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PENTAPRISM N째8 March 2015

reportage

Kennedy Hill Aboriginal communities under threat BY INGETJE TADROS

m a g a z i n e

INTERVIEW

Paul

APAL'KIN


N°8 March 2015

EDITORS: PENTAPRISM STAFF

GRAPHIC DESIGN: ELENA BOVO

www.pentaprismcommunity.org

pentaprismphcommunity@gmail.com Pentaprism-showcase

COVER PHOTO/ABOUT US PAGE PHOTO: PAUL APAL’KIN

PENTAPRISM MAGAZINE IS NOT RESPONSIBLE FOR TEXT AND PHOTOS PUBLISHED BECAUSE THEY ARE PROPERTY OF THEIR RESPECTIVE OWNERS. ANY COPY IS FORBIDDEN BY THE LAW.


ABOUT US Welcome to Pentaprism, an online photo-sharing community. We are an international team of passionate photographers and artists that gathered in order to achieve common goals: show to the world great, high quality photographs, present amazing artists, allow new and talented photographers to be seen and recognized. The Pentaprism website is a user-friendly platform that guarantees easy navigation and worry-free photo uploads. We constantly work on the improvements of its interface and content. In order to ensure a high quality of photos presented on our website as well as in the Pentaprism Magazine, our curators carefully screen and assess all photos prior to their publication in our gallery. The Pentaprism Magazine is an extension to our website. We prepare it periodically in order to highlight specific works and to give a deeper insight of the photographers’ visions. The content of the Pentaprism Magazine includes special topic articles, interviews with our featured artists, photo reportages with travel stories and lots of great photographs. We believe that art has a catharsis-like quality and should be available to the masses. Therefore our website and magazine are accessible to everybody free of charge. In addition we do not allow any kind of commercial advertising on our platforms. The Pentaprism team of curators works voluntarily on a non-profit basis. If you wish to support the maintenance and development of the Pentaprism website and magazine, please feel free to make a donation. Your greatly appreciated support will be used exclusively to improve Pentaprism online visibility. Thank you for your visit and support. We hope that you enjoyed our photos and stories! We invite you to visit us again. The Pentaprism Staff


index 6 INTERVIEW WITH PAUL APAL’KIN 32 FOCUS ON 48 REPORTAGE: KENNEDY HILL BY INGETJE  TADROS 80 HIGHLIGHTS 146 MEET THE PENTAPRISM STAFF


INTERVIEW

P a u l APAL’K I N


Paul Apal’kin was born in 1987. His photographic career started in autumn 2009. In 2012 he entered a local photo club. During this period, he regularly participated in joint club exhibitions and won many local photo contests. Since 2013– he is a member of the UAPF (Ukrainian Association of Professional Photographers). Also 2013 he showed his first solo exhibition. At the moment Paul lives and works in Zaporozhye, Ukraine. Award - Trierenberg Supercircuit 2014 (Gold medal of excellence). Personal exhibitions: “Dreams and Dramas” - Ukraine, 2013

I don’t know why I started taking pictures. In my environment have never been any photographers or artists or composers. There was no special photographer who inspired my work. But my youth emerged an inexplicable desire, the idea that I should certainly become a photographer. When starting to take photographs, I was not really familiar with all the different techniques which are necessary to achieve appealing results. I just photographed, and I liked it. Members of my family told me that I did it very well. After a while, something dramatically changed inside me, in my mind. In 2012 I began to create the first conceptual shots. I realized that this is what I need to do and that this kind of conceptual work is what I was interested in.. And maybe it’s also interesting for the viewer. Now I’d allocate my work to two key genres: the classical and conceptual portrait. In the first genre I express my sense of beauty and aesthetics, the second contains all my thoughts and experiences. Paul Apal’kin

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PAUL APAL’KIN

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PAUL APAL’KIN

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PAUL APAL’KIN

Hi Paul, welcome in this issue of the Pentaprism Magazine. We are proud to promote your work. Let’s start with a “simple” question: you are, for sure, one of the most appreciated photographers in the net. What is that one thing that made your photographs stand out? Thank you, I’m very flattered to be featured in your journal. The first question puzzles me: I have never engaged myself in the analysis of my work. It is impossible to measure it subjectively. Perhaps people are attracted to the sincerity with which I show feminine beauty in my portraits or scenes. Maybe my conceptual works encourages thinking. My audience could probably answer this question better, I can’t.

What are the ingredients for success in photography? Fortunately, there is no specific recipe. However, it all depends on what you mean by success. To achieve recognition in the craft of photography is quite simple: one needs to get a good education and work incredibly hard. But to be an interesting author, who stands out among the thousands of artisans, you must have the mindset that allows a deeper perception of the world. You need thinking that is not confined in stereotypes and try to avoid a standard set of decisions that are so fiercely embedded in people’s heads since birth. The more profound you are as a person, the deeper is your work. At the beginning of this response, I said “fortunately.” I said it because if there were a clear formula for success, then creativity as such would cease to exist. All authors would resemble each other and they would merge with the mass. When you mix all paints, you get a neutral color shade.

How would you describe your photographic style and how it has developed over the years? In terms of the execution of work I can see myself as a pictorialist. In terms of the content, I am a portraitist and conceptualist.

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PAUL APAL’KIN

I have been taking photos for over five years and from the first days, when I still treated it is as a hobby, I realized that portrait attracted me the most. A little later I became interested in how to include in my photos something more: new ideas and my feelings. This is how I arrived to conceptual photography, which uses man as a symbol and a flexible tool to express about everything. Now I shoot in two key genres: classical portrait and conceptual photography. Unfortunately, because of my work in the Spectator classic portraits became more popular. They are simple, soft and do not require a lot of effort. Conceptually portraits demand a contemplation, but also complicity, tension and understanding. But, if all of a sudden something happened, I would like to be remembered in the history as a conceptual rather than classic portrait photographer. By the way, on my website I have identified these photos as a separate group. You are welcome to check them out: www.apalkin.com/conceptual.html

On YouTube we saw your videos about post-processing on your image. It is really interesting. Do you start with a precise idea before the shot or do you leave your creative flow free? Both, the first and the second. First of all, it was interesting for me to combine the traditions of cubism and modern photography. With that I started. The balance and serenity in the finished work prompted me to give it the name “Manentia”, which means “the firmness, constancy.” In the near future I want to try myself in the real painting. There is always a romantic atmosphere in your work, who and what has inspired you in your life and why? Romanticism, slenderness, fragility, calmness, and melancholy - all this is close to my character. Because the basis of my creativity comes from my biography, so the characters of my photos look that way. As for inspiration, it is a very broad topic. In the past I wrote an article about this. In short, I am inspired by life and everything that surrounds me.

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Let’s talk about technical aspects. Could you describe one of your typical studio set-ups? I have always regarded Consumer Tools, but without making them a cult, as many of my colleagues do. In the studio, I use a very simple flash 100-150W. I have also photographed with the amateur-class Canon 60D + 85mm / F1, 8. In the light of the classical scheme of the portrait, as a rule, I make use of one painting source (soft box 45cm) and one background. I always start with the “Rembrandt” light setting, and then correct nuances. In all photo sessions my wife Anastasia helps me. She is my muse and companion. She is my wife, my model, my assistant and my make-up artist. She understands me without words and replaces the whole team.

Thanks a lot Paul, can you leave a comment to all Pentaprism members? Yes, with pleasure. Do not do anything in order to please the critics; this is the way to oblivion. If you feel that you are exhausted and have nothing to tell to your audience, take a break and fill yourself with something previously unknown. Read, listen to the music, and learn something new that is not necessarily associated with the creation. Admire, but do not copy. Interpret and create. And do not be afraid to be misunderstood.


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PAUL APAL’KIN

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F O C U S O N

Jimmy HOFFMAN

While many people pride themselves of being able to see the big picture, Jimmy Hoffman is much more concerned with honing in on the tiniest of subjects for his pictures. The Netherlands-born photographer, who resides in Spain, has turned a fascination for nature into his art and his business, landing publications in international magazines such as National Geographic and newspapers including Great Britain´s Daily Telegraph. ¨My main goal is to capture and show the hidden world of tiny subjects like insects¨ says Hoffman. ¨Working at higher magnifications reveals a world of exquisite beauty with a variety of colors, shapes, and patterns¨. Hoffman credits his father for giving him the photography bug, no pun intended. He watched and learned how his father, a hobby photographer, took photos, many of flora and fauna, and processed them in his darkroom. And while Hoffman´s first camera was an analogue Pentax, these days he shoots with a digital camera, using a Canon 60 mm f2.8 macro lens for most of his shots. Not surprisingly, Hoffman traverses the globe to find some of his more striking subjects. ¨I love traveling to tropical countries in Central America and Asia, where the biodiversity is much larger than in Europe and where the animals and plants are often much more eye-catching, colorful and special. ¨says Hoffman. But with a keen eye-and good equipment he is able to get stunning shots near his own backyard in Spain. By Lori Stacy

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Pray for prey | Jimmy Hoffman


Bat | Jimmy Hoffman


Caught in a droplet | Jimmy Hoffman


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F O C U S O N

SHEMARA

My name is SHEMARA, Born in 1985 and I live in Rotterdam / The Netherlands . ( I only use my first name, for that I have a very good reason! ) I’m a professional image designer and since 2014 seriously working on my children’s fine art / fashion photography. As a child I was fascinated in taking pictures, which eventually resulted in a study photography. After 4 years, I graduated in 2006 from my study photography. After my studies I specialized myself in image designing in collaboration with advertising photographer John Janssen. The will to photograph, however, remained. After the birth of my first child, children’s photography became my passion! Now I am a mother of 2 kids. I only want to photograph children and want to distinguish myself in this. My strength lies in perfecting the image, this is my principle and vision. In one year I have won awards , got international publications, a lot of attention and lovers for my work. I ‘m very honored for this all! I find it very important to connect with the children. The most important thing is to make them comfortable while photographing them and hoping they have fun! I would like to stand out within children’s photography. I love it when people like it, but mostly I want to be happy about my creations. I love the natural beauty of children. They are who they are. “You cannot force them and you have to catch the moment that they give you”.


Surfer | Vlad Untitled Sokolovsky | Shemara


Untitled | Shemara


Untitled | Shemara


F O C U S O N

Nathan WIRTH


Nathan Wirth, who was born and raised in San Francisco, is a self taught photographer that uses a variety of techniques— including long exposure, intentional camera movement, compositing, and infrared— to express his unending wonder of the fundamental fact of existence by attempting to focus on the silence that we can sometimes perceive in between the incessant waves of sound that often dominate our perceptions of the world. Nathan earned both his Bachelor of Arts and Master of Arts in English Literature from San Francisco State University and brings a deep appreciation of poetry to his explorations of place (especially the sea). Poets such as George Oppen, Seamus Heaney, Robert Frost, Elizabeth Bishop, James Schuyler, Lorine Niedecker, and George Mackay Brown have played a fundamental role in shaping his attention to the things and places that he photographs. Often returning to the same locations many times, Nathan seeks to explore the silence and the sublimity of those places. In addition to poetry, Nathan is profoundly influenced by the paintings of Caspar David Friedrich, Edward Hopper, Mark Rothko, and Camille Pissarro and the photography of Michael Kenna, Edward Weston, and Wright Morris. Recently, Nathan has been studying and integrating into his work Japanese traditions of Zen, rock gardens, and calligraphy– as well as the transience, impermanence, and imperfections of wabi-sabi. Nathan’s studies of calligraphy and Zen writings have led him to the practice of trying to achieve, while working on his photography, a mind of no-mind (mu-shin no shin), a mind not preoccupied with emotions and thought, one that can, as freely as possible, simply create. Nathan also curates and edits, slices of silence, an online place to read and view conversations about photography. Nathan, after living in San Francisco for the first 44 years of his life, moved to Marin County and currently makes his living teaching English Composition at City College of San Francisco.

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Bandon I | Nathan Wirth

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Self & clouds | Nathan Wirth

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r e p o r t a g e

Kennedy Hill Aboriginal communities under threat BY INGETJE TADROS

Kennedy Hill is an Aboriginal community in the remote town of Broome in the Kimberley, in the North West of Australia. The community exists in the shadows of Western Australian Premier Colin Barnett’s commitment to close down approximately 100-150 Aboriginal communities in Western Australia. There are more than 270 remote Indigenous communities in Western Australia, home to 12,000 people. Aboriginal Elders and Leaders are shocked and feel closing down communities is a big threat to their people. They believe the impact of such a move will be devastating. Communities are based ‘on Country’. Closing down communities means losing connection to the land in which ancient stories are etched. These stories inform about morals, values and relationships, and are reinforced in Language through song and story at times of ceremony or travel through that Country –there used to be 250 Aboriginal languages before White 48 PENTAPRISM

Invasion. By closing down communities, ancient knowledge that has been passed down through generations will get lost and people will be lost because of this disconnection that nurtures them physically, emotionally and spiritually. Consequently, poverty, disadvantage, alcoholism, unemployment, etc. –which are contained within communities because of ongoing cultural connection– will be relocated and intensified and brought to the bigger towns. History is repeating itself! Australian award-winning Photojournalist Ingetje Tadros has spent four years working with Aboriginal people and has been documenting their confronting daily lives within their communities. Her concerns for Aboriginal people and their communities stretch from the old uninformed line that demonises Aboriginal men by insinuating that Aboriginal women and children are under great threat by the men in the communities, to a lack of affordable


accommodation; Over seven per cent of the Kimberley population is homeless and ninety per cent of this homelessness is comprised by its First Peoples. Kennedy Hill, or as the locals refer to it, ‘The Hill’ is significant to Indigenous people in the region. The presence of a large shell midden immediately adjacent to the community is testament to this significance; It’s been a living area and a sacred place since before White Invasion... since time in memorial. Aboriginal people all over the Kimberley are now in fear of losing not only their homes but losing the significant connection to their land and sacred sites. The question now remains, which Aboriginal communities will be closed? Personal quotes Ingetje Tadros: “I’ve always been appalled by the way the Aboriginal people were treated and it just disturbed and disgusted me, so I decided to have a closer look and started mingling with Aboriginal people about four years ago. At first I spent time in the little bush camps where they were carving Boab nuts and where they were eating and drinking, and I started taking portraits. I always gave them the images and they were always received with a big smile. That was my reward, the smiles on their faces, so we started a relationship and that relationship became stronger and more intense. Then I started documenting daily life like funerals, hunting, family fights, a wedding and little family moments. Then over six months ago I felt the need to document just one community, and that became Kennedy Hill. Why? First of all I was appalled that people are living in such poverty in a country like Australia, which is so rich.People are living in very old and unmaintained houses in Broome, a tourist mecca where people fly in from all over the world to enjoy this beautiful place. The Community of Kennedy Hill seemed to me like a different planet sitting there on ‘pristine real estate’ and I was just annoyed about the negativity about Aboriginal people. Like I always say, ‘When there are different cultures living together, you should sit with one another and learn from each other and respect each other’s cultures and ways, this is the only way forward’.” I am Dutch and my husband is Egyptian. I decided to live in Egypt for one year and my husband also lived in Holland. Our marriage still

stands –after 30 yrs– as we embrace each other’s cultures and understand each other’s cultures, and that mutual respect has made it sustainable.” “I wanted to get to know the people of Kennedy Hill and spent 6 months to document their life. The people opened up their homes for me and started sharing their frustrations and their problems.” “Many Aboriginal people are appalled and shocked by the decision of the Premier of Western Australia —Colin Barnett– about his decisions to close at least 100 communities in Western Australia.” “I’ve learned so much from Countrymen and women; Their relationship within their families, the strong family ties, to know who they are and know where the come from. That is what identifies them. In my own culture this does not exist.” “My last remark is that the only way to learn from each other is to sit with each other – respect and understanding go a long way– and that is what I have experienced. I can say from the bottom of my heart that Aboriginal people are the kindest and warmest people who are very welcoming and have the best humour. It saddens me when I hear, over and over again, ‘they just have to go over it’. My reply to uninformed statements like these is, ‘What about if everything that has happened to them, would‘ve happened to you and your family? Would you and your family ‘just get over it?’” My good friend Katja Nedoluha wrote: To Aboriginal people, losing Country is not just like losing a home in the sense of losing a roof over your head. Losing Country is losing the connection to everything that ties them and is tied to that Country; Community, Language, Kin, Law, Culture. Aboriginal people belong to their Country just like your breath belongs to you. Country sustains Aboriginal people. Countrymen and women are the blue print of their land and carry its Stories, Law, Culture in their physical embodiment. Taking Country away from people is like committing Spiritual Genocide for they will be forever lost.”

©Ingetje Tadros/Diimex www.ingetjetadros.com PENTAPRISM 49


Meah (3 yr) and Marjorie (5 yr) playing on ‘the Hill’ which are the sand dunes behind their family home in Kennedy Hill. Free as little birds they run and play in the sand dunes, unaware of the problems their Community is dealing with. This is such a beautiful place, the sand is white, the water is turquoise, the sky is blue and the view is even more spectacular. This is a pristine location.

©Ingetje Tadros/Diimex


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©Ingetje Tadros/Diimex


Jenaerd, Sardie, Anna, Charlette, Quane and Chrissy watching TV in their brothers room, (L to R). Tourists fly in from all over the world to Broome to enjoy the Cable Beach resorts and the surrounding pristine environment but for the residents of Kennedy Hill this reality is totally removed from their world.


ŠIngetje Tadros/Diimex


Sardie (2 yr) is cooling off in an esky as temperatures can reach to the 40째C. Sardie lives in Kennedy Hill and is one of the happiest and cutest babies I have ever seen. Totally unaware of the problems in the Community, Sardie is happy as Larry.

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“Canberra has forgotten us, everyone has forgotten us. I worry everyday about this community. I walk into town and speak to the lawyers, to the Government, to the Land Council, but no-one does anything.” “...I will not leave the community. I will die here, and I will do this for the sake of this community.” “...what they should do is rebuild the community, build good quality houses and provide the services that we too have a right to. This is our land, our community,” said Elder Roy Hunter Wiggan 88-year-old, resting in his room in his family home in Kennedy Hill.


ŠIngetje Tadros/Diimex


ŠIngetje Tadros/Diimex


Chrissy holding a birthday cup which has the number 21 on it. Chrissy turned 21 years old, her mum Elaine Wiggan said to me; “She is a loving mum and does not drink, she stays home and looks after her two kids.�


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©Ingetje Tadros/Diimex


An old Aboriginal flag, hanging in a condemned house in Kennedy Hill. The symbolic meaning of the Aboriginal flag is that Black Represents the Aboriginal people of Australia. Yellow, Represents the Sun, the giver of life and protector. Red, Represents the red earth, the red ochre and a spiritual relation to the land. This house PENTAPRISM 61 has now been demolished.


ŠIngetje Tadros/Diimex


“Alcohol can bring you down and kill you, it will....to me I was happy to die, I lost my father he was my hero, I had a bad record , PENTAPRISM I know now my 63job is to save my people.”‘Billy’ Stuart Ah Choo sitting outside his home in Kennedy Hill with his beloved dog Dontee and her pup Little Blacky.


Esther Yumbi having breakfast in her home in Kennedy Hill. Due to excessive alcohol consumption she has been diagnosed with dialysis and now is being treated in Perth Hospital 2300 km away.


ŠIngetje Tadros/Diimex


©Ingetje Tadros/Diimex

Clare Golava, Amanda Lewis, Mary Njamme, Sussanne Charmawina (from L to R) posing after breakfast at Esther’s house in Kennedy Hill. They are living it rough and sleep at various places in and around the community of Kennedy Hill. They are from Balgo( Wirrimanu). Balgo is a dry community (alcohol is not permitted) Balgo is one of Australian’s most remote Aboriginal communities located in the south-east Kimberley region of Western PENTAPRISM 67 Australia with a population of about 460 people.


ŠIngetje Tadros/Diimex


Bruce Njamme has been coming and going to Kennedy Hill for a few months, living it rough and always has been very kind to me and one morning he said to me, “Hey Ingi from now on we will call you ‘Nagala’ (sister) then Bruce said “I want to sing a song for you.” Then he walked over to an old and abounded car outside the fence in the sand dunes, sat on the bonnet and said, “I am from Balgo from the desert and I sing this song for my family who all passed away and for my father who is Sunfly. The song is called Worray Yagga Yagga.” It was a very emotional song and than he burst out in tears. Many of these people who live in and around Kennedy Hill are so far from their country.

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“No Alcohol permitted in the Community, by order of Mallingbarr Community Council.� This sign is standing right in front of the Office, which is now a condemned building in the Community of Kennedy Hill. The Office was demolished in the early morning of October the first 2014. If it will be replaced remains a question.


ŠIngetje Tadros/Diimex


“We had Rebecca since day one and now she is already 2 years and 6 months, Rebecca is the daughter of Deana, (Patricia’s daughter). Deana’s drinking habit was bad and now she is in rehab, she is doing well.” Patricia and Rebecca (2 yr) having some lunch outside their house in Kennedy Hill while Creamy (L) and Bluey (R) patiently are waiting for their share.

©Ingetje Tadros/Diimex

Goggling at Mt. Asgard


Rhonda, Philippa, Erica and James (L to R) are one of the many people squatting in this abonded and condemned house in Kennedy Hill. After the house was demolished on 22nd September 2014 they moved camp. A lack of affordable short-term accommodation, combined with Aboriginal people moving in from remote communities, has led to people camping on bush blocks and parks in town.


ŠIngetje Tadros/Diimex


ŠIngetje Tadros/Diimex


“Now the community should get together as one, join hands and try seek to gain the loss by approaching various government departments in an appropriate manor for assistance.� Kennedy Hill resident Sandy Isaac mentioned. This demolition took place on September 19th 2014 in Kennedy Hill.


Alan Dededar leaving Kennedy Hill and mentioned to me he is on his way to Centacare. Centacare Kimberley in Broome provides a range of services to people who are homeless, at risk of becoming homeless, or are experiencing financial hardship. Centacare have an outreach team that engages with people sleeping rough throughout the Broome area with a primary focus on supporting them to access social housing. Centacare runs a homeless breakfast. Alan is from Balgo a dry community (alcohol is not permitted) and is squatting in a condemned house in Kennedy Hill. (This house has now been demolished).

ŠIngetje Tadros/Diimex


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HIGHLIGHTS

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Madonna mia | Eugene Reno


Untitled | Alain Gillet


Faded out | Alexey Frolov

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Coffee break | Igor Coko


Anita Meezen | Lezende Vrouw

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Golden Eagle | Tony Andersson


Untitled | Cornel Pufan


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Green | Leonie Kuiper

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U | Marzena Wieczorek


Untitled | Josephine Cardin

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Looking through time | Aleksey Gor


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El peque単o pescador | Mariano Belmar

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Face | Karel Ševčík

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Nice Nosing You | Elke Vogelsang


Diagonal | Bildwerker Freiburg


Life Times | Ivan Marlianto


Lost childhood | Lilium Eternal

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Watching you | Kutub Uddin


The Space in between | Milad Safabakhsh

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Up to the switch | Lubos Bohacik


Untitled | Ariadna Belkina

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Lonely dog | Sergio Murria


Sea Gipsy Fisherman | Massimo Daddi

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Oyster bars | Niels Devisscher


Louis Armstrong | Roberto Polillo


Natalia | Adam G-Ă–bora


Red Passion | Vitaliy Reznichenko

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Untitled | Ryusei Egawa


Untitled | Zehra Beşli

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Даша | Sergey Smirnov


Untitled | Tadashi Onishi


Felix | Maxim Gurtovoy

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MEET THE

Pentaprism

STAFF


riccardo ROSSINI I just want “...to create a visual diary of what I heard, to make people see the way the music sounded.” Herman Leonard


Chris Wood | Riccardo Rossini

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Petter Eldh | Riccardo Rossini

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m a r c o NOSIGLIA

I love to take images of aspects and moments in real life. About photography I simply believe that a shot has a value if the excitement when looking at the image outweighs the technique used for making it.

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Riposo alla Defense | Marco Nosiglia


Huaihai-Rd | Marco Nosiglia


Traffic | Marco Nosiglia

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IN THE NEXT ISSUE INTERVIEW WITH

RALPH GRÄF

Pentaprism magazine #8  
Pentaprism magazine #8