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DEV E L O P I N G T H E PH O T OGRAPHER’S EY E, HEAR T AND M IN D

INSPIRED EY E ISSUE XII

ARIEL

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DAN

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DAVID

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GARY

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GEOFF

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JAMES

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MARIA

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PATRICIO

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INSPIRED EYE

NOT QUITE YOUR TYPICAL MAGAZINE It has a traditional + interactive philosophy

FULLSCREEN

Notice our Readers and Advertisers: The publishers of Inspired Eye Magazine take every care in the production of each issue but we are not liable in any way for any editorial error, omission, mistake or typographical error. In the case of advertising material supplied, we as publishers, make no representation and provide no warranty as to the accuracy of descriptions or offers within. As publishers we accept no liability for any loss, which any person may incur while relying on the accuracy or description of any statement or photograph herein. The views expressed by all contributors are not necessarily those of the publisher. Inspired Eye Magazine reserves the right to decline any advertising for any reason. All of the content published in this magazine is subject to copyright held either by the publisher in the whole or in part by the contributing photographers. Any infringement may incur legal action. No part of this magazine may be used in part or in full in any way without the express written permission of the publisher. The contributors of the magazine are responsible for the content they produce. The publishers are not responsible for any failure to provide model releases, location releases or the like.

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HYPERLINKS

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The magazine is a stand alone document that can be enjoyed as is offline, but throughout the pages are hyperlinks to further the experience. There are links within the magazine and links to the WWW.

PDF reader supports embedded media, you should be able to listen to it or view within the magazine, if not, a download link is provided. Varies issue to issue.

This magazine may contain downloads. Downloads will vary issue to issue but we plan to release audio visual and photography related content.


S U M M A R Y I N S P I R E D

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I S S U E

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MAGAZINE Inspired Readers 250 In the Streets with Streetshooter 166 The Inspired Cellographer 98 Inspired Traveler 106 Features the work of our readers

A column about Street Photography

With Dan Cristea

Icescapes with David Mantripp

PHOTOESSAYS Transhumance 170

Documenting Sheperds in France

INTERVIEWS

42 Gary Battle 114 Geoff Brown 218

DAVID

DAN

STEVE

Ariel Maccarone

10 James Maher 140 Maria Kappatou 188 Steve Hathaway


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ARIEL

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INSPIRED EYE 10 points to understand our mission and what we are doing

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Inspired Eye exists to showcase the work of the photography community, to learn, to teach, to inspire and to be inspired from it. Inspired Eye is a platform for photographers. We belive in an ongoing relationship with the community, expect to see recurring photographers. We put the spotlight on photographers at large. Wether they are famous or unknown, pros or not, full time shooter or only have time to shoot after work. We feature photographers of different skill levels. Everyone started somewhere, everyone has something to say, everyone needs some attention. The format, the seclection, the design are geared torwards developping your eye, heart and mind We repeat our questions in order to see how different answers can come from one question. It teaches to see the same things as new. Each question is about the photographer, but the answers are puzzle pieces for the reader to pick and chose for themselves. By relating (or the opposite) readers can form their own view of photography As much as possible we try to preserve typos and mistakes, we minimize the editing. This is so to preserve the voice of the photographer and to show that English is not the universal language, photography is. Our reader’s gallery is thick because we want to showcase the most work by the community While we do not focus exclusively on street photography, it is the most accessible form of photography and is the most practiced by the community

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INTERVIEW WITH

JAMES MAHER by Don Springer

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Please tell us something about you, your life and interest etc. Put as much detail as you like and then we will start the questions. I’m a lifelong New Yorkers, a basketball fanatic, and a child of two crazy psychiatrists. I love to read anything non-fiction: photography, psychology, city history, art, science, business. I had a serious case of ADD growing up but improved as I’ve gotten older, although my wife might tell you differently. So I tend to jump around between a lot of interests.

What inspired you to become a photographer? I guess it was a quarter life crisis. I was 20 or 21 and a math major at the University of Wisconsin in my Junior year. I got sick from a stress related illness and realized then that I was miserable and had to try something different. The illness made me think about my future. I decided that I wanted to do something that had both a creative and a technical side and dealt with people, so photography seemed like it had the most potential.

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another to see a photography business run on a daily basis. That was an eye opening experience. I read a ton of books and my favorite classes were in portraiture, but the thing that was most important was that I photographed a lot. I would just walk outside and get lost and explore. That has always been the center of why I love photography. When I feel stressed, I take my camera out and try to shut out the world. I go for walk. At the beginning I tried to do way too much. I studied

I got a job for the summer assisting for a commercial photographer, went back to school to finish my degree and then spent a couple years assisting and taking classes at the International Center for Photography and School of Visual Arts before starting my own business. The inspiration at first was a fear for my future, then it was about doing something that merged a creative and technical side, and finally what really made me realize I wanted to do this as a career was the people.

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The camera is such an incredible tool that allows you to meet people from all different walks of life. It allows you to experience things that you wouldn’t normally be able to experience.

What age are you and at what age did you start your journey as a photographer? I am 31 now and I began when I was around 20. I started assisting when I was 21 or 22 and started my own business around 23.

lighting and portraiture and loved street photography. I studied marketing and I was into computer science so I developed my website to sell art. I freaking learned to frame and made my own frames! That was such a waste of time. Can you tell I had ADD? It was worth it because I learned so much back when I had the energy and time to do so, but I wish someone had told me to slow down and pick one subject I was fascinated in and focus a lot of my time on that and work on a long term project. I guess street photography was it at the time,

but even within that I really could have focused and honed in a lot more. I have begun to hone myself more over the last three or four years.

If we are speaking specifically of photographers, which are the ones of the past and present do you admire? There are many. Cindy Sherman made me realize that every photograph you take is just as much a reflection of yourself as it is of the viewer. I loved New

Would you mind sharing some of the things you feel helped you along the way with your photography, (lessons, workshops, books etc)... and also some of the things that may have hindered you that you overcame on this journey? The curriculum at the International Center for Photography was fantastic, but I learned so much more assisting. It’s one thing to learn about photography and it’s

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York photographers – Lee Friedlander, Garry Winogrand, Bruce Davidson, and Joel Meyerowitz. Walker Evans subway photographs were some of the first I can remember. One of the current street photographers that I admire most now is Matt Weber. He’s the real deal and a hell of a person. I love the work of Martin Parr, Alex Webb, William Eggleston, Stephen Shore, and Robert Frank of course.There are so many freaking good photographers out there. Viewing work from quieter areas is starting to excite me more now - the antiNew York.

What purpose does photography serve for you? It’s like writing. It’s a way to tell a story. It allows for personal exploration and it’s a tool that allows you to have such interesting experiences. It’s a way for me to meet people and to be privy to things I wouldn’t normally be privy to.

What Genre’ of photography are you most comfortable working in? Street Photography, urban landscape, and simple portraiture.

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When you work, are you working on different series or just finding photos that fit the way you feel at the moment? Both. I try to let moments come to me, but after photographing for this long you start to notices themes and ideas, so I’m putting together some long term projects and while I actively search for images for them, when I go outside I just look for the best image I can possibly create at any moment. For portraits, I’m currently working on documenting the long time residents and creative culture that existed in the East Village neighborhood of Manhattan over the past 50 or so years. It’s a fascinating area, partially because it was the center of drug selling and using in the ‘80s. It was literally a bombed out neighborhood, but because the housing stock became so cheap, it was where all the artists and creatives moved and where the punk rock movement began. That’s only a small part of the story of course. I’ve been doing in-depth interviews and portraits of these residents once a week for the

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last two years. I have about 75 finished so far, including artists, musicians, business owners, photographers, drug addicts, a dominatrix, a tattoo artist, a pornographer. A few are well known but most are under the radar creatives. It’s been a fascinating experience.

Can you describe a few of your trigger mechanisms that make you want to stop and shoot? The gentrification and shopping and trend culture of the city is currently the biggest trigger. This is a tough city to live and survive in and it’s nothing like when I grew up. I look for anything that make me miss the past or seems like it will give a hint to what the future is going to bring.

What are your recurring themes? Loneliness in the chaotic city, gentrification, shopping and trend culture, stress, the rich, the differences in people’s perception of New York versus the reality.

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What is the distance to your subject you are most comfortable with while working? For street photography I like to get fairly close - 10 feet to 3 feet. I don’t pop into people’s faces with a flash like Gilden, but I’ll take a shot very quickly from close up. I’ve good at talking to people if they notice me so I don’t get too nervous about it in most situations.

What is your favorite Field of View? 35mm or 28mm. 35 to 85 for portraiture.

What camera are you working with currently? Fuji X100s and Canon 5D Mark II.

Are you self taught, educated or a little bit of both? I experiment and teach myself through books, articles, and videos, but I have went to photo school and assisted. So both.

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How do you feel about being photographed? I like it now. I didn’t always like it but I began to hate how some people hate how they look in photographs. I’ll take an image that I think looks incredible and a person might make a comment about how they look fat or old. I’m like, ‘don’t you realize that you look incredible here!’ That drives me crazy when it happens, so I figured I ought to try and not be self conscious being photographed anymore.

Do you like to work by yourself or to have someone with you? Please explain why. I prefer to be by myself or have it be just me and the subject. I like to talk to them in an intimate environment to get close to them. Having other people around makes me feel uncomfortable and makes intimacy tougher.

Do you have a preference for images as an analog or as a digital state? I’m all digital. Film’s great but my strength is digital.

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Where in the world are you located? New York City, born and raised. The jury’s out on whether that’s a good thing or not.

Where is your favorite place to work? The East Village and SoHo neighborhoods of Manhattan. I like to work in areas that I know well. Otherwise, I feel like I’m taking tourist pictures.

When you’re feeling somewhat slow or lost, how do you find your way back to find inspiration to get working again? I like museums, book stores, looking at the work of other photographers, a good nights sleep, a drink, or reading something other than photography. I can usually get inspired easily because my mind wanders, but if I lack inspiration on a certain day I’ll usually just go home and do something else. If you try to force it you’ll just make things more difficult.

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Do you exhibit your work in any form? I’m strictly online. I reach out to and sell my work directly to people, art buyers, businesses, etc. I wouldn’t be adverse to working with a gallery under the right circumstances but I’ve never thought about trying to. From the start it didn’t seem like the best business strategy. They take 50 percent and you keep what they don’t sell. Why can’t I just reach fans of my work directly?

How satisfied are you in your current state in photography and what would you like to improve upon? I have a very long way to go. I’m confident enough but I still have a lot of weaknesses. I’d like to shoot my current themes to death for the next handful of years and then move on to other themes and ideas. I want to grow my portraiture as well. I hope to improve and explore a lot with that in the future. When talking about improving I just hope to keep shooting and working hard and adapting and we’ll see where that takes me.

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ARIEL 42

Interview with

MACCARONE by Don Springer

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What inspired you to become a photographer? I came to photography with a background in abstract, figurative painting. I never liked nor was impressed by photography. Sure, the public always seemed impressed by black and white photography (especially if it depicted depressing situations like poverty) and so was I, but I never felt like I (nor anyone else) understood why. I guess we just ASSUMED it was “deep” and so we should respect it. I never took the time to understand photography – mainly due to arrogance and laziness. I regret that. Had I made different decisions I think I would have gotten into photography much earlier. On top of that it probably would have evolved my painting a lot. Only in the past six months have I explored photography. I found that there were certain concepts and emotions I was unable to communicate through painting – concepts and emotions that seem to be the exclusive domain of photography. When I look at a photograph, it’s more about the world tells me its truths rather than me telling a viewer mine.

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One of my favorite things is to walk in my neighborhood around 6pm, when everyone is just getting home from work. While I walk, I like to watch them doing the most ordinary things – reading the mail, unpacking groceries, watching TV – in the least creepy way. I’m not peering in through their windows or anything. I’m just walking on the sidewalk and maybe I get a glimpse through their window from afar. I really just want to know about them. I once told a friend that I want to know the entire planet before I die, and I think it is through strangers that one does this. People contain secrets about the world that only they can see, and that is called their perspective. I feel that photography captures this better than any other artistic medium.

What age are you and at what age did you start your journey as a photographer? I had just turned 29, which was only a few months ago. My friend gave me his Canon EOS Rebel XS simply because he wasn’t using it. If I had to buy my own, I think it would have been much later that I got

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into photography, simply for financial reasons. Recently, my mom also gave me her old Canon AE1. It’s been in the closet for decades and even had old rolls of unused film in the bag. Recently I’ve been taking it down to the 6th street bridge tunnel downtown that leads to the Los Angeles River. Incredible open spaces and brilliant light.

Would you mind sharing some of the things you feel helped you along the way with your photography, (lessons, workshops, books etc)... and also some of the things that may have hindered you that you overcame on this journey? A dear friend (photographer Graham John Bell) lent me his book The Complete Kodak Book of Photography. That baby is priceless! I still have it and reference it. It’s a decent size, informative, but not boring. I can read whatever section I want to read whenever I feel like it. Nick Koudis (the CEO of the photography magazine

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I work for called Foto Mofo) also turned my onto On Photography by Susan Sontag, which I devoured because of how perfect her words are and how much they communicate the human need for voyeurism. I’ve never taken any workshops – likely because I am stubborn, impatient, and have never liked school. I react to learning best by toying around with my own ideas and failing on my own – much like a child given building blocks figures it out on their own. You fall. You get up. You fall. You get pissed off. You get up again. And eventually you fall less often – or at least differently – but you do it on your own terms. However, I do not recommend stubbornness, impatience, or being narrow minded. It has helped me in learning as much as it has hindered me. I am still finding my own way.

If we are speaking specifically of photographers, which are the ones of the past and present do you admire? Fine art photographers Gregory Crewdson, Erwin Olaf, and Ole Marius Jorgensen (whom I wrote about for Foto Mofo).

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I am very verbose as a writer – always have been. I am a writer before I am anything else. They are very narrative in their style. Every single detail in their photographs is deliberately arranged – down to whether the carpet in the photo is vacuumed or not. Their photos often remind me of popup children’s books because they easily tell an entire story by arranging details from left to right in large horizontal photographs. I also really enjoy Kavan Cardoza and Kyle Thompson, as well as fashion photographers Marco Grizelj, Kristian Kran, Inez van Lamsweerde, and Vinoodh Matadin (all for similar reasons).

What purpose does photography serve for you? I have always been an extremely empathetic, inquisitive, and restless person. I want to learn as much as possible about what it is like to live as a human before I die. Whenever people told me, “Don’t worry. You’re young. You have time,” I neither embraced nor accepted this view. How do we have time? My cousin died when he was 19. Had he known he was

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going to die at 19, I imagine he would have lived his life very differently, so I try to live my life according to that view. I believe that by knowing others and listening to who they are – whether you love them, hate them, or feel indifferently toward them – you can learn everything about the world and what it means to be a human. Photography captures other people’s truths, and therefore secrets, about the world.

What Genre’ of photography are you most comfortable working in? Right now street photography, though I am working toward learning how to compose with a more fine art style similar to the photographers I mentioned above. To be honest, when I first started shooting, all I did was drive alone the streets and point my camera through the passenger window any time I saw people walking on the sidewalk. All I could do was hope that I caught a candid, intriguing moment. A little disclaimer: I do NOT recommend this. It is dangerous and stupid – even while keeping your eyes on

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the road. However, it IS the truth about how I shot in the beginning. Eventually, I just made a promise to myself that I’d keep my camera with me wherever I went – which is EXTREMELY annoying and difficult because it’s cumbersome enough to be irritating. I thought of all those high school football coaches you see in movies who make their players walk around with a football EVERY SECOND so that it becomes a part of them and changes how they see things and move. Like I said, it was annoying, but I felt it respected the idea that in order to be a photographer, you need to honor the work ethic, put in the hours, and not wait for perfect moments.

When you work, are you working on different series or just finding photos that fit the way you feel at the moment? More so the latter. However, right now I am working on a self portrait series called “How Do You See Yourself?” which compiles one head on photograph of myself every day. There’s another series called “Photographs From the

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Road” that includes images from multiple locations, all landscapes that I take while driving as a passenger in a car.

Can you describe a few of your trigger mechanisms that make you want to stop and shoot? For the most part I only shoot in black and white – in camera. Since I am still learning, it is much easier for me to distinguish lines and color value when I’m dealing with only one color scale – black. So, if I notice something with lots of contrast, I tend to be drawn to it. The lines are sharp, and in a way, the images almost begin to resemble a comic. I like when what we traditionally describe as reality overlaps with a more imaginative view of the world. I like that the overlap confuses me, even makes me uncomfortable, and forces me to question my ideas about what reality means.

What are your recurring themes? In all my work – literature, music, painting, photography – I have always addressed the

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evolving concept of what it means to be a woman and what it means to be a man. I grew up in a family of boys where masculinity was highly valued to the point that I felt the default definition of human was being a man, and that being a woman was equivalent to being half a human. Of course, none of this was communicated to me explicitly. But the world seeps into you at a young age, and most of the lessons you learn are expressed in subtleties. So, you begin to put together a picture of what the world means without really understanding when it was that you agreed to these views. I feel that due to the fact that I am gay as well as having grown up as a tomboy, I felt even more isolated and confused about what it meant to be a woman and what it meant to be a person. So, I paid very close attention to details in others for instruction regarding who I was and how I was supposed to be. This enabled me to easily zone in on minute nonverbal details in others, which is mainly what attracted me to photography in the first place.

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What is the distance to your subject you are most comfortable with while working? Currently, I’m only comfortable when I’m shooting from very far away and the subject doesn’t see me. I am not satisfied with this mainly because I don’t like (nor do I respect) not pursuing something simply because it scares you. I believe one ought to try out as many styles as possible so that when one leans toward a particular style, it is not out of fear but rather honest preference.

What camera are you working with currently? Both my digital Canon EOS Rebel XS and my mom’s 30 year old Canon AE1.

Are you self taught, educated or a little bit of both? Exclusively self-taught for the reasons I mentioned earlier.

How do you feel about being photographed? If it’s not me photographing myself, I feel awkward and shy,

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even though I have experience modeling. This fact surprises most people because in person I am a very social, outgoing person. Perhaps I am uncomfortable being photographed because when it comes to my art, music, and writing, I feel extremely vulnerable. I do not know how to produce something that does

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not express something raw about me, even things I am not comfortable with. So, when I photograph myself, I feel more in control of how vulnerable I am 1) because I’m not as self-conscious and 2) because I can see the image immediately after I shoot, and I’m the only one seeing it.

Do you like to work by yourself or to have someone with you? Please explain why. By myself. I get self-conscious when I’m creating with others. I even go to museums and movies alone simply because if I’m going to be very introspective, I prefer to be

alone so that nothing but the subject I’m engaged with influences me, rather than thoughts about how others are witnessing something impact me.

Do you have a preference for images as an analog or as a digital state?

I have a deep respect for film, but that is a beast I have only yet to begin to grasp. I feel that shooting with film is a much more like painting. There are so many more minute details you need to be aware of and control perfectly. I am still learning, and do not feel that my skill with film matches that of my skill

with digital. But like I said, I am still learning. I love that when shooting digitally, I can immediately see exactly what I shot in order to know what detail I want to alter in the next shot.

Where in the world are you located? Los Angeles, CA

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Where is your favorite place to work? Currently, from the passenger seat from a friend’s car while I shoot out the window.

When you’re feeling somewhat slow or lost, how do you find your way back to find inspiration to get working again? I have to step away from photography entirely. I start writing music for my band, or I watch a film on TV (usually an independent drama because they put my in touch with my thoughts and emotions very easily), or I read a fiction book. When I’m blocked, I need to do nothing that’s really constructive or perfectionoriented. I can’t read a non-fiction book or watch a documentary. I need to be exposed to stories. The more subjective and emotionoriented the stimulant, the more I connect to myself, and the more I can create.

Do you exhibit your work in any form? Primarily online when my work is published in an online magazine or when I add photos

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to my online portfolio. However, there have been occasions when I’ve exhibited my work at group show gallery openings.

How satisfied are you in your current state in photography and what would you like to improve upon?

Am I satisfied with the current state of my work? No. Do I ever want to be completely satisfied? No. Would I like to be MORE satisfied? Yes.

FLICKR

I have yet to photograph anyone, yet have always wanted to do this. The narrative, fine art, editorial style (exhibited by the photographers I mentioned earlier) is what drew me to photography in the first place. I probably have yet to create anything that is composed according to that style because of a fear that I don’t know enough to direct a subject. But I think it’s a B.S. excuse to tell yourself that you’re not ready to try something, at least for most situations. I don’t think there is ever a perfect time to start or an exact time you’re ready – to do anything. So, while I acknowledge what’s inhibited me from exploring something I’m curious about, I am working to overcome it by being more bold when I shoot others on the street.

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THE INSPIRED TRAVELER

ICESCAPES

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DAVID MANTRIPP

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David, please tell us about yourself

com-er, (e) a user experience consultant. Now I’m just me.

As I say on my website: I’m David Mantripp. I live in Ticino, in southern (“italian”) Switzerland. I used to be (a) a student, (b) an Antarctic research scientist, (c) a remote sensing scientist, (d) a dot-

I fund my camera habit through working in the engine room of a Very Large Swiss Bank.

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What inspired you to become a photographer?

I can’t really put my finger on anything specific, it was a gradual process. Certainly there was family photography back as far as I can remember. I think my first camera was a little Agfa with those flash cube things.

ago when I started to take it more seriously. I learnt about photography during long down-times during my summers working in Antarctica, which probably explains my favourite topic.

But photography was more of a documentary thing for me up until about 15 years

But I didn’t really follow through with it at first. In the 1990s I was very into

installation art, multimedia, typography and especially illustration, experimental stuff. In fact I was relatively successful at illustration. I started using photography as raw material for illustration, and I also got into photographic VR - QuickTime VR very early on, and combined that with

PolaPan instant slide film for a documentary look. Then I realised that the 360 panos I was shooting worked equally well, if not better, cut down to wide screen stills. And then Hasselblad released the XPan, and that was the turning point. Oh, and I rediscovered colour slide film.

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What does it mean to you? That’s actually not an easy question to answer, so I’ve left it to last. I’ve read all sorts of grandiose “artist statements” and whatever all over the web, but I couldn’t write one of those with a straight face. Photography provides both an

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outlet for creative energy, and for the first world male urge to accumulate gadgetry. It’s a major part of my life, but if, say, I had to choose between the luxuries of travel and photography, I’d take travel. I’ve realised that to me photography is fundamentally a

means of expression, and quite often it’s quite indirect. As older members of the audience may recall, “the owls are not what they seem”.

Where were these images shot? Iceland, Svalbard, and Antarctica

How did you end up there? (Vacation? Scientific stuff?) Well, initially the Antarctic was part of what I did for a living, but my photography from that period is firmly in snapshot territory, even if it lit a spark. So Iceland, Svalbard and Antarctica are “vacation” in

the sense that I wasn’t paid to go there, but “vacation” sounds a little superficial. It’s more like obsession. Some were solo trips, some not.

How does it feel to be there?

that it brings a unique sense of tranquility, even though there’s plenty of stress thrown into the mix. But the lack of distractions helps me to really tune into to the environment and to recharge my batteries.

Chilly! Well, ok, apart from that, the main thing to me is

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I can see you have a “thing” for icescapes, in your opinion, what does it mean psychologically? I think for me these places resonate strongly with me and help me to regain some kind of perspective on life.

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I think they make me a better person. I’m not into the solitary vibe, or the frozen beards thing. It’s an experience better shared in my opinion. Actually, I’ve got a long term project to compile an “Icescapes” series. It’s not finished yet, but I did submit a first attempt at a portfolio to a well respected

publication earlier this year. It got rejected :-)

Your landscapes differ from the standard landscape fare, I find a subtle emotion in them. How do you try to express yourself with your landscapes?

Well, it depends what you call standard landscape fare. There are legions of brilliant landscape photographers out there, but there’s also reams of formulaic dross. I don’t think that’s unique to landscape. I think anybody who takes the time to engage with their subject (which happens

in different ways for different disciplines) will communicate something of themselves in their work. Perhaps I should also say that I’m particularly attracted to signs of past human activity in these apparently desolate landscapes. I’m looking for narrative, and I’m particularly

drawn to places like old whaling stations or trapper settlements, but also modern installations. Anything which gives a connection with a human context which helps to make sense of all this. Many, if not most landscape photographers would probably seek to exclude rather than

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include these features. It’s just a choice, though. Obviously not all of my photographs go in that direction, so in general I guess I try to open myself up to the landscape and tune into to some aspect of it that grabs my attention. It’s largely a subconscious process. And I’ve learnt from others: I have a very large collection of photo books! Perhaps the fact that I don’t limit myself to landscape has an impact on my approach … I hesitate to call it a “style”!

Evidently, it’s an icy desert, how long can you go without seeing anyone? Or is it more crowded than we believe? Depends where and when you are. In the interior of Antarctic you’re not really going to bump into anyone, same goes for vast areas of the Arctic. But some of these shots are within spitting distance of a decent bar or coffee shop!

What camera did you shoot with and why? Either Hasselblad XPan, because it’s the only practical choice for me to shoot wide

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screen, or Olympus FourThirds DSLRs, because they’re built like tanks, and offer the best compromise for my purposes. And both systems have fabulous lenses. And of course both are obsolete!

Are you satisfied with the images you’ve got or do you still feel something is missing? Is anybody ever satisfied ? I’m happy with a number of

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them, as single shots, but I feel I’ve got a way to travel before I can realistically present a consistently good, coherent set, or sets, of work. In my opinion that’s the hardest stage to reach as a photographer.

What is your favorite image of the series and why?

In terms of my “ices capes” series there are still a lot of holes to plug, but it’s a very, very expensive pursuit and I’m very far from being wealthy!

Any anecdotes you can share?

I guess the one with the empty chair. It’s not the strongest photograph, but it speaks to me.

A few years ago, I was travelling alone in winter in Iceland, on a grim and snow-swept day, miles from anywhere, in an

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area that is pretty isolated even by Icelandic standards, looking to get away from overphotographed locations. I ventured along a track towards an abandoned farmhouse that looked like nobody had been down it in years. I found quite a nice viewpoint, and took a few shots, smugly thinking to myself that this was all uncharted ground, photographically. As I packed up, and turned to go, I noticed I’d left a lens

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cap on the ground. I picked it up and saw it had “Nikon” written on it. My camera was an Olympus… Oh, and then I got my 4WD stuck in mud and had to walk to find a farmer to rescue me!

to the high standards we see in every issue. As a subscriber from Issue 1 onwards, I look forward to every new issue. It’s a great concept, and wonderfully well executed.

Any closing comments? I’d just like to express my thanks and appreciation for being asked to contribute to the Inspired Eye. I didn’t really think that my stuff fits in with the house style, or indeed is up

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THE INSPIRED CELLOGRAPHER

DAN

CRISTEA Dan, tell us a bit about yourself My name is Dan Cristea and I am a designer & photographer located in Toronto, Canada. I work in the field of Industrial Design and when I have some time to spare between family and work I try to keep myself busy by taking photographs.

What inspired you to become a photographer? Since I can remember, I’ve always been a very visual person. From an early age I started drawing and finding alternate ways to express myself other than words. Visual communication was and still is a very present and compelling facet in my life.

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I grew up speaking a few languages, but somehow I couldn’t find the proper way to truly say what I wanted to say through words. My father was the first person I knew who was truly obsessed with a camera. He is obsessed as I am! He was the first “candid” photographer I’ve ever seen. I remember him locking himself in his little “red room” to develop black & white 35mm film and I was totally fascinated by the process. Capturing a moment on a piece of paper was the most wonderful thing I’ve ever experienced. In a sense, photography was always part

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of my life, therefore, it was a natural and seamless transition to embrace photography.

What does it mean to you? Photography? It has very little to do with the object itself (the camera) but more the act of photographing. I’ve always said that there’s a significant difference between taking pictures and photographing. But to me, photography is connecting the internal with the external. The more I shoot the more I try to see without the camera. In a sense,

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I am trying to become the camera and have the tool be an extension of myself – and maybe one day I won’t need it anymore?

Themes always change; it’s like shedding skin you know. Seasons change, ideas and moods change, it is inevitable.

What are your recurring themes?

However I believe that every photographer is attracted to one particular subject, color or light. I’ve always

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been very attracted to the color red. William Eggleston said once “red is at war with every other color” which I find to be true. It is a very difficult color to complement and also to put into a good composition. It is dominant and aggressive, yet extremely beautiful.

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Over the years I created a hashtag named #redatwar on Instagram to commemorate this idea and maybe one day it will turn into a more complete project.

What has helped you most in your photography? (Inspiration, tip, book, etc) Inspiration is such an essential and important aspect of arts in general. Studying photographers that I personally admire has

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definitely helped me a lot. But the main thing that truly propelled me forward was to shoot a lot. And I mean A LOT. The first year I shot with an iPhone, I think that I shot over 100k picture, of course lots of them were crap but very necessary and part of this process. The more you shoot, the more you know what you don’t want to shoot in a sense. True photography is in your heart, and the more you do it the closer you get to what you truly are. I know it sounds philosophical but I find

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that really helped me more that any book, tips or photographers that I admire. Every photographer has his or her own tricks, and as much as you can feel connected to those tricks you will develop your own with time. My good friend and amazing photographer who I greatly admire, Richard Koci Hernandez said once; “What is done in time, time respects it” The photographer that had the most impact on my work is definitely Saul Leiter. Even today, after so many years of studying his work over and over, I find it hard to summarize and put it into one sentence how his works makes me feel. And maybe that’s how it should be, striking, as it was, it had a deep impact on my work and style and I will never deny this fact. I had the chance to meet him in the summer of 2013 in New York City few months before he passed away, had a chat with him about life and things, gave me one of his books and best part is that we barely touched to subject of photography.

Why shoot with a phone? How do you find Mobile photography (in)different from Photography with a regular camera?

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Does it really matter what you shoot with as long as you get where you want to be? I think that people over the years have drawn an imaginary line between mobile camera and your standard format of camera. To me a camera has always been a mobile object. Format, size, lens all these things are totally secondary to the act of photography. Smart phones have only made a camera more accessible to everyone in that respect. So why do I shoot mainly with a mobile camera, is because it is the closest and quickest thing that I can reach for any time to take a photograph, plus it offers some amazing editing tools and ways to share my work almost instantly.

What is the best way to work with a phone? It has no shutter release buttons or dials... Uhm, that’s a difficult question to answer. But I guess you have to try a few apps that truly speak to you and your style of shooting. The best way is through trial and error really. You will find that some apps work better for a certain type of photography and some don’t. I think that technical pro-efficiency is totally overrated at this point. The mobile camera phones have rendered all that stuff obsolete, and it lets you focus strictly on shooting. You just have

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to pass that fear and try out a few things.

What apps do you use most and how? Or do you edit on the computer? These days I use very few apps. I shoot with: Pro Camera 7, VSCO Cam, Hipstamatic. Edit with: VSCO Cam, SnapSeed, Filterstorm, Mextures No , I rarely edit on a computer. Unless I am preparing a print

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for a sale that I would bring into Photoshop to make it ready for print.

You tend to juxtapose your subjects with ads or even words like “luck”, is there something youare trying to say with these types of images? Uhm, well there’s no such thing as “just a picture”, right? I guess somehow somewhere down the

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line my messages are hidden between the juxtapositions in a sense. It’s like reading a book and you try to get what the writer is really trying to say by reading between the lines. I consider those images as missing links in a 112

sense, connecting something real with the surreal if that makes any sense.

You like to post your images with quotes, why do you feel compelled to do so?

Most of the time the quotes are there not just as a support for the image, but also to help me. Posting quotes and images together is nothing new, and I certainly not trying to impose them on my audience. If some people connect with

them and it helps them too, that’s great! In a nutshell, quotes are my personal “kickin-the-butt” to aspire and continue to be creative.

Any closing comments?

“The pursuit of photography is also a pursuit of will, of making us masters of ourselves so that under any conditions, including sickness and fatigue, and under the fall of rain, snow, earthquake, or sunshine, we can wield our instruments with the dedicated lightning of

a samurai”  – Robert Leverant

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What inspired you to become a photographer? I've always had an interest photography and have often toyed with the idea of pursuing it more seriously. I had a small camera and only ever shot on holidays or at events and always in auto, I had no technical knowledge and knew nothing about what made a proper exposure.

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My girlfriend knew I enjoyed looking at art and photography books and for Christmas bought me a book called ‘Exposed: voyeurism, Surveillance and the camera� We were in the airport on the way back to London after a Christmas visit to Ireland. I had a few hours to burn and got some drinks in and read through a lot of the book. I was fascinated and felt very inspired after looking through it, I remember

saying I would love to take some pictures like this and daydreamed about working on my own projects. I decided that when I got home I would buy a decent camera and learn how to make a proper photograph. I have a lot of free time with the work I do and some days my sanity can suffer unless I have something to keep me occupied. For a long time I struggled to find

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things to do that I had a real passion for and an interest in and photography seemed to fit and it felt right.

What age are you and at what age did you start your journey as a photographer? I’m 31 and I bought a camera in early February this year with the intention of learning how to shoot properly. I’m very new to photography but I have learned a lot since February.

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Would you mind sharing some of the things you feel helped you along the way with your photography, (lessons, workshops, books etc)....and also some of the things that may have hindered you that you overcame on this journey? Once I had decided I would look at photography seriously, I wanted to get the right camera, because you can’t take a good picture with a crap camera right ha! I genuinely thought the

bigger and pricier the camera the better photographer I would be. I soon learned that was not the case. Knowing nothing about cameras I started doing my research (which is half to fun for me) and was tormenting anyone I knew that might be able to help me make the right decision. I knew I wanted to shoot people on the streets and just anything I found interesting around me. I had no interest in studios or landscapes. That seems very boring to me.

For a time my mind was set on the Canon 5D Miii and was just about to buy one until I came across an old Irish friends blog. It was candid street photography from Dublin, I really liked the pictures he had put up. I started chatting with him on facebook and told him I wanted to buy a camera and start shooting candidly on the street. He Instantly stopped me in my tracks with regard to a buying big cumbersome DSLR. Small and fast is what I needed, something I could carry with me everyday.

He suggested the Fuji x100s, he shot with this and loved it. This was the best advice I could have got at the time. Thank you Kevin Keogh. If I had bought the Canon I would have lost interest in no time, nobody wants to lump a camera of that size around every day. Kevin saved me from a pitfall I’m sure a lot of people fall into. Next was the technical side, I literally had to start from zero, I knew nothing about ISO, shutter speeds or aperture. I began scouring youtube for tutorials and began practicing. There was a lot of trial and error.

I bought a book called “Understanding Exposure by Bryan Peterson. Half way through this book I had the eureka moment and it clicked for me. I was shooting a lot and experimenting with different light, I used to get up really early and catch all the city boys going to work, I zoned in on a few local areas and shot at different times of the day and learned how light changed at different times and what setting were needed for different conditions. I started to get comfortable with my camera and its functions pretty quickly. It’s

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so important to learn how to use the camera you own and shoot with. Once you learn your camera and where things are you can concentrate more on your subjects, I was very fiddly at the start.

had taken.

I started bookmarking lots of blogs and developed a slightly unhealthy obsession with photo books. I studied a few of the masters and watched a few documentaries. I was completely hooked at this point and I felt great about it. I started getting to grips with lightroom and started sorting through some of the images I

If we are speaking specifically of photographers, which are the ones of the past and present do you admire?

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I thought I had some good shots and sent some to friends that I knew would give me genuine feedback. It was positive so I kept going.

I’ve only been looking at other peoples work a few months but the ones that stand out

for me are Josef koudelka, a lot of his images make me say wow! Out loud, Gilles Peress, Mark Cohen, Diane Arbus, Bruce Gilden, I like his aggressiveness, some may disagree with his style, I think it should be commended. Daido Moriyama, Elliott Erwitt, Alex Webb and Henri Cartier-Bresson and some more obvious heavy weights. Some present guys would be Charlie Kirk, boogie, Its more collectives rather than people when It comes to present inspiration. I’d say Burn My Eye, In-public, Publigraphy,

Street Photographers, Stroma to name a few.

What purpose does photography serve for you? At the moment photography means a lot to me. It's hard to explain without sounding a little pretentious, but I feel it helps me understand things about myself and helps unravel the confusion of life around me. It seems I have fresh eyes to see things with now, everything seems more interesting and

when I'm out without a camera, I can’t help but take mental snapshots, It’s like practice, I’m composing constantly.

enough I could leave something worthwhile behind. To me that’s a nice thought.

Basically, I pay way more attention to everything around me and it feels really good. For a long time have felt frustrated and couldn’t figure out why. Street photography has giving me an outlet to vent certain things.

What Genre' of photography are you most comfortable working in?

I’m a happier person because of it and I can honestly say I have a passion for it now and intend to make photographs for a long time. If I became good

Mostly candid street photography. I’m not sure I like using the term street photography. I mean what exactly is covered by that term. I find it hard to define it anyway.

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I try take photos of anything that interests me whether is an interesting character walking towards me or an interesting object. I met a photographer in Istanbul recently called Sarah Pannell and her work inspired me to look not just people but buildings and minimal scenes. I have a lot of experimenting to do. When you work, are you working on different series or just finding photos that fit the way you feel at the moment?

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At the moment I’m still learning and trying new things, I’m not sure whether to stick with B&W or just shoot colour or both. If I’m shooting black and white I tend to look for characters with something about them, something odd, even grotesque.

job I come in contact with the Hasidic Jewish community and I live very close to Stamford hill which has a large hasidic community.

I try find emotion in peoples faces or interesting scenes or situations between people. If I’m out and know I want colour images, I’ll be chasing colours.

I’ve been shooting around there a lot and I think it may end up becoming a project of mine. I definitely want to start looking into projects but I want it to be good. The last thing I want to do is rattle off a few weak projects and regret them later.

I’ve been thinking about projects but I think I need to learn how to walk before I start running. However, in my

Can you describe a few of your trigger mechanisms that make you want to stop and shoot?

Anything that I find interesting will trigger a shot. That can change from day to day, it will all depend on my mood I think. For instance if i’m in a bad mood or feeling a little crappy things tend to come out a little dark and sinister, If I’m in a good mood I usually come back with loads of pictures of kids and cats. There are a lot of down and outs in the area where I live. When I started shooting first I was always taking pictures of homeless people until a friend of mine pointed out how cliched it was and suggested

taking photos of the horribly rich instead as they’re far more grotesque. Its a hard question to answer and I feel like things are constantly changing as I’m learning and studying. more pictures. What are your recurring themes?

about me but I rather that kind of image than something thats twee and all rainbows and lollipops. What is the distance to your subject you are most comfortable with while working?

I’d say up close shots of people that look a little different. Things seem to always have a dark and sinister feel to them.

My camera is very compact and goes unnoticed most of the time. I like get very close to my subjects. I’ve been trying to force myself to step back a bit recently and get more in the frame.

I don’t know what that says

I’m comfortable with any

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distance really but I prefer to be tight. Again it changes from time to time, but Id say usually at spitting distance. The shots feel more personal and I hate seeing photos and knowing someone has taken this far away with a zoom lense. I shoot with a 28mm, so I need to be reasonably close. I like that distance for now.

What camera are you working with currently? The camera I choose after much consideration and research was the Ricoh GR. It was between the Ricoh and the Fuji X100s.

What is your favorite Field of View?

I went for the GR in the end and I’m sure I made the right choice. I love this camera and carry it everywhere. Its very solid, silent and fast and can fit in my jeans pocket.

I’ve only ever shot with 28mm. I would like to try 35mm and 50mm. I will at some point.

Nobody takes you serious when you point it at them. I could never get the same shots with a

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massive DSLR.

Are you self taught, educated or a little bit of both? I’m self taught, although I did attend a street photography workshop in Istanbul recently. It was with Charlie Kirk and Eric Kim, great guys. Charlie was very inspiring to work with. He basically crap over all my work and I think I needed that. He took us shooting in some very interesting places and pushed me out of my comfort zone.

When I got back to London I felt I was starting from zero again and I knew what made a good photo, a great photo and a rubbish photo. They taught me to edit brutally and how to compose properly. I scrapped my blog when I got home and started again. I feel like scrapping it all again actually, I’m constantly changing my mind about my photos. I was very lucky and Charlie invited me back to Istanbul to shoot the riots on May 1st. It was an intense

experience to say the least.

social documentary shooting.

I had gas mask and a hard hat and was pretty much in in the middle of a serious riot between protesters and riot police, there was a lot of tear gas,rubber bullets and general chaos.

I learned through a handful of books, a million blogs and websites, studying a lot of the masters and a lot of trial and error practice. I’ve learned a lot in the last few months and I feel like a need to step back and give it time now and organise all the information.

The protesters were serious people. I was shooting with Charlie and Jason Eskenazi who is an incredible photographer. I was very lucky and I learned a lot over those few days with them. I got some good shots and learned about

A lot of people I have spoke with recently have different views and styles and I need to decide what it it is I really like. When you are starting out It’s

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easy to get influenced by other people for the wrong reasons.

How do you feel about being photographed? If you mean candidly on the street by a stranger, no not at all. However when in social situations and people are asking me to pose for a picture, that can be really annoying.

Do you like to work by yourself or to have someone with you? Please explain why.

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I much prefer to work by myself. I haven’t really shot with anyone else, apart from on the workshop in Istanbul and it frustrated me more than anything else. I tend to zip around and move quite fast and follow my eyes. If I have to wait around for someone while they are trying to get a shot I have probably missed a good shot somewhere else. Plus you can get in each others way as you more than likely will see and want to shoot the same things. “Oh wow! check out that

dog having sex with a duck”

Do you have a preference for images as an analog or as a digital state? I’ve only ever shot with digital but I’m just about to buy a film camera. I can see the benefits of both mediums. There’s the flexibility and cost effectiveness of digital and theres the aesthetics and classic process of film. Its like vinyl and mp3’s, I prefer

vinyl, so I’ll probably prefer film once I start.

getting the film back, not know what’s on there.

walks by with her kids that are all dressed in tweed.

I think analog looks a lot better than digital. You can’t beat the look of film no matter how many presets you try.

Where in the world are you located?

Where is your favorite place to work?

I live in Hackney in East London. I’m very very hip. Joking aside though, its a great place for photography, there are so many interesting characters walking around.

Any place where there is good light and interesting characters. But Istanbul as a city to shoot in blew me away.

Plus if you are shooting film you will be more selective and think more about what you’re shooting rather than the digital machine gun style shooting. I can’t wait to start shooting film, I think it will help me to be a better photographer and how exciting is it when you are

Its a complete melting pot. You can have a couple of guys in a corner smoking crack while a middle class yummy mummy

The light there is incredible and very busy and colorful. I’ll be going back again for sure.

When you’re feeling somewhat slow or

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lost, how do you find your way back to find inspiration to get working again? That’s happened a few times, I usually watch a documentary and search for some new work that makes want to go out and make similar photos. I get bored of places very quickly and sometimes I try to go to places and strange times

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so that the light is different. Getting up ridiculously early works sometimes. I’ve watched the documentary ‘Everybody Street’ three times now and each time a watch it and want to run out the door and start shooting.

Do you exhibit your work in any form? I have a few photos on a Tumblr and I put a few on Flickr at the

very start, I need to sort my flickr page out actually, but nothing else. I’d like to have a website at some point. I think I wait a while though.

How satisfied are you in your current state in photography and what would you like to improve upon? I think I’ve had a good start and I’ve learned a lot in a short

amount of time, but I have so much more to learn, both technically and generally. I’ve been lucky with some of the people I’ve met and I’ve had some great advice. I’m pretty hard on myself sometimes and I need to remember to have fun. I need to find my style,

everything is a bit messy at the moment, am I shooting black and white, am I shooting colour or both. I want to learn to put sets together in orders that flow and work well together. I want the photos to have a consistency and certain feel. I want to organise things better in lightroom and in my workflow.

My computer and catalogs are a complete mess right now. I wouldn’t say I’m satisfied at all, I have a lot of work and experimenting to do

FLICKR

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BY DON SPRINGER

ARIA APPATO

NTERVIEW WITH

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Please tell us something about you, your life and interest etc. Put as much detail as you like and then we will start the questions. I was born in Canada and raised in Greece. I have done studies in fine arts, scenography, graphic arts and conservation of art. I used to paint mostly with colour using a brush, now I paint mostly with light, using a camera.

What inspired you to become a photographer? The fact that a moment of time and space could live forever on a piece of film..

What age are you and at what age did you start your journey as a photographer? My mind,my soul and my body have different ages,so it’s hard to say... Since I can remember,a camera was always around the house and I always had one to keep memories of events and places. But it really clicked in my head, at the age of 23, when I met George Voutsinas and got

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hooked with the magic of the darkroom.

Would you mind sharing some of the things you feel helped you along the way with your photography, (lessons, workshops, books etc)... and also some of the things that may have hindered you that you overcame on this journey? Painting definitely helped me to understand composition and colour, which applies to photography as well. The latest years I got more involved with the work of the Great Masters of photography. Last year I participated in a “boot camp� workshop with Jacob Aue Sobol, which worked as a catalyst on my perception in photography. Things that have hindered me, also pushed me to the next level, such as the awe in front of the work of the Classics and other fellow photographers. Also the Greek economic crisis, although inhibiting, was also a reason to work harder...

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If we are speaking specifically of photographers, which are the ones of the past and present do you admire? Man Ray, Sebastiao Salgado, Gueorgui Pinkhassov, Henri Cartier-Bresson,Trent Parke, Steve McCurry, Jacob Aue Sobol (the list is endless..)

What purpose does photography serve for you? It helps me keep breathing..

What Genre’ of photography are you most comfortable working in? Street, conceptual, documentary and portrait.

When you work, are you working on different series or just finding photos that fit the way you feel at the moment? I do both.

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Can you describe a few of your trigger mechanisms that make you want to stop and shoot? An awkward scene, colour similarities, patterns,the prediction of an evolution in a scene,shadow-play,and anything worth remembering and share with others.

What are your recurring themes? Humans.

What is the distance to your subject you are most comfortable with while working? About 20 cm or more.

What is your favorite Field of View? Close up and personal.

What camera are you working with currently? Olympus E PL-1 and Sony DSCRX 100

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Are you self taught, educated or a little bit of both? Education is a general and an on going process. I think I am a bit of both.

How do you feel about being photographed? I don’t like it!.. :)

Do you like to work by yourself or to have someone with you? Please explain why. I prefer to work alone. In case I have someone with me,I have to make sure that doesn’t get annoyed by me stopping to shoot every 5 seconds and not speaking much..

Do you have a preference for images as an analog or as a digital state? I prefer analog for the mystery and the surprise,and digital for the convenience.

Where in the world are you located? Athens, Greece.

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Where is your favorite place to work? Downtown mostly and in crowded places.

When you’re feeling somewhat slow or lost, how do you find your way back to find inspiration to get working again? I try to remind myself the pleasure I get from shooting people..

Do you exhibit your work in any form? On line, in the press and in exhibitions.

How satisfied are you in your current state in photography and what would you like to improve upon? I get great satisfaction the moment the shutter is released. Then I like a lot the editing stage. After I publish a photo, I get so detached from it, that I am rarely fully satisfied from the outcome. I am always looking to improve upon seeing things with new eyes.. The day I will be content, I will quit and become a farmer.

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WITH

STREETSHOOTER

I

n The Streets with Streetshooter is a series of articles that takes you behind some of Don Springer’s (Streetshooter) images. He is the Senile editor in Chief, read on and you’ll know why. Part memoir, part technical, part photography, there’s always something to take home.

[Left Image] Sometimes I wander the streets aimlessly and not responding to well to anything. The fact that I’m not responding means that i am actually responding but not to the preconceptions I carry around with me. So I just try to tune into what I think is distracting me and discover why I am in a kinda blank way. So Philly is full of tourist in the Summer months. I like the tourist because they come here to discover many things about our Nations History and about themselves. I was carrying Andre’ the Fuji 166

X100s on a wrist strap and he’s always ready, more ready than I on this day.Now here’s something to pay attention to. I always talk about my camera as being my friend and not a tool. Well my friend Andre’ was on point while I was I guess being lazy. Andre’ the Fuji X100s doesn’t let me get lazy. He keeps me stimulated and even tho’ I wander around what I think is lazily without a notion of photographic intent, Andre’ keeps inspiring me. We came across a tourist family and they seemed lost. I thought that is was ironic that I live here and sometimes, like now, I feel lost. As I got closer still without

the intent of making a photo, I felt as they did but they had a map and mine was in my head. What I was looking for was not on any map and then the girl looked me dead in the eyes CLICK…. and I realized that no map could get me to where I needed to be but her eyes, they showed me the way home. Andre’ was happy and so was I. They were to when I helped them with points on the map. [Top image] There’s times when I am working and I seem to be reflecting on things. Of course 167


just reflecting is a very ambiguous term.

us to images.

So one could be reflecting on one’s life or work or anything and then again, maybe just doing reflections in windows puddles or whatever. In the end, it seems to all be the same thing. Every photo you make, is a self portrait so reflect on that and see what YOU come up with.

Of course you could always sit in a coffee shop and look at your shiny camera and know how great it is as you chew on a jelly donut. But wait, anyone reading this doesn’t do that. They are too busy finding photos that are reflections of themselves, of their life. They are making juxtapositions of the world because they are shooters, they are The Inspired Eye Shooters. Is there anything better?

I always liked selfies, not because I like to see myself but because I like to see how I look making photos. Photography is about discovery. What you wish to discover, is the basis of your intent. When you discover something else, that’s creates new possibilities of intent and you must allow things to happen naturally. The next time out, this can become a part of your intent. So the act of discovery and repetition go hand in hand and as photographers, we need to recognize this as something that leads

[Bottom Image] Photographers are misfits. It’s ok, no need to feel awkward about it. Just know that you are amongst other worldwide misfits. We are the misfits with camera in hand. We make photos of things and people the camera less people don’t. Camera less people just walk around oblivious to the beauty of the insignificant.

We as shooters pay attention to the beauty of the natural order in the world. We pay homage to that beauty by making photos of it. We find the beauty in the grotesque and the grotesque in beauty. We as shooters should strive to have an open Eye, Heart and Mind. We should strive to see the world the way we see the world and not the way others tell us to see it. [Right Image] You guessed it and your right. This is another selfie. I’m not the guy in the hat, I’m the guy with the camera. Sometimes my brain goes on vacation. At these times I just work on emotional or visual levels. Because my brain is on vacation, I need to depend on Andre’ the Fuji X100s to make photos with me that I don’t have to think about. As I grow older, I find my brain goes on vacation more often and without notice. The thing is, I rather enjoy not working and thinking. I actually enjoy the gut reaction, the emotional response, the visual excitement that works without thinking. Sometimes it feels like a purity of breathing and working. My camera is aware of this braingoesonvacation phenomena and lends support. See Andre’ doesn’t create intrusions of any kind and that let’s me work freely with my brain or brainless. We all need a camera that supports us and our work but without getting in the way. When I made this photo, my brain was on working vacation. See, Olivier and I are working on the next issue and I wanted to make photos so Olivier had my brain to do magazine work and I was on the street with Andre’. The point is to be in touch with your “Eye, Heart and Mind”.

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TRANSHUMANCE by Patricio Michelin Interview by Olivier Duong

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Patricio, please tell us a bit about yourself Curiosity is strong in me, since my early childhood. Whatever object I lay my hands on, was intriguing, sparking my mind on how things were made, how they worked, what they were for.

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Thus it is not surprising that after college I studied Physics at the University. Soon my passion for science began to give way to my artistic inclination. The breakthrough came with a retrospective, in Buenos Aires, of the creator of Magnum... Henri Cartier Bresson.

Photography became a way of learning about my feelings, about explaining the world to myself. Why I am taking this picture? Why does this concern me? It has also grown as a way of grasping the moment, an essential need, a visual attempt

against the merciless tide of time. After leaving my home town in Argentina, I’ve traveled and lived in New York, Nothern Italy, Southern France before settling since last summer in BArcelona.

Nowadays I’m a freelance photographer, collaborating with ONGs and moving forward with my personal long term projects.?

What inspired you to become a photographer?

I was studying physics at University, and at the middle of the degree, my soul was wwounded mainly because It was unbearable to me to remain sit the whole day in a classroom or the library. I was eager to discover “real” world and not only “teorethical” one... So I went outdoors with my camera and wandered Buenos Aires.

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Since that, I fall in love with photography!

of livestock from the plains to the mountains.

Tell me about this project

Already in Neolithic times men and beasts moved in areas from the valley to high altitude mountains. Nowadays, the technological revolution and intensive agriculture has changed some behaviors, but fortunately some passionate

Transhumance from the Latin trans ‘across’ and humus ‘ground’, represents the periodic migration of a majority

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farmers persist with this ancient tradition. They have a respect for animals as well as an especial devotion to the environment.

greener pastures. Owners from nearby villages give him cattle to take care, until the beginning of the fall season.

Gerard, is a shepperd based in French Alps. Every summer in late June, he and his cattle managed to get to higher altitutdes in searching for

Departing from the small city of Die, 650km south from Paris and not far from Italian border. The journey is done in two days due to that animals could not walk for so long.

Crossing the mountain pass and finally arriving at the valley 1700 meters where he will dwell and remain in a sort of base camp. With the company of his dogs, every morning his wake up at 6 and start the long journey to move with more than 2000 sheeps.

Conditions are though, since he lives in a shelter witohout electricity. In Vercors National Park, there are no lakes nor rivers, because the ground is a calcaire region so drinkable water is a major problem. He managed to get water from rain in a big reservoir, such a problem during August, the hottest month of all.

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Food and supplies are carry mostly from visitors and relatives who stay with him just a few days. There are no Sundays. Struggling with weather conditions and animal behavior. France is one of the pionniring of non MGO food across Europe

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and this kind of activity is a mutual respect with the earth – food and animals. The choice to use a Hasselblad XPAN widescreen format is merely to showcase the main caracter within his environment.

How did you gain access to Gerard? Did you simply ask? I gain access to Gerard on the first day of Transhumance. Prior tp the departure, there is a meeting in the village with him, with some tourists and local people. I ask him, and he didnlt bother of pictures. A few

weeks later I went to visit him in the mountains with a few prints. That allows me to get closer and gain confidence as well as mutual empathy.

Why did you shoot in Black and white instead of color?

I simply shoot in B&W with my XPAN mainly beause of the film costs and I can develop in the bathroom. Then, I simply scan every frame. (Film is Ilford HP5 instead of 36 pictures I only have 20 - Format is 24x65mm)

Any closing comments?

I pretend to go on with this kind of work in the rest of the Alps this year, photographing the descent at late October, when falls begins and first cold days arrive. Pictures where made near Grenoble, FRANCE in the summer of 2012.

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What inspired you to become a photographer? I have always loved producing images from my first recognizable marks on paper when I was about five or six I knew that all I wanted to do was paint and draw. As I grew my mother, Zena was a great influence on my life and she always encouraged me to do what I enjoyed. She had an ability to paint and draw too but turned her talents to becoming a tailor like her mother. Zena had a couple of cameras I seem to remember, a Box Brownie inherited from her mother, a basic Polaroid and a Kodak Retina and at about ten or eleven I started to play with a couple of them. The Polaroid I guess was the one I took to first as within minutes you held a reproduction of what was in front of you. I remember using the camera to take pictures of my GI Joes dressed as Marines from the Vietnam War, in combat scenes in my garden and local woods complete with explosions supplied by fireworks! It kinda looked like a scaled down Apocalypse Now or Full Metal Jacket!

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with a big block 454 under the hood! (see attached)

Would you mind sharing some of the things you feel helped you along the way with your photography, (lessons, workshops, books etc)... and also some of the things that may have hindered you that you overcame on this journey? Zena, my mother for her encouragement, Peter Nicholas, the Head of Art at Newport

So, I guess, looking back it was a forgone conclusion that I would be an Art Director/ Photographer, when I grew up. Fast forward a few years to the age of sixteen when I went to Art School, a local art college where, I was the youngest person there by at least three years and I discovered wine, women and song and maybe some drugs, but I didn’t inhale and I had to grow up overnight, which I did!

What age are you and at what age did you

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start your journey as a photographer? To answer your question, old enough to know better, young enough to still be stupid sometimes! (54). I guess to be honest it’s when I became a student at my local art college at the age of sixteen. Although I was interested in graphics and fine art I continued taking photographs with Zena’s Polaroid, which had upgraded to the one with a sonic focusing gizmo on the front until I got my first 35mm slr, a Zenith B, with a standard 50mm F2 Helios lens I think or as I like to call it a Milk Bottle!

College of Art, who gave me this piece of advice, which I’ve carried with me ever since. ‘If you put your work up on the wall, you have to defend it.’ Meaning, if you show your work, what ever that works is photography, illustration, graphics, design, advertising etc don’t make excuses for it. Don’t say, ‘if only… the client …. If only I had more money… Just don’t show it. When I worked for some of top ad agencies in the world and people came to show me their portfolios and they said any of the above, I’d say, ‘why are you showing me work you’re not happy with?’ ‘What’s the point?’

On the whole I worked with some of best creative minds in the industry and some of the best agencies too. With these people and agencies they let you be you. They let you go off field, they encouraged you look tangentially at things and if needs be reign you back in other words they let you be creative, what ever that means? It was and still is about ideas. In saying that ideas borrow, blend, subvert, develop and bounce off other ideas. The truth is that everything we create is based on something that’s gone before It has too as

There quickly followed a series of slr’s, Zenith E, Practica A, Exata, Pentax Spotmatic, MX, ME until in my MA year I took out a loan with the bank and got two Canon A’s with MA drives and a series of Canon lens comprising, 28m, 35mm, 50mm, 85mm 70-210mm zoom. I then in my own time started shooting for real and included the images I took into my course graphic work. I also, started to shoot motor sports as I have always and still have a love of most things with wheels and an engine so much so that I still own an 89 Chevy Blazer

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nothing happens in a vacuum, least of all creativity and ideas. So, I looked and listened at/ to everything (and still do) paintings, sketches, engravings, sculpture, photography, film, music, dialogue in the street, various books and above all life. Of course I have various artists and photographers I admire, respect some have become my friends like Tom Stoppard, who’s book ‘iWitness’ should be a prerequisite for documentary photographers to look at if not own, as should ‘Inferno’ by James Natchwey. Artists like Mattise, Van Goff, Hooper, Mondial, the Bauhaus; Modernists Raymond Lowe the list is too long to write down here. Things that have hindered me? Me! Narrow minded individuals and companies that don’t want to take a chance creatively and want to be the same as all the rest. At the end of the day you have to be true to yourself because that’s all you have at the end of day!

If we are speaking specifically of photographers, which are the ones of the past and present do you admire?

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wherever I go from a Sony Smartphone to a Canon QL GIII and a Fuji X rangefinder to an EOS IDX or a 65 / 67 Nikon F or OM1 / 2s or Canon F1s. It just depends on what I fell like on the day and what fits the project better.

Can you describe a few of your trigger mechanisms that make you want to stop and shoot? That’s a hard one to answer. You just know before you even put your camera to your eye, or you should do. It should

I would have to include the following: Robert Capa, Robert Frank, Leonard Freed, Eugene Smith, Eugene Richards, Tom Stoppard, James Natchwey, William Klien, (the best recent Exhibition I have seen in 20 years), Danny Lyon, Larry Towell, Garry Winograd, Larry Burrows, Don McCullin and Cartier Bresson…

What purpose does photography serve for you? Photography, producing images that either stand-alone or are part of a story mean everything to me. It sounds a trite and

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clichéd as I write it but it’s true and I stand by every word. It provide me with a voice to show the world in all it aspects good, bad, funny, sad, mundane etc that we as humans sometimes need to be reminded of and personally, I guess it’s a sanity valve or is that an insanity valve? I don’t consider it work, it’s what I do, it’s who I am and that can be difficult for other people to live with, ask my partner Vicki, who is another photographer but one that has other interests outside of the art world, I don’t unfortunately or fortunately.

be instinctual. It’s like when a Wolf singles out one animal from a heard. He / she knows which one will become the next victim, the packs next meal. There’s just something about that animal that shouts FOOD! In a blink of an eye you know the angles are right, the shadow and highlights are right, the dynamics are right, the angle of the lens on the camera is right and you wait for that moment that decisive moment and then you know deep down if you got it or not. Then there is the image that gets away and like a fine wine gets better with age and six weeks, six months or six

years you see again with new eyes and think how the Hell didn’t I see how good that one is? And of course luck comes into it too, just take luck and run with it. Like Robert Capa said, ‘If I have to chose between a technically correct shot or technically incorrect (lucky) but emotive shot. I will always choose the emotive shot.

What are your recurring themes? Everyday life, humour (black), accidental positioning (people against unusual background),

What Genre’ of photography are you most comfortable working in? Documentary, reportage photography anything else I guess I’d rather direct, the art director in me would come out.

When you work, are you working on different series or just finding photos that fit the way you feel at the moment? Both. I carry cameras of one kind or another with me

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Man against the odds, man against the environment (natural or man made), exploitation.

What is the distance to your subject you are most comfortable with while working? Any distance, whatever makes the better image? One thing though, you have to be able to read the situation and the individuals around you. Know when they are for real or when they are bluffing. Even someone with a gun pointing at you maybe bluffing, some see this as a test of character of manhood.

What is your favorite Field of View? That can vary too; it can be whatever is on the camera. I mean I use a few rangefinders’ with fixed lens like the Canon QL G III’s I have. They have a f1.7 40mm attached to the front, the Olympus SP35’s I have, have a f1.7 43mm on them. These cameras produce superb images and they are pretty much the angle of view of our eyes so, they are the closest to how we see and that can make life a lot easier knowing this. Whilst on the Nikon F’s, Canon F1’s and the OM1 & 2’s I use the 35’s 50’s 100’s a lot. At present though because I need to carry something light and unobtrusive I’m carrying at time of writing the SP 3’s with two different films on board, both Fuji’s one Neopan 400 rated at 320 and the other, Neopan rated at 800.

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What camera are you working with currently? I’ve just said that, maybe I should read a head? Plus I always carry the Fuji X20 with me and I have to admit I’ve been using the Sony Xperia’s camera with various apps when I play the tourist, ‘Gee honey is this Lie Cester Square?!’

Are you self taught, educated or a little bit of both? Mainly self taught, but picked up a lot at art college when I did my BA because the college in question which was called, Gwent College of art & Design had the first Documentary Photography School in the UK. It was set up by a guy, (another Welshman) called David Hurn. David was and is a Magnum Photographer. So, I sat in on his course when I could and used their darkroom and print machines. The rest I picked up as I went along my career path from the photographers I briefed as an Art Director. Still picking up to be honest!

How do you feel about being photographed?

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I don’t mind really but I guess like many photographers I know we don’t like being photographed because we are not in control or we think w don’t look good. Personally, I think I look DAMN FINE and I’m always ready for my close up! To be honest I think most of the time the prison number is all that’s missing from the picture.

Do you like to work by yourself or to have someone with you? Please explain why. By myself mainly, for the simple and some would say selfish reasons, you don’t have to think or worry about what they are doing or where they are or what trouble they have gotten into, as this can stop you from doing what you do and can be dangerous especially in a conflict zone of whatever kind. Don’t get me wrong I don’t have a problem with working alongside other photographers on a project or we happen to cross paths but I don’t want to be joined to their hips. We can always meet after the days shooting for a drink of some kind and talk.

Do you have a preference for images

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as an analog or as a digital state? Wet prints always, there’s something about a wet print done well that can’t b beaten. It feels better, easier on the eye. Digitals getting better though but it is still individual colours no matter how many millions there are compared to continuous tone of film. I use digital myself and many times the end result of shooting film is a digital images for this I scan the negs, trannies in on a dedicated film scanner, either an Epson or Imcron then I use Nik or DxO Software to echo classic film and printing types and to be honest there aren’t that many people out there that could tell the difference. Horses for courses I guess?

Where in the world are you located? I’m based in sunny London, the home of the Pea Souper, the English Bobby Sherlock Homes, Corrupt two faced Politicians, Crack Dens and imported American Fast Food and Coffee Chains and a lot of creative talent.

Where is your favorite place to work?

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Big cities, London, New York, Paris, places with a little bit of dirt underneath their fingernails, nothing too sanatised. Unfortunately, London is becoming too sanatised and camera unfriendly.

When you’re feeling somewhat slow or lost, how do you find your way back to find inspiration to get working again? Copious amounts of drugs!!! Not really, I never inhale anyway!!! Fun aside, my heads too full of images usually and not enough time in the day to put them own, tat’s the frustration of it. As unblock devise I tend to pore through books, Advertising Annual, Graphic Annuals, Photography books, I (collect books) Smith’s Minamata, Klein’s New York, Stoddard’s iWitness, Natchwey’s Inferno, Freed’s New York Police etc. I visit at galleries like the Tate Modern, Tate Britain, the Gasgoian, Proud Gallery, etc or just go for a walk or drive my full size Chevy Blazer or watch film classics of sci fi films, or as my partner like to call them crap films. Women hay what do they know about sci fi and

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hey man I was brought up on Marvel Comics!

Do you exhibit your work in any form? Yes I have exhibited in various places in the past from galleries to wall spaces within posh restaurants and bars to advertising agencies. Also in online galleries and sites where you can display your portfolios like Behance, flickr, facebook and a few others that have sprung up recently that I am going to upload images to. And while I’ve been recovering from standing too close to something that went bang I have been busy scanning and retouching my images for the next mammoth upload.

How satisfied are you in your current state in photography and what would you like to improve upon? To be true I’m never satisfied with what I’ve done, I don’t think you should be. If you think you’ve done your best work what’s the point in carrying on try something else! All you can do is your best at that time under those circumstances. You can of course keep revisiting those images and as the technology improves you find the processes

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are easier to do, better to do but then you have to ask yourself how many times can you do this? I know a famous advertising photographer who always gets the latest Photoshop upgrade, talks with the greatest exponents of the art and all they talk about is who has found the quickest shortcut to doing a retouching, manipulation technique. That’s not photography to me. So, a short answer is, take better photographs that makes people look at their world a little differently, that makes them question things a little, that makes them smile, laugh cry and maybe think I could do better than that and hopefully they will.

BEHANCE

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IV INTERVIEW WITH

by Don Springer

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Geoff Brown

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Please tell us something about you, your life and interest etc. Put as much detail as you like and then we will start the questions. My name is Geoff Brown. I’m originally from Canisteo, NY...a small rural community in the Finger Lakes region of western New York state. I’ve lived in Nashville, Tennessee since 1998. I work as a healthcare professional. My interests include music, fishing, hunting, hiking, camping, spending time with my dog, Maggie, and of course, photography.

What inspired you to become a photographer? The need to be creative...to have an outlet for my creative side. I’ve been a musician for years... majored in music in college, played guitar in blues, R&R and country bands. I’ve enjoyed that a great deal, but as any musician will tell you (if they’re honest)...musicians are among the most unreliable people on the planet. So, while I’ve very much enjoyed the collaborative process in making music with others, it has also been frustrating dealing with

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“issues” that disrupt that chemistry. Photography is not a collaborative process for me, in the sense that I don’t rely on anyone else to go out shooting. I get my cameras and go. I like that. So I think that’s part of the equation. I’ve always been interested in people... the way they interact with each other and with their surroundings. I lived in NYC for 10 years, and while I took very few photographs during that time, I spent many afternoons and evenings with friends, tipping a few beers and watching life as it flowed through the streets of the city. So I think it’s a natural extension of that interest... to want to photograph, to document those things that I find interesting. Why it has taken so long for the light to go on, is a good question. I really don’t have an answer for that one, but better late than never.

What age are you and at what age did you start your journey as a photographer? I’m 53. It’s been about 4 years since I started taking photographs with any degree of regularity. I’ve become increasingly involved over that time...especially the past several months.

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Would you mind sharing some of the things you feel helped you along the way with your photography, (lessons, workshops, books etc)... and also some of the things that may have hindered you that you overcame on this journey? Well, I’m self-taught, like many others. I suppose I might learn something from attending a workshop or a class, but I like discovering things on my own. And there’s all kinds of learning available online. I do study the work of other photographers, of course. I’m a learn-by-doing type of person, so the best way for me to learn is to go out and shoot, review my work, identify things I can improve on, and try again. I’m a work in progress...always will be. A few years ago, my girlfriend gave me a camera for Christmas. It was a Sony...a bridge camera with a Zeiss zoom lens. Nice camera, really. I was always stealing hers when we’d go hiking or on trips, so I guess she figured that she’d better get me my own or she’d never get to use hers again ;) That camera

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had all the scene modes, etc. But it also had a full manual mode, and that’s all I ever used. I wanted to learn how a camera worked, and I learned on that camera. As far as things that hindered me, the technical limitations of the gear were a factor. That Sony camera couldn’t produce anything useable past ISO400, so that was a limitation. Eventually I got a Nikon DSLR and that was a major improvement. When I bought my Ricoh GRD in January of this year, that was a big step up from the Nikon (in several ways). My ignorance and inexperience with photography was, and remains a hinderance, but those things are addressed by going out and shooting, as I mentioned earlier. I think ignorance and inexperience will always be issues for me, regardless of how much I may improve going forward. I think that’s an honest way to approach what I do. It keeps me grounded and motivated to do better. And believe me...I have plenty of bad photos to remind me ;)

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If we are speaking specifically of photographers, which are the ones of the past and present do you admire? Way too many to mention here. Robert Frank, Garry Winogrand, William Klein. How about Vivian Meier? From what we’ve seen of her work thus far, how can we not admire her? Bruce Davidson, Bruce Gilden, Walker Evans, Dorothea Lang, William Eggleston, Henry Wessel, Joel Meyerowitz, Lee Friedlander. Friedlander…I really like his work. Jean-Michael Berts, his city portrait work is fantastic. The Japanese photographers… Takuma Nakahira, Daido Moriyama and others of the PROVOKE era. I’ve been looking at a lot of Nakahira’s work lately and it just knocks me out. Khalik Allah is shooting powerful night images in NYC with color film. There are a lot of photographers out there doing some amazing work.

What purpose does photography serve for you? It’s an outlet for my desire to explore and create. It satisfies my interest in knowing how I see the world around me and

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my place in it. In that way, every photo is introspective…a reflection. It’s therapeutic…an exercise.

What Genre’ of photography are you most comfortable working in? Documentary work is very comfortable for me. It can be urban or rural. I’m comfortable in either setting, although they can be very different types of shooting.

When you work, are you working on different series or just finding photos that fit the way you feel at the moment? Well, most of my street shooting has been here in Nashville. My only agenda has been to shoot some decent photos, but it’s become a series…which will be ongoing. I think my approach to photographing this city is a bit different from much of what I’ve seen done here. The music/entertainment/tourism industry is big here. There are lots of clubs and bands. It’s been photographed a lot. I’ve taken a lot of photos of that type of stuff as well…bar

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bands, street musicians, etc. But honestly…it doesn’t really interest me as much as seeing what’s going on with people against that backdrop, and in other areas of the city that have nothing to do with the entertainment district. I rarely venture into the clubs when I’m out shooting, unless it’s something off the beaten path that doesn’t attract tourists. Some of the things I see and photograph make me think about doing a series. I have some ideas I’m kicking around.

Can you describe a few of your trigger mechanisms that make you want to stop and shoot? I think it starts with having the right mindset. That means clearing my head of distractions, and opening my mind to everything that comes to me. I don’t go out and “take” photos. I’m an observer. I’m looking to see what presents itself in places that may have interesting light/shadows, architecture, or patterns in the movement of people that I like. The street is like a river. It has eddies and cross-currents. There are obstructions that impede or redirect the flow. I

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try to recognize those things and see compositions that work for me. I may be an observer standing still, or I may be moving in the currents.

What are your recurring themes? Tension, humor, irony, quirkiness. People moving... sometimes isolated, sometimes not.

What is the distance to your subject you are most comfortable with while working? I’m comfortable with whatever gets the shot. I don’t have a problem with getting close.

What is your favorite Field of View? Anywhere from 21mm-50mm is good. If I could only choose one, I’d go with 28mm.

What camera are you working with currently? I’ve been shooting mostly with a Ricoh GR digital since January. It’s a good camera for me. It’s non-intrusive and it’s changed my mind about using point-and-shoot cameras. I

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have a number of cameras, all with viewfinders. I thought that not having a viewfinder could be problematic with the GR, but it’s proven to be just the opposite.

Are you self taught, educated or a little bit of both? I’m self-taught, as I mentioned earlier. Experience is the best teacher. The more I shoot, the more I learn.

How do you feel about being photographed? I have no objection to being photographed, although I can’t think of a better way to ruin a perfectly good photograph than by having me in the frame ;)

Do you like to work by yourself or to have someone with you? Please explain why. I prefer shooting alone. I like to be immersed in the surroundings as much as possible. Shooting with someone else would be a distraction. But when I get up to Philly…we had better get out there and do some shooting. I’m sure I’d learn a thing or two :)

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Do you have a preference for images as an analog or as a digital state? No preference. I think folks should use whatever works best to get them where they want to go. If film offered me real-world advantages over digital, I’d be shooting it. But it doesn’t, so I shoot mostly digital. I do have some ideas for shooting color film that I would like to explore soon.

Where in the world are you located? I’m in Nashville, Tennessee. Buckle of the Bible Belt. More churches per square mile than there are bars….and there are a lot of bars here. Apparently there are a lot of sinners as well. I live about 20 minutes from downtown, and about 20 minutes from being out on a dirt road in the sticks.

Where is your favorite place to work? Nashville is a cool place to work. I like Memphis a lot as well. They are two very different cities, though. Nashville doesn’t really have the southern “vibe” that Memphis has. Many Nashvillians are from other

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parts of the country, so the southern culture is diluted somewhat by that. When I’m in Memphis, there’s no doubt that I’m in the South. Since I haven’t been shooting for all that long, I haven’t done much photography outside of Nashville. I’m planning to go to NYC this summer. I lived there for many years and hardly picked up a camera. So I’d love to get back there and do some shooting, eat some good food and see old friends. I miss it a lot.

When you’re feeling somewhat slow or lost, how do you find your way back to find inspiration to get working again? This doesn’t happen too often, but when I’m not in the groove, I remind myself that everything is interesting. I just have to open my mind and recognize it. So I might shoot at different angles. I might imagine what the view would look like through my dog’s eyes and shoot that. Outside the box stuff. But mostly, I don’t worry about it. Things sort themselves out. I walk around, get the eyes moving, and the shots come.

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Do you exhibit your work in any form? Not much. I’ve had a couple of photos in galleries, but not in Nashville. They weren’t street work. I’ve sold a few prints. I haven’t done much of anything to promote my work here thus far. I’m hoping to change that this year. No one is going to do it for me, so I have to get out there and make it happen. I really appreciate the opportunity you and Olivier have given me here.

How satisfied are you in your current state in photography and what would you like to improve upon? Since getting the new camera, I’m closer to capturing what I see. The camera doesn’t make me a better photographer, but it’s the right tool for the job. So it’s getting there. I have a handful of photographs that I really like, and a good number that are decent. Obviously I’d like to improve on that ratio, and I believe I will. As I alluded to earlier, I’m a work in progress. It’s been a very enjoyable ride thus far.

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INSPIRED READERS

If your photos are not there, please try again next issue. To submit your image, head to the website (www.theinspiredeye.net), head to the Gallery tab and follow the instructions there.

C lick on image to go to phot

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 Treur I was strolling the streets of Maastricht, Netherlands, when I saw this boy leaning against a marble wall of a shopping mall. Light and shadow formed a nice pattern, which draw my attention. Then I noticed the boy had a large pistol in his hand. A toy gun, I hope.

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  Eric Bozinny In Mumbai for business, I took a photo safari, walking the streets of the city. These two boys were peeking at me around the corners of the taxis, and I played along, and snapped this shot when I surprised them. I love how the cabs direct the viewers attention, and how the reflections light up this shot with color.

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  Eric Bozinny In Bali on holiday with my wife in 2010, we were riding bikes through the countryside near Ubud, and ran across this multi-generational family, whose men were harvesting the day’s rice. I loved how in sync they all were, and I was able to capture this image with them spread out evenly. Lovely lines, and with all heads down, they could be any laborer from anywhere in the world.

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  Elmer Valenzuela The streets of Manila is crawling with homelessness. I don’t actually enjoy poorism shots. But this one — with a perfect background — I can’t just pass by.

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  Tom Dewitte I come in peace (garden photo: 1 strobe a retro robot and some burning pieces egg carton).

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  J Perez Got this strolling through my downtown area. Still was getting the hang of my new lx3 at that point.

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  J Perez One of my first shots i took a few years back with a newly acquired camera, the Lumix LX3. I brought the camera off ebay, and as soon as i got it, i took a walk around my block to test the waters at this thing called ‘street photography’.After about 30 mins, i begin to walk back home. On my way back, i see this familiar face and immediately begin “shooting from the hip”. As i pass him, I hear someway in a lovely indian accent say, “hey nice camera.” The man approaches me and begins to complement my camera and begins throwing words like ‘aperture’ and ‘shutter speed’, so on and so forth. As hes speaking I start to take some shots from my waist. He mentions having some film cameras of his own, and advises i get a film camera but to practice what i have. Before we depart, i asked if i could take his portrait, he actually said yes, but it wasn’t as impact to me as this shot im posting. This man is actually well known around my area, he lives in a home just 2 blocks from mine, a housing complex where they care for those who are mentally ill, or as some would say, “crazy”. My father used to work at this home, and make meals for all the residents there. I showed him this picture and told him what happened, and my father takes out his cell phone and shows me pictures he took of this mans own, old photographs. My father confirmed to me, that he was actually a photographer in India, and had a mental brake down due to a family crisis. He still had his old cameras and would constantly take pictures, but the camera never had film inside.

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  Gerry Suchy A bright and sunny morning during the morning rush in Washington, DC creates some wonderful shadows if you know where to look.

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 Katie Spring daisies in my 97 year old great grandmother’s garden in Crailsheim, Germany.

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 Katie Adult and child in awe of the Blue Mosque, Istanbul.

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  Edward Regan South Beach offers an eclectic melting pot of subject matter just waiting to be photographed. Nighttime Photography is my passion. Df Nikon on mono pod. Nik for B&W conversion.

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  Michael Sheridan This little kid summed up for me the long wait at Hoi An airport lounge when our plane was delayed. Shot with a Nikon D90 and 50mm lens.

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  Chuck McQuade A buoy graveyard along the Homer Spit, AK. I was attracted by the alternating directions of each buoy and the grafitti markings for the past locations of the buoys.

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  Marianna Anzelmo Torino, a woman silhouette into ancient geometries.

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  Marc Ressang Seaside, Mumbai, India.

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  Giovanni Maggiora Starbust. The stark shadow of a palm tree on the treatment basins of a Berber tannery in Marrakesh. Leica M Monochrom, 28mm f/2.8 Elmarit.

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 Leicahooligan Bird’s eye, downtown Chicago. Nikon V1, 6.7 – 13 zoom. If interested, look up Leicahooligan on Flickr.

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  Robert Edwards Saw these two girls posing at the advert. Called this picture dreaming. Not sure who is dreaming?

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  Eleni Rimantonaki I just had a fleeting glance at the little girl that was running and I followed my instincts and pushed the button.

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  Szymon Pająk Laundry drying at the walls is nothing untypical in Italian cities. But this one was lit in a very unusual way. This photo was taken in Volterra during my holidays in Italy.

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  Donna Abdy The purest love in the world is the love a mother has for her child. Here is mine.

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  Mrinmoy Das This is a homeless person I found in a street…

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  Yaj Taga-amo Carrying heavy loads yet earning just enough to survive the day. This is the life of a minimum wage worker here in the Philippines.

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  Richard Friend Buddhist monk walking barefoot on his morning alms collection, with the overhead sky train – Bangkok.

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  Zeno Felkl From my longtime project called “Traces of white”.

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  Alan Humphris I tried to speak but she walked away.

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  Raul Policarpio Shot taken just below my residence, got excited when the guy made an eye contact coz I think everything is in the right place, all in frames.

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  Raul Policarpio In an early morning walk, saw this man doing his own “thing” just outside a closed bathroom fixtures store.

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  Raul Policarpio Stripe it is.

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  MB Kinsman A Decisive Moment at Koudelka’s exhibit. Josef Koudelka’s Nationality Doubtful exhibit is in 3 rooms in the Modern Wing of the Art Institute of Chicago through September 14th. This room was dedicated to his Panoramic work, including a display of his accordion fold books of panoramic images as seen in the background. However, this gentleman’s stance was too good to pass up, the image was ready made.

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  MB Kinsman The Evolution of Fashion. Sometimes a decisive moment presents itself for the taking. This was one of those moments for me, while exploring the lake front one summer day.

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  Ivan Peplov Random shot in Moscow Metro.

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  Ross Kennedy This is my favourite image from a recent trip to Burma – I took it at the huge Mingun Bell near Mandalay in Myanmar which is supposed to be the world’s largest “ringable” bell. There is a wonderful tradition in Burmese Buddhism of using the ring of a bell to send out positive energy into the world.

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  Ross Kennedy This was at the Shwedagon Pagoda in Yangon, one of the biggest temples in the country. In early evening, local people gather with their families to walk around the huge golden stupa. I used a tripod to take a long exposure of the wonderful colours moving across my field of view.

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  Archie Hughes I’m not a real photog and don’t play one on TV, but I practice my viewfinder moves in front of the mirror or window: both eyes open! Thanks, Olivier. Your writeup on the LF1 inspired I (I mean me) to buy one.

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  B.C. Lorio This picture was taken in July 2011 while walking through the fabled “South Bronx”. As a man raised in the midwest, this shot captures all non-native New Yorkers’ fascination with summers in Gotham City. The kids. The fire hydrant. Change the clothes on the kids (and the fact that it is a digital shot) and it could be from any prior decade. Still, it captures an urban summer.

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  B.C. Lorio The barber shop is the center of urban culture. Fortuantely, my barber is also a showman. I happend to take this shot in February 2014 as he was shaving a longtime customer.

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  Archie Hughes Empty bar, used jackets for sale.

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  Fabio Balestra “Newsreader”. Fujifilm X-Pro1 18-55.

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  Fabio Balestra “Sweet dreams”. Fuji X-Pro1 18-55.

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  John Spencer Limassol, Cyprus. Easy to get lost in the crowds of a local celebration.

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  Tracy Mitchell Griggs This salon is an open corner of an indoor farmers and flea market. I was amused by another glamour poster which is juxtaposed against the glamour hopefuls. The salon “helmets” reminded me of Darth Vader in the Star War films.

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  Tracy Mitchell Griggs This one is called Veteran and Wife – I photograph veterans as part of a series. This was shot with my 4s – my only camera. Lonnie, the veteran is a great guy. I met him and his wife at a local pub and they agreed to sit for this portrait.

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  Tijen Erol The ladies are sitting in front of a public toilet. I just managed to took one shoot. After they realized that I am shooting them, they started to shout at me.

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  Vittorio Aulenti ‘Running to stand still’, I named this frames. Both I like this U2′s song and it gives to me a sense of freedom and joy.

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  Richard Barnard Street shot taken in Manchester. Couldn’t resist the juxtaposition!

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  Richard Barnard Taken on a rare hot and sunny day in Manchester, U.K. This guy was sat on the bench behind me and I was drawn to the reflection in his glasses with the added bonus of a large concrete wall to provide a plain background.

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 Treur When driving from the south to the north of Crete, Greece, I stopped in the village of Spili for a soft drink. I entered a small bar and saw these three men who were not quite sober anymore, although it was only shortly after noon. The man in the centre appeared to be the owner of the establishment, the two others were regulars. I wonder why the guy at the left had a tuft of parsley behind his ear?

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  B.C. Lorio A very recent picture, taken with my HTC ONE phone, from Coney Island (Brooklyn, New York) “Mermaid Parade”. The use of the double-entendre, their faces, and the location instantly made it one of my favorite photos. (Plus, it goes to prove that “the best camera is the one you’re using at the time”.)

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  Vittorio Aulenti This old man, this empty chair ready for someone, the reflections of his face on the table. The sense of waiting.

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  Abdul Haq Musa I’m usually too chicken to just blatantly take someone’s picture in the streets, especially in KL where nobody gives a crap about you or your fancy camera. But, when I saw these two from afar, trying to cross the road, I just had to somehow capture them.

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  Greg Blokkeel I recently shot those photos in Singapore, East Coast Park where you can find a really nice X-Treme Skate Park. It was a really nice moment because I discovered that Skate’s world open up a all new world for me in terme of photography. Will try to continue exploring that world…

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  Theresa Groth Loner – Bloor Street West, Toronto, Ontario, Canada.

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  Nicolai Amter I absolutely love the Ricoh GRD series of cameras. Recently my lovely girlfriend bought me the Ricoh GR and I’ve start to get out and shoot more street photography with it. This is one of the shots.

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  Nicolai Amter I was shooting a corporate film for the BBC in Kenya in one of the biggest slums of Africa called Kibera, after the shoot I really wanted to go back and see what it’s like to live there.

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  Fernando Lyra

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  Fernando Lyra

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  Nik Coli Human Simmetry

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  Nik Coli Bus queue. Waiting for the bus.

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  Mike Stonel More luck than judgement. I spotted this girl walking towards me, thought she looked interesting, took the photo. Only realised later that I had this eery reflection in the van. I like the way the reflection is divided up and also the way the reflection is looking back at the girl.

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  Mike Stonel A Convent Garden scene. Jake Heading is busking away just out of shot. The girl was dividing her time up between iPhone, smoking and watching Jake.

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  Katarzyna Krzykowska This photo was taken during Corpus Christi Procession in Łowicz.

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  Jasen A Reyes Taken in Sham Shui Po, Hong Kong. Shot with a Leica M240 and 35mm Summarit, I had fired off a few frames when one of the guys finally looked up and made eye contact. I feel like It makes the photo so much more personal and interesting.

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  Roger Bradley I was driving into Comber, a small town in Co Down, Northern Ireland, when I spotted this. I quickly pulled into the roadside and got the shot. It is a scene that can been observed across Northern Ireland in early July as the unionist population prepare for the 12th July celebrations. It was the juxtaposition of the van with the rear doors open revealing the flags against the two men fixing flags up a ladder that caught my eye.

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  Xesús Valle A reflection in a shopwindow tell me a true story. Fake wings over paper skies. Galicia, 2014.

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  Gary Jones A delivery man gives me a piercing stare in Causeway Bay, Hong Kong.

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  David Barrett This image was created while sheltering from the English summer weather in my car, its a little more wayward than my usual style.

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  Simon R A street in the littlest village of the Switzerland: Corippo.

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  Graham Alexander I was coming out of the Tube station at Bond Street, London, UK when I saw these three nuns with The Back Street Boys – not something you see every day.

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  Tony White Taken with the iPhone on Washington Street Cork City Ireland. This logo on the wall matches the colours of the Guy walking with the dog.A simple street image in colour that I think works well here!

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  Edward Regan July Fourth 2104, outside Grand Central Station. In true New York fashion. D600 Nikon - B&W processed in Nik software. Happy Fourth of July!

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 Schwarzweiss There are highly stylized images of Berlin which one may find in graffiti, graphic design or t-shirt prints. I wondered if I can find this kind of images in reality.

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  Tracy Mitchell Griggs Amish Boy on Roller Skates.

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  Alireza Najafi My wife and I were on holiday in Turkey. We were on the bus and moving , I shot this photo throw the window…

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  Tim Shirey There are physical subjects we can repeatedly return to observe and photograph. Light and shadows are temporary, and can make a commonplace object “special”, where the light/shadows take on a shape and life of their own. That’s what I’m drawn to.

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  Sara Elbayya I saw this young boy in Gaza strip, palestine. He was guarding the groceries in the black plastic bags while his father scrolled the farmers market getting their groceries. The young boy looks out of it and a little lost. he surely looks like he doesn’t want to be there.

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  Emiliano Severoni I took this picture in Berlin in 2009. This is the Memorial for the assassinated Jews in Europe.

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  S. Huang Enjoyed the color and juxtaposition.

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  Dan Wray Snacks for the kids, and snacks for the pigeons, Philadelphia.

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  Monty Barham My first keeper using my new Fujifilm X100s.

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  Monty Barham Walking the streets in Washington DC and came upon this child with her father… To me she resembles the woman in the salon ad…

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  Vincent Albanese ‘Help me please’. Street beggar in Sydney, Australia. He holds a pose for up to an hour. I made this photo because it is ‘real’. This is how our fellow man gets by every day while we go about our comfortable lives. The hours roll by and these people can be found in their ‘spot’ ever patient hoping for people’s loose change. As for story, the fact that someone has to lower themselves into a position of subservience, on the corner of a city street, hoping for a few coins says a lot. Fuji x100s, ISO 200, f 2.8, 1/1250.

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  Tchad Blake Always something interesting in NYC. Taken with a Leica Digilux 2.

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  Tchad Blake What the….???

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  Sharon LuVisi From a patio dining area on the Malibu Pier.

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 DesCrofton I captured this Rodin-like moment in Hong Kong’s club and entertainment district, Lan Kwai Fong. The intensity of their passion and complete obliviousness to their surroundings really impressed me.

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 DesCrofton The traditional abaya of this Indonesian woman against a stark white background lent itself to a highly graphical treatment. Shot taken in Causeway Bay, Hong Kong, a popular spot for Indonesian domestic helpers on their day off.

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COME SAY HI! INSPIRED EYE IS AN ONLINE COMMUNITY

As the issue draws to a close, it doesn’t mean goodbye yet! Inspired Eye is more than a magazine, it’s a community of dedicated photographers and enthusiasts, come say hi! Facebook Fan Page We are on Facebook, and our fan page is growing more everyday. Come post your pictures or stay informed with Inspired Eye news. Great relevant links and images are curated on that page

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Twitter We do Tweet too! Add us @InspiredEye to stay in touch with us. Direct Contact A small feedback always goes a long way when there is hard work involved, please share your thoughts with us by sending us an email.

an interview or have an article to submit simply email us and it will be considered. We annouce when the readers submissions are open, keep n ear out on Facebook or your email. The adventure continues This Magazine is lots of work, please consider supporting us trough a subscription, or please share us / blog about us in places where you have a presence like forums and websites. Thank you, see you next issue Amicably Don & Olivier

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Inspired eye Issue 12  

Black & White street photography. Feature "Transhumance" series.

Inspired eye Issue 12  

Black & White street photography. Feature "Transhumance" series.