cat. At this point the future is at a few design blogs (manystuff.org and about doing more of what I’m doing now. I’d septemberindustry.uk), and I love the work of like to always keep a combination of personal Mike Mills and Saul Steinberg. I look at a lot of projects and client projects going on. I’m going images all the time, really, and probably absorb to Cape Town, South Africa in December for a bits from all of them. My approach to drawing residency, which I’m really excited about. I’ll is to look very carefully at whatever it is - a be making patterns. Right now I’m working on person, a flower, etc - and in my daily life I look a little book to sell to help pay for the plane at good design, particularly publications, for ticket. Anything beyond 5 months from now is composition. I think composition is the most a mystery! important thing to pay attention to when making any kind of image. Style comes naturally and 37


Telegramme: issue 3 What piece of advice would you give to yourself if you could go back 10 years? Not to worry or think so much. I have a tendency to be really emotional, which was about 10,000 times more extreme when I was a teenager. I think emotions are great but can get in the way of work sometimes. Also, I really think it’s true that you figure out what you want to do by doing it, not by thinking about it so much. Thinking doesn’t lead to answers, just living leads to answers. What’s it like to make a living from your art? Dream life! What equipment do you use? Micron pens, pencils, colored pencils, collage materials, ink, photoshop...anything really. If you weren’t an illustrator, what would you be? Just 10 minutes ago I was talking to my mother, who is supportive of my career but also can’t have a conversation without somehow hinting for me to get a real job and just do art on the side so I don’t have to worry about money, so that I have a predictable income, blah blah blah, and I was like “what else could I possibly do?” I do have a part-time day job as a graphic designer for an arts nonprofit, which I also love. The problem with capitalism is that everything is so administrative, which makes me crazy. Just keeping up with my own paperwork makes me feel crazy. I’ve had hundreds of random jobs since graduating from college, my favorite being a natural areas steward for the U.S. Forest Service. I think I would do that in the summer and work in a print shop in the winter if I weren’t an illustrator. 38

[web] www.mianolting.com [twitter] @mianolting all illustrations

© mia nolting


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“untitled” © tori steffen

in the palm of your hand 49


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“day 162: untitled [film] Š ayana.

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“untitled” © eslam abo el-enien

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“untitled” © olivia boone

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“untitled” © laina briedis

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“untitled” © momography

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“untitled” © dennis miles

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“untitled” © bunny jennyy

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“hastings traffic light in perspex” © kevin meredith

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“untitled” © karen jules

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“untitled” © metin

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katie m featured photographer

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merchant

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Name: Katie Merchant Age: 26 Location: Toronto Occupation: Right now I work for Aveda/do some freelance projects. I’m still figuring out if I would like to go back to Asia or do a Masters degree (perhaps we could leave occupation blank.....undecided!) How Long Have You Been Taking Photos: I started taking photos when I was living in Seoul. What Equipment Do You Use: I used a Canon point and shoot and an old Nikon 2DH, sometimes a Canon Ae-1 or a disposable. Favourite Photo That You’ve Taken: Ahh, too many! I like so many of the photos that I took while in Seoul - they make me feel very nostalgic. I especially liked taking photos in cafes there. The Reason You Take Photos: I started taking photos in Seoul because I was so blown away by everything there and wanted to share it with people who had not visited Korea. [web] http://thankyouok.blogspot.com [flickr] flickr.com/photos/katiemerchant [twitter] @thankyou_ok

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all photos

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Š katie merchant


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inspiration written by amy jones desired

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amy jones on losing her way, & finding herself

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Photographer’s block is the worst kind of block. With writer’s block, you can’t get the words from your head onto paper. With musician’s block, you can’t turn the melodies in your head into notes. With photographer’s block, it’s the other way round; everything is already there in the real word. The problem is getting it in your mind first. I first started taking pictures when I was 4; my parents would give me a disposable camera and let me photograph whatever I wanted. I would wander round my house, photographing nooks and crannies and odd things that, painted by childlike wonder, I thought were beautiful and amazing. And then, of course, there were the photographs of people… There are boxes full of photos I took like that, photographs of the angels on the underside of the tables where the legs met the top, my parents smiling down at me, an extreme close up of the dogs’ muzzle, my friends pulling stupid faces, the inside of a flowering bush that I’d shoved my camera inside, my brother with his hands up to block his face from the shot, my nan with her huge eyes magnified a million times by glasses like the bottoms of milk bottles…I photographed anything I saw that I liked. I photographed things that meant something to me. Beautiful things.

Usually when I’m blocked it’s because I’m uninspired. My favourite things to photograph are people, but I look at my life and see the same old people doing the same old things. I see the hungover students at university walking zombie-like around campus, bleak and dull and interested in nothing but the pot noodle they want for lunch and the lecture they’re about to snooze through. I see my parents, grumpy and cross, coming home from a long day at work and reading the paper, watching TV, cooking and cleaning, getting ready for bed and another long day at work. I see my friends, tired after work or mentally exhausted after that 5000 word essay, deflated and with a cloud of grey following them. What is there to inspire me? Nothing – just bleakness and routine.

If I can’t photograph people, I like to photograph things – but when I examine the world for something to inspire me, all I see are the same old things acting the way they always do. The familiar, dull items of my routine – toothbrush, flannel, shoes, car, books, bag, desks, saucepans, food, pjs, bed – and nothing has me reaching for my camera. How about the buildings? My dull brick house, the ugly beige buildings of university, the uniform rows of shops in my local town ... nothing interesting enough to create that spark of inspiration. Nothing that reminds me of When I picked up a camera again at 16, I had the why I fell in love with photography in the first same motive. I wanted to capture the unique, the place. beautiful, the astounding. I wanted to find the beauty and wonder in the world and photograph What drives me to pick up my camera is the desire it. I wanted to capture it in time, hold it on a to show the rest of the world all the amazing memory card or on a strip of film, and have it in and beautiful things in my life. So when I’m my possession. uninspired, I’ve not just lost the desire to pick 81


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nothing has me reaching for my camera

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up a camera. I’ve lost the love I have for the world around me.When I’m blocked, the only way to unblock is to fall in love with life again. I spend time with my nieces and nephews. I take long walks and watch the elegant way my Dalmatian runs through long grass and how my fat little Labrador looks like she’s smiling when she pants. I watch my parents as they talk to each other, and see how pretty my Mum’s eyes are and how kind my Dad’s smile is.

I take a lens and zoom right in, looking at extreme close ups of everything from my bookshelf to the garden wall. I sit in a café and listen to the conversations of the happy people around me. I stop the car halfway through my daily commute and gaze across hills and fields until green melts into the blue of the sky. I kiss the love of my life and dive into the deep brown pools of his eyes. I find beauty in life, and I photograph it. And just like that, my uninspiration is gone. 83


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all photos

Š amy jones

Amy Jones is a part time photographer, 365 survivor and full time student at Warwick University. You can find her here: [flickr] flickr.com/mynameisamy

[web] aclockthatdoesnotwork.wordpress.com

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song

featured photographer

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Name: George Song Location: Albany, CA, USA How Long Have You Been Taking Photos: Since I was 16 or so, with lots of breaks in between. What Equipment Do You Use: Hasselblad 500, Minolta Instant Pro, Yashica T3, Minolta X-700, Nikon D200, iPhone 4.

Favourite Photo That You’ve Taken: Probably something that’s never been digitized yet. The Reason You Take Photos: I take photos when I have something I need process out of myself. I also tend to obsess over the same things and scenes. [web] http://damacy.net [twitter] @zukefresh

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“untitled” © 夏先生

group work

photos from the flickr group pool

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“untitled” © ciro miguel

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“berg” © kate gilbert All the photos in this section were selected from the Télégramme Flickr pool.

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“untitled” © wakingphotolife

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“untitled” © 夏先生

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“untitled” © тдцюг

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“outdoor piano” © jules andre brown

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“long staircase” © jesse lundstrom

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“untitled” © 夏先生

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paul gon featured photographer

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nella

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Name: Paul Gonella Location: Southsea, Hampshire How Long Have You Been Taking Photos: 15 The Reason You Take Photos: In the background I have a fear of dementia (some family history) years and I think I want to capture times, thoughts, What Equipment Do You Use: Nikon FE2 and feelings, places, people and experiences as some form of visual, physical memory. occasionally a 60D Favourite Photo That You’ve Taken: Difficult to pick just one as it is like picking a favourite memory, it is ever changing and you are always exploring, experimenting and looking for a new one to surpass the past. 108

Partly in some vain hope to trigger and restore memory for myself, partly in the hope that I can share that with family down the line. A visual diary or memoir when I’m old and grey, maybe. I hope that makes some sort of sense!


[web] www.quietcorners.com [blog] www.forevercircling.com [twitter] @quietcorners

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Š paul gonella


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thank you for reading.

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Télégramme Magazine - Issue Three Spring 2012  

Issue 3 of Télégramme magazine featuring photographer Daniel Regan and illustrator Mia Nolting.

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