Photographize Magazine Monochrome | Issue 01

M01

WHO WE ARE Photographize is beyond a Magazine! It’s a platform for artists, galleries, and creatives.

We dedicate our space to all kinds of art regardless of technique or period, such as illustration, painting, digital art, photography, sculpture, and video. We aim to become a virtual place based on immediacy, where images are presented in their pure beauty and have the ability to capture and captivate the viewer.

Have a good journey towards timeless Art.

SUBMISSIONS

www.photographize.co/submissions

SALES AND ADVERTISING E-mail: sales@photographize.co Writer: Thomas Jukes All images and text published in Photographize are the sole property of the featured authors and subject to copyright.

No image or text can be reproduced, edited, copied or distributed without the express written permission of its legal owner.

March 2022 © Photographize Monochrome Magazine Cover: © G.B. Smith

FUDO HUB LLC Photographize ISSN 2639-5703 - DIGITAL ISSN 2639-569X - PRINT www.photographize.co

CREATIVE HUB

WHO WE ARE Photographize is beyond a Magazine! It’s a platform for artists, galleries, and creatives.

We dedicate our space to all kinds of art regardless of technique or period, such as illustration, painting, digital art, photography, sculpture, and video. We aim to become a virtual place based on immediacy, where images are presented in their pure beauty and have the ability to capture and captivate the viewer.

Have a good journey towards timeless Art.

SUBMISSIONS

www.photographize.co/submissions

SALES AND ADVERTISING E-mail: sales@photographize.co Writer: Thomas Jukes All images and text published in Photographize are the sole property of the featured authors and subject to copyright.

No image or text can be reproduced, edited, copied or distributed without the express written permission of its legal owner.

March 2022 © Photographize Monochrome Magazine Cover: © G.B. Smith

FUDO HUB LLC Photographize ISSN 2639-5703 - DIGITAL ISSN 2639-569X - PRINT www.photographize.co

CREATIVE HUB

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FEATURED MICHEL LEROY LEIF STEINER PAULINE PETIT KRIS KUKSI MOISES LEVY OLGA KARLOVAC TREVOR COLE ANGEL SANCHEZ

INTERVIEW

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19 G.B. SMITH 49 AARON LACY

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ARTICLES

LOUIS BLANC ERICK CENTENO JASON M PETERSON REDMER HOEKSTRA SIMON CHAUDOIR

HIGHLIGHTS

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FEATURED MICHEL LEROY LEIF STEINER PAULINE PETIT KRIS KUKSI MOISES LEVY OLGA KARLOVAC TREVOR COLE ANGEL SANCHEZ

INTERVIEW

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19 G.B. SMITH 49 AARON LACY

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09 31 41 61 77

ARTICLES

LOUIS BLANC ERICK CENTENO JASON M PETERSON REDMER HOEKSTRA SIMON CHAUDOIR

HIGHLIGHTS

87 CURATOR’S CHOICE

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77

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UNITED STATES

ALCHEMY JC53. ► © Michel Leroy

www.michelleroyphoto.com https://editions.michelleroyphoto.com Michel Leroy was born in America in 1971 and grew up in Montana. He lived in London and Florence before finding his way to New York City in 2000, where he established a reputation as an award-winning entertainment and advertising photographer with a clear style that captures an authentic connection to real personalities from Olympic athletes to celebrity chefs.

ALCHEMY ES56 ► © Michel Leroy

The Alchemy series by photographer Michel Leroy explores the singular beauty of the human form.

Moments of sculptural balance and anticipation define the graceful lines and impossible gestures of these vivid B&W images. The technique is notable for the tactile permanence of flesh revealed through the in-camera process.

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FEATURED

Alchemy, Leroy’s most defining project, began in 2016. This striking body-positive figurative series explores the tension between physicality and identity. The photographic style developed by the artist over a year of experimentation with a mixture of analog and digital elements produces arresting clarity and a unique dark metallic look reminiscent of a Daguerreotype in the pixel age.

06 ALCHEMY LM254 ► © Michel Leroy

ALCHEMY PE27 ► © Michel Leroy

UNITED STATES

ALCHEMY JC53. ► © Michel Leroy

www.michelleroyphoto.com https://editions.michelleroyphoto.com Michel Leroy was born in America in 1971 and grew up in Montana. He lived in London and Florence before finding his way to New York City in 2000, where he established a reputation as an award-winning entertainment and advertising photographer with a clear style that captures an authentic connection to real personalities from Olympic athletes to celebrity chefs.

ALCHEMY ES56 ► © Michel Leroy

The Alchemy series by photographer Michel Leroy explores the singular beauty of the human form.

Moments of sculptural balance and anticipation define the graceful lines and impossible gestures of these vivid B&W images. The technique is notable for the tactile permanence of flesh revealed through the in-camera process.

15

FEATURED

Alchemy, Leroy’s most defining project, began in 2016. This striking body-positive figurative series explores the tension between physicality and identity. The photographic style developed by the artist over a year of experimentation with a mixture of analog and digital elements produces arresting clarity and a unique dark metallic look reminiscent of a Daguerreotype in the pixel age.

06 ALCHEMY LM254 ► © Michel Leroy

ALCHEMY PE27 ► © Michel Leroy

ALCHEMY PJ64 ► © Michel Leroy

ALCHEMY JC65 ► © Michel Leroy

ALCHEMY RZ216 ► © Michel Leroy

ALCHEMY RM48 ► © Michel Leroy NEXT PAGE: ALCHEMY CB255 07

► © Michel Leroy ALCHEMY LM454 ► © Michel Leroy

ALCHEMY PJ64 ► © Michel Leroy

ALCHEMY JC65 ► © Michel Leroy

ALCHEMY RZ216 ► © Michel Leroy

ALCHEMY RM48 ► © Michel Leroy NEXT PAGE: ALCHEMY CB255 07

► © Michel Leroy ALCHEMY LM454 ► © Michel Leroy

ARTICLE cORpuS - A perspective to alter bodily perception

by Thomas Jukes

www.loublancphoto.com

Born in Saint-Etenne France in 1956 but spending most of his life and career based in Toulouse, Louis Blanc is a self-taught photographer who gained the art world's attention when he won the “Body Language” competition at the Festival Européen de la Photo de Nu d’Arle. The first prize for the said competition was the chance to exhibit at the Palais de l’Archevêché d’Arles. Blanc showed twelve photos from his Corpus series and eyes were opened. Not only to the talent of this photographer but also into his fantastically explorative mind.

The photos in the Corpus series are self-portraits.

However, they are not your usual set of portraits.

In most, we find it very difficult and more often than not impossible to see the face of the subject. When one thinks of self-portraits we imagine someone trying to capture themselves in a photo or painting, usually, this involves the full features or body of the artist. Louis Blanc breaks this common ground with his expressive use of perspective. Hands and feet are pushed forwards towards the camera with the body retreats into the background, this gives the viewer the illusion that these parts of the body are of a vastly different scale. The photographer makes incredible use of this altered scale and perception to completely transform his physical form. The subject becomes almost monster like in many of the images with his hands and feet obscuring the face and torso to create bizarre part human entities, images of Guillermo del Toro’s Pan’s Labyrinth spring to mind, in particular, the eerie character of the “Pale Man”.

PREVIOUS PAGE: cORpuS ► © Louis Blanc

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ARTICLE cORpuS - A perspective to alter bodily perception

by Thomas Jukes

www.loublancphoto.com

Born in Saint-Etenne France in 1956 but spending most of his life and career based in Toulouse, Louis Blanc is a self-taught photographer who gained the art world's attention when he won the “Body Language” competition at the Festival Européen de la Photo de Nu d’Arle. The first prize for the said competition was the chance to exhibit at the Palais de l’Archevêché d’Arles. Blanc showed twelve photos from his Corpus series and eyes were opened. Not only to the talent of this photographer but also into his fantastically explorative mind.

The photos in the Corpus series are self-portraits.

However, they are not your usual set of portraits.

In most, we find it very difficult and more often than not impossible to see the face of the subject. When one thinks of self-portraits we imagine someone trying to capture themselves in a photo or painting, usually, this involves the full features or body of the artist. Louis Blanc breaks this common ground with his expressive use of perspective. Hands and feet are pushed forwards towards the camera with the body retreats into the background, this gives the viewer the illusion that these parts of the body are of a vastly different scale. The photographer makes incredible use of this altered scale and perception to completely transform his physical form. The subject becomes almost monster like in many of the images with his hands and feet obscuring the face and torso to create bizarre part human entities, images of Guillermo del Toro’s Pan’s Labyrinth spring to mind, in particular, the eerie character of the “Pale Man”.

PREVIOUS PAGE: cORpuS ► © Louis Blanc

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sight of their hands. Rough hands speak to a life of physical work where they have toughened to protect from harm, small delicate hands adapted to control and finesse, the calloused fingertips of a musician honed to their art. It is not just a person's face or body which can convey the life or emotion of an individual, our hands are what allow us to interact with the world around us, be those fellow humans or the natural elements.

Perhaps Louis Blanc is putting his forward, for us to observe and connect with the artist through the hands that made it. The man behind the camera but instead the hands behind the artist.

The Dark Side Of The Bull, 2013 / Lindenwood, Acrylic Color / 60x74x21 cm ► © Willy Verginer

cORpuS ► © Louis Blanc

A demon whose eyes are implanted in his hands with the creature famously putting his hands to his head to place the eyes in the right place. This image is echoed in the photo by Blanc where he crouches with both hands out in front of his face, claw-like and reaching out to the viewer.

It would be easy to say that the photos of Louis Blanc explore a surreal side of portraiture with the artist wanting to manipulate the image that we see of him. We never see his face or when we do it is obscured or constricted by his body as if the body is in control of the person and that the face is of no importance to the form of the whole. The saying “a picture says a thousand words” flits through the mist of confusion when I look at these images, they certainly tell many stories if we care to listen.

However, it is the hands which draw one in, the idea that you can tell much about a person by the 11

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sight of their hands. Rough hands speak to a life of physical work where they have toughened to protect from harm, small delicate hands adapted to control and finesse, the calloused fingertips of a musician honed to their art. It is not just a person's face or body which can convey the life or emotion of an individual, our hands are what allow us to interact with the world around us, be those fellow humans or the natural elements.

Perhaps Louis Blanc is putting his forward, for us to observe and connect with the artist through the hands that made it. The man behind the camera but instead the hands behind the artist.

The Dark Side Of The Bull, 2013 / Lindenwood, Acrylic Color / 60x74x21 cm ► © Willy Verginer

cORpuS ► © Louis Blanc

A demon whose eyes are implanted in his hands with the creature famously putting his hands to his head to place the eyes in the right place. This image is echoed in the photo by Blanc where he crouches with both hands out in front of his face, claw-like and reaching out to the viewer.

It would be easy to say that the photos of Louis Blanc explore a surreal side of portraiture with the artist wanting to manipulate the image that we see of him. We never see his face or when we do it is obscured or constricted by his body as if the body is in control of the person and that the face is of no importance to the form of the whole. The saying “a picture says a thousand words” flits through the mist of confusion when I look at these images, they certainly tell many stories if we care to listen.

However, it is the hands which draw one in, the idea that you can tell much about a person by the 11

22

What makes the Corpus series so striking, aside from the new ways of seeing, is the wonderful use of true black and white photography.

Composed beautifully to always have the subject in the centre of frame mixed with the interesting square crop of the images creates a photo which is instantly pleasing to look upon. The simple mix of tone and sharp contrast works brilliantly with the subject matter, we can see every tiny line and crease in the skin giving the photos a very tactile quality. It is an unforgiving light, completely different to our airbrushed and edited colour images in magazines and on the internet. It is a light which this artist is shining on himself, to say ‘this is me, every part tells a story’ The background of this series is particularly important to the images as a whole. These were not taken in a bright, crisp, clean studio space, they are taken on marked and rough surfaces almost like a stone floor. This choice of space really coheres all of the elements together, adding a textured, gritty depth to the photos.

Corpus is a genuinely fascinating series of photographs in which Louis Blanc unquestionably challenges the norm of self-portraiture. He seems to allow his body to move, flow and contort, the forms captured through the images evoke a body expressing itself as if throwing off the chain of facial expression as a singular form of conveying emotion. We see a living entity which we associate as the human form but one distorted allowing itself to explore every aspect of its shape almost appearing to tackle and convey its own very dynamic language. cORpuS ► © Louis Blanc

“Self-taught, I learn shooting and post-processing techniques in specialized magazines and on forums dedicated to photography, not hesitating to submit my photos to constructve criticism.” Louis Blanc 13

What makes the Corpus series so striking, aside from the new ways of seeing, is the wonderful use of true black and white photography.

Composed beautifully to always have the subject in the centre of frame mixed with the interesting square crop of the images creates a photo which is instantly pleasing to look upon. The simple mix of tone and sharp contrast works brilliantly with the subject matter, we can see every tiny line and crease in the skin giving the photos a very tactile quality. It is an unforgiving light, completely different to our airbrushed and edited colour images in magazines and on the internet. It is a light which this artist is shining on himself, to say ‘this is me, every part tells a story’ The background of this series is particularly important to the images as a whole. These were not taken in a bright, crisp, clean studio space, they are taken on marked and rough surfaces almost like a stone floor. This choice of space really coheres all of the elements together, adding a textured, gritty depth to the photos.

Corpus is a genuinely fascinating series of photographs in which Louis Blanc unquestionably challenges the norm of self-portraiture. He seems to allow his body to move, flow and contort, the forms captured through the images evoke a body expressing itself as if throwing off the chain of facial expression as a singular form of conveying emotion. We see a living entity which we associate as the human form but one distorted allowing itself to explore every aspect of its shape almost appearing to tackle and convey its own very dynamic language. cORpuS ► © Louis Blanc

“Self-taught, I learn shooting and post-processing techniques in specialized magazines and on forums dedicated to photography, not hesitating to submit my photos to constructve criticism.” Louis Blanc 13

UNITED STATES

Leif believes that this moment is an extraordinary window of opportunity to document some of the last remaining independent native communities before they’re gone forever. Globalization is inexorably leading to homogenization. In the coming decades, civilization will transform into a one-world monoculture. Along with this progress, we will lose vast quantities of knowledge, diverse ways of thinking, and cultural differentiation. Two hundred years ago, much of the world was still relatively isolated and inaccessible. A century from now, the entire world will be interconnected; isolated and distinct groups of people will no longer exist. He’s currently working on a multiyear project devoted to photographing and documenting traditional cultures around the world.

www.instagram.com/leif_steiner “By definition, I’m a photographer. But I’ve got the

Portraits of Humanity | Suri Tribe, Southern Ethiopia ► © Leif Steiner

mind of a scientist, the heart of the poet, and a camera to capture it all. When the lights go out, what really matters? People, relationships, and our interconnected humanity.”

Leif Steiner creates soulful portraits that open a window into the daily existence of traditional

FEATURED

communities with minimal contact with the outside world. Before venturing into photography, he had a long trajectory in the creative world as the founder and director of an internationally acclaimed design and advertising agency. About a year ago, he decided it was time to walk up to the edge again.

He handed the keys to his company over to several

Remarkably, this project made him realize the profound coincidences that define us as humans.

employees and left. He reasoned that if you’re not

In his words: “We come in a thousand different shapes and colors, but underneath that thin layer of

living, you’re dying. And after twenty years of success in one industry, he was ready to be hungry and scared again.

15

Portraits of Humanity | Moguji Tribe, Southern Ethiopia ► © Leif Steiner

skin, we’re far more similar than we are different. Even the most remote and isolated groups of Portraits of Humanity | Suri Tribe, Southern Ethiopia, close to the border of South Sudan ► © Leif Steiner

people share the same basic kindness, the same intellectual curiosity, and the same empathy we’d expect from our next of kin.”

16

UNITED STATES

Leif believes that this moment is an extraordinary window of opportunity to document some of the last remaining independent native communities before they’re gone forever. Globalization is inexorably leading to homogenization. In the coming decades, civilization will transform into a one-world monoculture. Along with this progress, we will lose vast quantities of knowledge, diverse ways of thinking, and cultural differentiation. Two hundred years ago, much of the world was still relatively isolated and inaccessible. A century from now, the entire world will be interconnected; isolated and distinct groups of people will no longer exist. He’s currently working on a multiyear project devoted to photographing and documenting traditional cultures around the world.

www.instagram.com/leif_steiner “By definition, I’m a photographer. But I’ve got the

Portraits of Humanity | Suri Tribe, Southern Ethiopia ► © Leif Steiner

mind of a scientist, the heart of the poet, and a camera to capture it all. When the lights go out, what really matters? People, relationships, and our interconnected humanity.”

Leif Steiner creates soulful portraits that open a window into the daily existence of traditional

FEATURED

communities with minimal contact with the outside world. Before venturing into photography, he had a long trajectory in the creative world as the founder and director of an internationally acclaimed design and advertising agency. About a year ago, he decided it was time to walk up to the edge again.

He handed the keys to his company over to several

Remarkably, this project made him realize the profound coincidences that define us as humans.

employees and left. He reasoned that if you’re not

In his words: “We come in a thousand different shapes and colors, but underneath that thin layer of

living, you’re dying. And after twenty years of success in one industry, he was ready to be hungry and scared again.

15

Portraits of Humanity | Moguji Tribe, Southern Ethiopia ► © Leif Steiner

skin, we’re far more similar than we are different. Even the most remote and isolated groups of Portraits of Humanity | Suri Tribe, Southern Ethiopia, close to the border of South Sudan ► © Leif Steiner

people share the same basic kindness, the same intellectual curiosity, and the same empathy we’d expect from our next of kin.”

16

Portraits of Humanity | Quechua (Indigenous Andean) 14,186’ elevation ► © Leif Steiner

Portraits of Humanity | Kayan Tribe, Myanmar ► © Leif Steiner 07 Portraits of Humanity | Peru, with the Yanamayo ► © Leif Steiner

PREVIOUS PAGE: Portraits of Humanity | Peru, with the Yanamayo ► © Leif Steiner

Portraits of Humanity | Sandkai Tribe, Papua New Guinea ► © Leif Steiner

Portraits of Humanity | Arowena Tribe, Papua New Guinea ► © Leif Steiner 18

Portraits of Humanity | Quechua (Indigenous Andean) 14,186’ elevation ► © Leif Steiner

Portraits of Humanity | Kayan Tribe, Myanmar ► © Leif Steiner 07 Portraits of Humanity | Peru, with the Yanamayo ► © Leif Steiner

PREVIOUS PAGE: Portraits of Humanity | Peru, with the Yanamayo ► © Leif Steiner

Portraits of Humanity | Sandkai Tribe, Papua New Guinea ► © Leif Steiner

Portraits of Humanity | Arowena Tribe, Papua New Guinea ► © Leif Steiner 18

INTERVIEW www.gbsmith.com

G.B. Smith’s photographic journey began over 40 years ago as a teenager learning the fundamentals of the craft in the darkroom and with large plate cameras. This enthusiasm evolved into his first career as an industrial photographer in England. Over time this was intertwined with a passion for travel and entrepreneurship which eventually led him down a path of exploration in countries and cultures throughout the world. A very global citizen, having lived on four continents and worked in six, he now resides in the USA and combines extensive global travel (pre-Covid!) with an embracing of digital image-based creation.

However, he still applies very traditional techniques to this digital process, such as all manual settings shot in medium format and enjoying the serenity and mindfulness that comes with long exposures and more simplistic “film-centric” workflows. Born in an industrial heartland many of his studies gravitate towards man-made structures and forms interacting with their natural habitat.

His International award-winning images have been published in a wide range of media; he is a lifelong member of the Royal Photographic Society.

by Photographize When did you discover that art was your passion and how did you grow into the artist you are today?

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NEXT PAGE: Slatted | Slotted Series ► © G.B.Smith

The quick answer is: a very long time ago and it’s been a long journey! I first picked up a camera with intent in my early teens and soon realized that it was the perfect outlet for my artistic energies – partially informed, I am sure, by being unable to demonstrate discernable talent in any other artistic mediums!

apprenticeships with some incredibly talented (and patient!) photographers. I learned all aspects of the film process as it was then, working as a darkroom technician and graduating to working large format technical plate cameras as an industrial photographer.

After a while, however, I found that my ability to truly create was being increasingly constrained by commercial necessities. I felt that the joy inherent in being able to explore my own artistic journey was being derailed, so eventually I moved toward a career in high technology.

I was captivated by the ability to envision, craft and produce images as a unique personal expression and be in control of the whole process. Over time, I was fortunate to serve

Returning to photography a few years ago, I re-discovered the raw passion of my youth for photographic creation. This time around, it was influenced with the perspective of over 40 years

INTERVIEW www.gbsmith.com

G.B. Smith’s photographic journey began over 40 years ago as a teenager learning the fundamentals of the craft in the darkroom and with large plate cameras. This enthusiasm evolved into his first career as an industrial photographer in England. Over time this was intertwined with a passion for travel and entrepreneurship which eventually led him down a path of exploration in countries and cultures throughout the world. A very global citizen, having lived on four continents and worked in six, he now resides in the USA and combines extensive global travel (pre-Covid!) with an embracing of digital image-based creation.

However, he still applies very traditional techniques to this digital process, such as all manual settings shot in medium format and enjoying the serenity and mindfulness that comes with long exposures and more simplistic “film-centric” workflows. Born in an industrial heartland many of his studies gravitate towards man-made structures and forms interacting with their natural habitat.

His International award-winning images have been published in a wide range of media; he is a lifelong member of the Royal Photographic Society.

by Photographize When did you discover that art was your passion and how did you grow into the artist you are today?

19

NEXT PAGE: Slatted | Slotted Series ► © G.B.Smith

The quick answer is: a very long time ago and it’s been a long journey! I first picked up a camera with intent in my early teens and soon realized that it was the perfect outlet for my artistic energies – partially informed, I am sure, by being unable to demonstrate discernable talent in any other artistic mediums!

apprenticeships with some incredibly talented (and patient!) photographers. I learned all aspects of the film process as it was then, working as a darkroom technician and graduating to working large format technical plate cameras as an industrial photographer.

After a while, however, I found that my ability to truly create was being increasingly constrained by commercial necessities. I felt that the joy inherent in being able to explore my own artistic journey was being derailed, so eventually I moved toward a career in high technology.

I was captivated by the ability to envision, craft and produce images as a unique personal expression and be in control of the whole process. Over time, I was fortunate to serve

Returning to photography a few years ago, I re-discovered the raw passion of my youth for photographic creation. This time around, it was influenced with the perspective of over 40 years

of extensive global travel as well as with the liberating ability of being able to focus entirely on artistic expression, expanded further by today’s world of digital imagery.

In many ways, the journey has brought me full circle. My approach today still reflects the disciplines that were instilled on me with large plate cameras and the manual darkroom processes of film. You could describe it as bringing old school photography techniques to a digital process. I believe that this generally translates into a more mindful, slower, and manual creative process despite embracing the digital age.

Your images stand out for their visual purity and minimality. Tell us more about your overall photographic philosophy.

Layer Cake | Costal Canopies Series ► © G.B.Smith

I endeavor to take the viewer through a journey of the image, using light to illuminate patterns and forms as signposts along a pathway between spaces. My interpretation and visualization are based on these flows. The critical aspect in many images is providing enough space and visual context to facilitate focus on the subject in its purest form. I try to distill the scene down to its uncluttered form and flows to simplify.

Therefore, I use only black and white and mostly minimalist imagery, believing profoundly that less is indeed more.

The exquisite use of long exposure is a salient feature of many of your works. You skillfully exploit it to generate mysterious atmospheres and dramatic captures of flowing water. Can you share with us some of your personal keys for obtaining such striking results?

I very much let the merits of the subject determine the most appropriate use of the available technical tools, including the duration of exposure. And this often changes as I go through the process of capture, as I discover the patterns and pathways through the scene and experiment with different approaches in digital real-time. However, I very often end up using long exposures to strip back distracting aspects, sometimes blending and experimenting with different speeds to highlight and separate forms. It works best with moving elements such as clouds and water, but I also use 21

Ice Water | Alpine Light ► © G.B.Smith

Down Lit | Tors of the West Series ► © G.B.Smith

Walking The Plank | Calm Horizons Series ► © G.B.Smith

it to soften textures and light in architectural structures. I have learnt to never let it be formulaic, and I always use manual camera controls to ensure the subject and my visualization for the image is driving the technology and not the other way around!

At a very personal level I gravitate toward the mindfulness and tranquility that is inherent in the process of long exposures. It basically slows down the world, providing a forcing function to further explore, reflect and truly absorb the moment of the scene. A large part of my enjoyment of the whole capture process is that it gives you a purpose to travel, learn and encounter different environments and perspectives. Sometimes I come back from a shoot with no usable images, but I still appreciate and value the experience – even if I got up at 3am and hiked for miles!

22

of extensive global travel as well as with the liberating ability of being able to focus entirely on artistic expression, expanded further by today’s world of digital imagery.

In many ways, the journey has brought me full circle. My approach today still reflects the disciplines that were instilled on me with large plate cameras and the manual darkroom processes of film. You could describe it as bringing old school photography techniques to a digital process. I believe that this generally translates into a more mindful, slower, and manual creative process despite embracing the digital age.

Your images stand out for their visual purity and minimality. Tell us more about your overall photographic philosophy.

Layer Cake | Costal Canopies Series ► © G.B.Smith

I endeavor to take the viewer through a journey of the image, using light to illuminate patterns and forms as signposts along a pathway between spaces. My interpretation and visualization are based on these flows. The critical aspect in many images is providing enough space and visual context to facilitate focus on the subject in its purest form. I try to distill the scene down to its uncluttered form and flows to simplify.

Therefore, I use only black and white and mostly minimalist imagery, believing profoundly that less is indeed more.

The exquisite use of long exposure is a salient feature of many of your works. You skillfully exploit it to generate mysterious atmospheres and dramatic captures of flowing water. Can you share with us some of your personal keys for obtaining such striking results?

I very much let the merits of the subject determine the most appropriate use of the available technical tools, including the duration of exposure. And this often changes as I go through the process of capture, as I discover the patterns and pathways through the scene and experiment with different approaches in digital real-time. However, I very often end up using long exposures to strip back distracting aspects, sometimes blending and experimenting with different speeds to highlight and separate forms. It works best with moving elements such as clouds and water, but I also use 21

Ice Water | Alpine Light ► © G.B.Smith

Down Lit | Tors of the West Series ► © G.B.Smith

Walking The Plank | Calm Horizons Series ► © G.B.Smith

it to soften textures and light in architectural structures. I have learnt to never let it be formulaic, and I always use manual camera controls to ensure the subject and my visualization for the image is driving the technology and not the other way around!

At a very personal level I gravitate toward the mindfulness and tranquility that is inherent in the process of long exposures. It basically slows down the world, providing a forcing function to further explore, reflect and truly absorb the moment of the scene. A large part of my enjoyment of the whole capture process is that it gives you a purpose to travel, learn and encounter different environments and perspectives. Sometimes I come back from a shoot with no usable images, but I still appreciate and value the experience – even if I got up at 3am and hiked for miles!

22

Your collection Aquetecture explores the interplay between architecture and water.

Tell us more about the concept behind this series and the images in it.

What is the importance of lighting, time of the day and weather conditions in your photography? What are the optimal choices?

I feel that all of these dimensions are very subject dependent. The softer light hours inherent in sunrises and sunsets are generally more optimal for most classic scenes of nature – as are moody storm type clouds to many coastal and waterfall images. However, some of my most well received images have been captured at midday without a cloud in the sky, and not just architectural type images.

The lesson for me is that there are no rules to creativity and artistic interpretation. Therefore, I pay less attention to weather and time of day optimization than I did previously – the point is to get out there and explore and experiment! I do not feel that the world really needs any more sunrise or sunset images from well touristed locations…. not unless you can bring a different perspective or voice.

Funnel | Aquetecture Series ► © G.B.Smith

Growing up in the land locked industrial heartland of England, I have always been fascinated by water in both its natural and managed forms. The concept for the series was triggered through observing the interaction of water flows shaped by man-made structural forms.

Specifically, I was attracted to the varied patterns and soothing visuals created by the regulated water flows in dams, with their strong lines and bold architectural forms. The collection studies several dam structures and forms, largely in the mid-Atlantic region of the USA. Whilst their principle architectural design criteria are clearly for industrial function, I found that using multiple speed long exposures accentuated or uncovered the wonderful hidden patterns and geometry of the water flows.

I like to think that the viewer can hear the calming flows of the water when they follow these pathways of patterns through the imagery.

In your Geotecture collection, you bring out fascinating geometric structures hidden in modern architecture. Please share with us your thoughts about these works.

Gotham | Gotham Series ► © G.B.Smith

Deconstruct | Gotham Series ► © G.B.Smith

How do you plan and execute your shots?

The creative process for me starts with a spark of interest in a particular subject matter. I like to work with a just few key themes at any one time – to maintain focus – which then guides desk-based research and location choices or opportunistic travel schedules. I seek locations and perspectives that are less obvious or well-travelled. This often involves multiple visits and extensive explorations of the same locations if practicable. I try to get a real feel for the environment in different conditions and from varied aspects, which ultimately helps guide and refine my selections. Whilst this structured approach facilitates the framework for exploration and creativity, and I normally have a notion of what I am seeking, many of my favorite images come from unexpected discoveries I make as I am traveling to these researched locations and subjects – and often very different than my initial mind’s eye.

In my view, you never know what you are really going to experience until you are out there, and this is the thrill of the creative adventure! The most important thing is to be out there exploring and getting completely absorbed in the appreciation of the environment and the moment.

23

Rounding | Geotecture Series ► © G.B.Smith

The clean aesthetic of modernistic architecture with simplicity of form and flowing lines lends itself well to minimalist imagery. I am particularly attracted to the repetition and variety of shapes and geometric patterns inherent in many of these structures. The emphasis is often on rectangular forms and horizonal and vertical lines. Their sleek consistent surfaces and the use of modern industrial materials can often be accentuated through the reflective nature of light, providing access to these “hidden” shapes. Many of the images in the collection are also studies of a form of modern architecture called deconstructivism.

These have many of the same characteristics, often using large expanses of these single materials but in more abstract form, allowing the viewer to experience the image in waves of flowing lines.

Collapsed | Geotecture Series ► © G.B.Smith

24

Your collection Aquetecture explores the interplay between architecture and water.

Tell us more about the concept behind this series and the images in it.

What is the importance of lighting, time of the day and weather conditions in your photography? What are the optimal choices?

I feel that all of these dimensions are very subject dependent. The softer light hours inherent in sunrises and sunsets are generally more optimal for most classic scenes of nature – as are moody storm type clouds to many coastal and waterfall images. However, some of my most well received images have been captured at midday without a cloud in the sky, and not just architectural type images.

The lesson for me is that there are no rules to creativity and artistic interpretation. Therefore, I pay less attention to weather and time of day optimization than I did previously – the point is to get out there and explore and experiment! I do not feel that the world really needs any more sunrise or sunset images from well touristed locations…. not unless you can bring a different perspective or voice.

Funnel | Aquetecture Series ► © G.B.Smith

Growing up in the land locked industrial heartland of England, I have always been fascinated by water in both its natural and managed forms. The concept for the series was triggered through observing the interaction of water flows shaped by man-made structural forms.

Specifically, I was attracted to the varied patterns and soothing visuals created by the regulated water flows in dams, with their strong lines and bold architectural forms. The collection studies several dam structures and forms, largely in the mid-Atlantic region of the USA. Whilst their principle architectural design criteria are clearly for industrial function, I found that using multiple speed long exposures accentuated or uncovered the wonderful hidden patterns and geometry of the water flows.

I like to think that the viewer can hear the calming flows of the water when they follow these pathways of patterns through the imagery.

In your Geotecture collection, you bring out fascinating geometric structures hidden in modern architecture. Please share with us your thoughts about these works.

Gotham | Gotham Series ► © G.B.Smith

Deconstruct | Gotham Series ► © G.B.Smith

How do you plan and execute your shots?

The creative process for me starts with a spark of interest in a particular subject matter. I like to work with a just few key themes at any one time – to maintain focus – which then guides desk-based research and location choices or opportunistic travel schedules. I seek locations and perspectives that are less obvious or well-travelled. This often involves multiple visits and extensive explorations of the same locations if practicable. I try to get a real feel for the environment in different conditions and from varied aspects, which ultimately helps guide and refine my selections. Whilst this structured approach facilitates the framework for exploration and creativity, and I normally have a notion of what I am seeking, many of my favorite images come from unexpected discoveries I make as I am traveling to these researched locations and subjects – and often very different than my initial mind’s eye.

In my view, you never know what you are really going to experience until you are out there, and this is the thrill of the creative adventure! The most important thing is to be out there exploring and getting completely absorbed in the appreciation of the environment and the moment.

23

Rounding | Geotecture Series ► © G.B.Smith

The clean aesthetic of modernistic architecture with simplicity of form and flowing lines lends itself well to minimalist imagery. I am particularly attracted to the repetition and variety of shapes and geometric patterns inherent in many of these structures. The emphasis is often on rectangular forms and horizonal and vertical lines. Their sleek consistent surfaces and the use of modern industrial materials can often be accentuated through the reflective nature of light, providing access to these “hidden” shapes. Many of the images in the collection are also studies of a form of modern architecture called deconstructivism.

These have many of the same characteristics, often using large expanses of these single materials but in more abstract form, allowing the viewer to experience the image in waves of flowing lines.

Collapsed | Geotecture Series ► © G.B.Smith

24

Having lived in four continents and worked in six, you are a true citizen of the world. How does this experience nurture your work?

From a more practical viewpoint, how does it contribute to the choice of locations and subjects in your images?

Over Arching | Abridged Series ► © G.B.Smith

I have been incredibly fortunate to have experienced multiple cultures and environments around the world. I have always been curios with the desire to explore both new places and people. In many ways this inspires my work, but perhaps more importantly I believe that it expands the aperture of how you view the world.

It opens the mind to new possibilities and perspectives and energizes the desire to create and explore different ideas. I feel that the more you travel the more you realize how much you do not know. This, in turn, stimulates further the curiosity and willingness to take risks and push boundaries. The more we stretch our mental comfort zones, the more we open our neural pathways to make connections between disparate forms. I believe this is instrumental in increasing our overall cognitive flexibility and enhancing our creativity.

I also consider that this curiosity reflects in my relatively wide range of subject matter, not wishing to be constrained by one genre of imagery.

Kingore Falls | Serene Flows Series ► © G.B.Smith

My choice of locations is typically driven by the few themes that I am working on at the time. So, in many ways, the subject focus mostly drives the travel. However, if am traveling on other business I will be opportunistic and explore the locale for potential candidate subjects.

I generally steer away from well trafficked locations, preferring the solitude and or local culture together with the joy inherent in my own discoveries.

You have recently partnered with the Breast Cancer Alliance to support its mission of funding early-stage research and making healthcare available to as many women as possible. What are the connections between art, service and philanthropy and how do you see such interactions evolving in the future?

I believe there is a natural intersection between art and philanthropy, in that for thousands of years the Misty Glow | Sierra Reflections Series ► © G.B.Smith

11

arts were often dependent upon patronage in its various forms. In this case, it’s about using the value that people place on art and deploying that for philanthropic service or rather inverting the more traditional relationship between the two.

For me, it was about combining two passions, my photography and my desire to support a wonderful cause that is personal to my family.

and encourage this individuality. It is very satisfying to share your work and receive acclaim, but at the end of the day only you know if you feel artistic fulfilment – it is both a sharing and selfish pursuit.My own journey has taken over 40 years and has come full circle, but I am still excited about where it may take me next!

I believe that people are increasingly seeking a more holistic approach to connect the seemingly disparate elements of their passions and lives. How do they more effectively combine family life, work, arts, community service and philanthropy and the environment, with meaning? You are seeing these connections being made increasingly in the corporate world through Corporate Social Responsibility programs and Socially Responsible Investing and I believe this will also manifest more in our personal lives as well going forward.

What is your advice for those starting their artistic journey?

As with all personal journeys, some common elements apply. It all starts with passion. And trying to figure out what is your real passion is probably the most challenging step of all, often before you have been able to experience the rewards of any competency in the discipline.

Often based on an initial subliminal spark, nurturing that passion is the foundation for the journey – it is the source of motivation, resiliency, and of course creativity. And like most journeys, it will likely have hills and valleys, detours and delays. The key is to embrace the travel experience and don’t fixate on a specific destination.

Anniversary Turn | Slotted Series ► © G.B.Smith

I would also say that there are no shortcuts! You must absolutely practice with purpose and learn from “failures.” In simple terms, the more you practice with purpose the further your journey will go, and likely be more fulfilling. Practice also helps build the confidence to experiment and push boundaries. Often this is where you learn the most and where the real creativity is most rewarding.

Every person’s voyage is different. We all bring unique experiences and perspectives to the creative process, and you should embrace and

Stooping Arch | Slotted Series ► © G.B.Smith 26

Having lived in four continents and worked in six, you are a true citizen of the world. How does this experience nurture your work?

From a more practical viewpoint, how does it contribute to the choice of locations and subjects in your images?

Over Arching | Abridged Series ► © G.B.Smith

I have been incredibly fortunate to have experienced multiple cultures and environments around the world. I have always been curios with the desire to explore both new places and people. In many ways this inspires my work, but perhaps more importantly I believe that it expands the aperture of how you view the world.

It opens the mind to new possibilities and perspectives and energizes the desire to create and explore different ideas. I feel that the more you travel the more you realize how much you do not know. This, in turn, stimulates further the curiosity and willingness to take risks and push boundaries. The more we stretch our mental comfort zones, the more we open our neural pathways to make connections between disparate forms. I believe this is instrumental in increasing our overall cognitive flexibility and enhancing our creativity.

I also consider that this curiosity reflects in my relatively wide range of subject matter, not wishing to be constrained by one genre of imagery.

Kingore Falls | Serene Flows Series ► © G.B.Smith

My choice of locations is typically driven by the few themes that I am working on at the time. So, in many ways, the subject focus mostly drives the travel. However, if am traveling on other business I will be opportunistic and explore the locale for potential candidate subjects.

I generally steer away from well trafficked locations, preferring the solitude and or local culture together with the joy inherent in my own discoveries.

You have recently partnered with the Breast Cancer Alliance to support its mission of funding early-stage research and making healthcare available to as many women as possible. What are the connections between art, service and philanthropy and how do you see such interactions evolving in the future?

I believe there is a natural intersection between art and philanthropy, in that for thousands of years the Misty Glow | Sierra Reflections Series ► © G.B.Smith

11

arts were often dependent upon patronage in its various forms. In this case, it’s about using the value that people place on art and deploying that for philanthropic service or rather inverting the more traditional relationship between the two.

For me, it was about combining two passions, my photography and my desire to support a wonderful cause that is personal to my family.

and encourage this individuality. It is very satisfying to share your work and receive acclaim, but at the end of the day only you know if you feel artistic fulfilment – it is both a sharing and selfish pursuit.My own journey has taken over 40 years and has come full circle, but I am still excited about where it may take me next!

I believe that people are increasingly seeking a more holistic approach to connect the seemingly disparate elements of their passions and lives. How do they more effectively combine family life, work, arts, community service and philanthropy and the environment, with meaning? You are seeing these connections being made increasingly in the corporate world through Corporate Social Responsibility programs and Socially Responsible Investing and I believe this will also manifest more in our personal lives as well going forward.

What is your advice for those starting their artistic journey?

As with all personal journeys, some common elements apply. It all starts with passion. And trying to figure out what is your real passion is probably the most challenging step of all, often before you have been able to experience the rewards of any competency in the discipline.

Often based on an initial subliminal spark, nurturing that passion is the foundation for the journey – it is the source of motivation, resiliency, and of course creativity. And like most journeys, it will likely have hills and valleys, detours and delays. The key is to embrace the travel experience and don’t fixate on a specific destination.

Anniversary Turn | Slotted Series ► © G.B.Smith

I would also say that there are no shortcuts! You must absolutely practice with purpose and learn from “failures.” In simple terms, the more you practice with purpose the further your journey will go, and likely be more fulfilling. Practice also helps build the confidence to experiment and push boundaries. Often this is where you learn the most and where the real creativity is most rewarding.

Every person’s voyage is different. We all bring unique experiences and perspectives to the creative process, and you should embrace and

Stooping Arch | Slotted Series ► © G.B.Smith 26

FRANCE

https://pauline-petit.fr

COLLECTIONNEUSE D'HOMMES ► © Pauline Petit

Pauline Petit is a French photographer who specialized in portraiture. Her works ride the fine line between glamorous and humorous. The glamorous silhouettes and the beautiful poses make this photographer build a clever and rich set of works.

FEATURED

Pauline likes graphics, shapes, and contrasts.

As an unconditional passion for portrait photography, the realization of several series of these three major themes was obvious to her. Thus, she creates monochrome portraits with tight framing and features imaginary, humorous, and surprising characters who challenge, question, and make children and adults laugh. The idea of these series is to be simple and accessible and appreciate it for all.

Pauline's main inspirations come from children's literature and her love for drawing. Her universe is childish, light but strangely very rigorous and precise at the same time.

LE PORTRAIT GRAPHIQUE ► © Pauline Petit NEXT PAGE: FIGURES DE STYLE ► © Pauline Petit 27

TÊTES A CHAPEAUX ► © Pauline Petit

FRANCE

https://pauline-petit.fr

COLLECTIONNEUSE D'HOMMES ► © Pauline Petit

Pauline Petit is a French photographer who specialized in portraiture. Her works ride the fine line between glamorous and humorous. The glamorous silhouettes and the beautiful poses make this photographer build a clever and rich set of works.

FEATURED

Pauline likes graphics, shapes, and contrasts.

As an unconditional passion for portrait photography, the realization of several series of these three major themes was obvious to her. Thus, she creates monochrome portraits with tight framing and features imaginary, humorous, and surprising characters who challenge, question, and make children and adults laugh. The idea of this series is to be simple and accessible and appreciate it for all.

Pauline's main inspirations come from children's literature and her love for drawing. Her universe is childish, light but strangely very rigorous and precise at the same time.

LE PORTRAIT GRAPHIQUE ► © Pauline Petit NEXT PAGE: FIGURES DE STYLE ► © Pauline Petit 27

TÊTES A CHAPEAUX ► © Pauline Petit

TÊTES A CHAPEAUX ► © Pauline Petit ↓ MA MAITRESSE BIEN AIMÉE ► © Pauline Petit

COLLECTIONNEUSE D'HOMMES ► © Pauline Petit ↓ LE PORTRAIT GRAPHIQUE ► © Pauline Petit

27

28 LE PORTRAIT GRAPHIQUE ► © Pauline Petit

TÊTES A CHAPEAUX ► © Pauline Petit ↓ MA MAITRESSE BIEN AIMÉE ► © Pauline Petit

COLLECTIONNEUSE D'HOMMES ► © Pauline Petit ↓ LE PORTRAIT GRAPHIQUE ► © Pauline Petit

27

28 LE PORTRAIT GRAPHIQUE ► © Pauline Petit

www.erickcenteno.com

Dancing Light

by Photographize

► © Erick Centeno

"I realize my work as a fusion between the traits that denote the real characteristics, which then go beyond the conventional limits, forming strips of movement and somehow escape from reality".

Imagine lightning that suddenly electrifies the purest darkness. A ghostly figure, full of life, magically materializes in front of our eyes, a glimpse of an alternative dimension. This is the magical scribble art of Erick Centeno. Born in Peru, he now lives in Genoa, from where he is conquering the art world.

With multiple awards and exhibitions, his work is getting global recognition.

His father, who is also an artist, has been a profound influence. From an early age, he taught Erick how to draw, mainly sketches of dancing figures. Erick is fascinated by moving images, such as dancers and sports. He is constantly perfecting his craft and in the quest for inspiration.

His explorations have led him to mixed media, in which he masterfully combines handmade and digital drawings.

32

11

www.erickcenteno.com

Dancing Light

by Photographize

► © Erick Centeno

"I realize my work as a fusion between the traits that denote the real characteristics, which then go beyond the conventional limits, forming strips of movement and somehow escape from reality".

Imagine lightning that suddenly electrifies the purest darkness. A ghostly figure, full of life, magically materializes in front of our eyes, a glimpse of an alternative dimension. This is the magical scribble art of Erick Centeno. Born in Peru, he now lives in Genoa, from where he is conquering the art world.

With multiple awards and exhibitions, his work is getting global recognition.

His father, who is also an artist, has been a profound influence. From an early age, he taught Erick how to draw, mainly sketches of dancing figures. Erick is fascinated by moving images, such as dancers and sports. He is constantly perfecting his craft and in the quest for inspiration.

His explorations have led him to mixed media, in which he masterfully combines handmade and digital drawings.

32

11

► © Erick Centeno 33

► © Erick Centeno 34

► © Erick Centeno 33

► © Erick Centeno 34

► © Erick Centeno

► © Erick Centeno

35

► © Erick Centeno

► © Erick Centeno

35

UNITED STATES

Antics ► © Kris Kuksi

www.kuksi.com Kris Kuksi is an American artist in the genre of Surrealism. Influenced by the Baroque and Rococo periods, he defines his artwork as very much a reaction to "the corrupt and demoralized fall of modern-day society – a place where new beginning, new wars, new philosophies, and new endings exist."[1].

T.I. Dime Trap ► © Kris Kuksi

Each of his works is made up of endless pieces that require hours and hours of assembly, handling, cutting, and gluing parts, to perfectly join all of these using a unique technique. He uses all kinds of objects (ornaments, toys, sculptures, jewelry remnants, figurines, and kitsch statuary from all over the world) to create these baroque three-dimensional collages. “I get inspired by the industrial world, all the rigidity of machinery, the 07

Eros at Play ► © Kris Kuksi PREVIOUS PAGE: A Rather Noble Cock ► © Kris Kuksi

FEATURED

Life, death, history, and spirituality are usually the themes addressed by his works. In the words of director Benicio del Toro, Kris is a "master of post-industrial rococo." His work is has been described also as "mind-blowing, macabre and beautifully grotesque art…[that] will taunt you by the sheer complexity of detail, leaving you even more baffled as you stare for hours at all the figurines that were smacked into coexistence."[1], "masterfully rendered figurative art."[2],

38

UNITED STATES

Antics ► © Kris Kuksi

www.kuksi.com Kris Kuksi is an American artist in the genre of Surrealism. Influenced by the Baroque and Rococo periods, he defines his artwork as very much a reaction to "the corrupt and demoralized fall of modern-day society – a place where new beginning, new wars, new philosophies, and new endings exist."[1].

T.I. Dime Trap ► © Kris Kuksi

Each of his works is made up of endless pieces that require hours and hours of assembly, handling, cutting, and gluing parts, to perfectly join all of these using a unique technique. He uses all kinds of objects (ornaments, toys, sculptures, jewelry remnants, figurines, and kitsch statuary from all over the world) to create these baroque three-dimensional collages. “I get inspired by the industrial world, all the rigidity of machinery, the 07

Eros at Play ► © Kris Kuksi PREVIOUS PAGE: A Rather Noble Cock ► © Kris Kuksi

FEATURED

Life, death, history, and spirituality are usually the themes addressed by his works. In the words of director Benicio del Toro, Kris is a "master of post-industrial rococo." His work is has been described also as "mind-blowing, macabre and beautifully grotesque art…[that] will taunt you by the sheer complexity of detail, leaving you even more baffled as you stare for hours at all the figurines that were smacked into coexistence."[1], "masterfully rendered figurative art."[2],

38

Victory of Perseus ► © Kris Kuksi

Adoration of the Magi

► © Kris Kuksi

network of pipes, wires, refineries, etc. Then I join that with an opposite of flowing graceful, harmonious, and pleasing design of the baroque and rococo,” the artist has said. His richly detailed paintings also include “a bit of weirdness and the macabre.” Kuksi’s works have been compared to religious altarpieces and the proto-surrealist compositions of Hieronymus Bosch.

It is the unique combination of Kuksi's graceful forms with macabre themes that allows his work to be both peaceable and violent, but stunning and hideous.

Kuksi's work has been displayed at more than 100 important exhibitions worldwide. He has been featured on the front covers of famous magazines and his work is owned by collectors ranging from film director Guillermo del Toro to the National Museum of the Marine Corps.

39

[1] Majzoub, Maha (October 2011). "Reuse, Amuse + Bemuse". Issuu. p. 24. Retrieved 2012-01-24.

[2] O'Sullivan, Michael (May 2, 2003). "A Gander at the Galleries of Georgetown". The Washington Post.

Ode to Decadence ► © Kris Kuksi PREVIOUS PAGE: Temptation of St. Anthony ► © Kris Kuksi

40

Victory of Perseus ► © Kris Kuksi

Adoration of the Magi

► © Kris Kuksi

network of pipes, wires, refineries, etc. Then I join that with an opposite of flowing graceful, harmonious, and pleasing design of the baroque and rococo,” the artist has said. His richly detailed paintings also include “a bit of weirdness and the macabre.” Kuksi’s works have been compared to religious altarpieces and the proto-surrealist compositions of Hieronymus Bosch.

It is the unique combination of Kuksi's graceful forms with macabre themes that allows his work to be both peaceable and violent, but stunning and hideous.

Kuksi's work has been displayed at more than 100 important exhibitions worldwide. He has been featured on the front covers of famous magazines and his work is owned by collectors ranging from film director Guillermo del Toro to the National Museum of the Marine Corps.

39

[1] Majzoub, Maha (October 2011). "Reuse, Amuse + Bemuse". Issuu. p. 24. Retrieved 2012-01-24.

[2] O'Sullivan, Michael (May 2, 2003). "A Gander at the Galleries of Georgetown". The Washington Post.

Ode to Decadence ► © Kris Kuksi PREVIOUS PAGE: Temptation of St. Anthony ► © Kris Kuksi

40

ARTICLE

THE BLACK-AND-WHITE PHOTO MASTERY

by Thomas Jukes To take even a brief look through the Instagram page of Jason Peterson is to not only realize just how many followers he has, (it’s 1.1 million at my last check!) but also to realize the images show a truly masterful street photographer.

Peterson doesn’t see himself as a photographer, however, more of “an Art Director with an iPhone.”.

And it is through this description that we begin to understand what Jason’s photos really capture; a sheer and undeniable beauty in moments.

It’s hard to comprehend after flicking through the incredible photos, that 50% of Peterson’s images are captured using an iPhone. He admits to using a Leica M Q and SL for some of the images from helicopters but other than that it’s all using the native camera app on his phone.

In reality, though this makes perfect sense.

Jason Peterson sets out to show us the moments that so frequently pass us by within our busy lives, capturing the interaction between human beings and the city environment that we now call home. If you have ever tried to go out into the streets using a traditional camera, you will know that you are made visible to all passers-by, and ► © Jason M Peterson

www.instagram.com/jasonmpeterson

ARTICLE

THE BLACK-AND-WHITE PHOTO MASTERY

by Thomas Jukes To take even a brief look through the Instagram page of Jason Peterson is to not only realize just how many followers he has, (it’s 1.1 million at my last check!) but also to realize the images show a truly masterful street photographer.

Peterson doesn’t see himself as a photographer, however, more of “an Art Director with an iPhone.”.

And it is through this description that we begin to understand what Jason’s photos really capture; a sheer and undeniable beauty in moments.

It’s hard to comprehend after flicking through the incredible photos, that 50% of Peterson’s images are captured using an iPhone. He admits to using a Leica M Q and SL for some of the images from helicopters but other than that it’s all using the native camera app on his phone.

In reality, though this makes perfect sense.

Jason Peterson sets out to show us the moments that so frequently pass us by within our busy lives, capturing the interaction between human beings and the city environment that we now call home. If you have ever tried to go out into the streets using a traditional camera, you will know that you are made visible to all passers-by, and ► © Jason M Peterson

www.instagram.com/jasonmpeterson

with the loss of subtlety, one finds it increasingly difficult to portray people interacting naturally.

The iPhone allows the photographer, in this case, Jason Peterson, to blend into what has become a very ordinary scene in our lives.

Having said this, Peterson’s success doesn’t simply come from being in the right place at the right time. Even if Jason does not identify as a photographer, it is hard to deny that his study of photo history and design in college has created and inspired Jason to become someone able to perfectly use light and composition to turn each image into a work of art.

Light is the first thing that Peterson looks for, often returning again and again to the same location until the lighting is just right. This understanding of the importance of lighting mixes with his other technique, one which helps to create a crisp clear image even when using a phone camera. Hard Light photography makes use of a strongly focused light source; in Jason’s images, he uses the bright sunlight of a sunny day. This, in turn, creates sharp shadows and gives a brilliant definition between light and dark.

This gives Jason’s Peterson's photos their characteristic high contrast and dramatically silhouetted subjects.

Another striking brilliance of Peterson’s photography is the use of composition. The classic rule of three is heavily prevalent in many of the photos to be found on Peterson’s Instagram feed. Time and careful consideration clearly run through the entire process, from taking the initial photo to posting on the app. The squared images perfectly balance the inclusion of light and dark, often allowing for Peterson to make the human figure/subject the main focus of the image, even when they are the smallest part of the photo.

It is through Peterson’s use of composition that we also pick up on his use of scale and angle. He often uses this to create an exaggerated sense of size between a subject and the human figures ► © Jason M Peterson 43

with the loss of subtlety, one finds it increasingly difficult to portray people interacting naturally.

The iPhone allows the photographer, in this case, Jason Peterson, to blend into what has become a very ordinary scene in our lives.

Having said this, Peterson’s success doesn’t simply come from being in the right place at the right time. Even if Jason does not identify as a photographer, it is hard to deny that his study of photo history and design in college has created and inspired Jason to become someone able to perfectly use light and composition to turn each image into a work of art.

Light is the first thing that Peterson looks for, often returning again and again to the same location until the lighting is just right. This understanding of the importance of lighting mixes with his other technique, one which helps to create a crisp clear image even when using a phone camera. Hard Light photography makes use of a strongly focused light source; in Jason’s images, he uses the bright sunlight of a sunny day. This, in turn, creates sharp shadows and gives a brilliant definition between light and dark.

This gives Jason’s Peterson's photos their characteristic high contrast and dramatically silhouetted subjects.

Another striking brilliance of Peterson’s photography is the use of composition. The classic rule of three is heavily prevalent in many of the photos to be found on Peterson’s Instagram feed. Time and careful consideration clearly run through the entire process, from taking the initial photo to posting on the app. The squared images perfectly balance the inclusion of light and dark, often allowing for Peterson to make the human figure/subject the main focus of the image, even when they are the smallest part of the photo.

It is through Peterson’s use of composition that we also pick up on his use of scale and angle. He often uses this to create an exaggerated sense of size between a subject and the human figures ► © Jason M Peterson 43

within the image. This relates heavily to the artist's love of conveying the scale of human beings within the urban environment. On the other hand, we also see this technique used in natural environments, notably beaches. Here we see Peterson use the distance from his subject to portray the vast scale of the natural world in stark contrast to the tiny figure that exists within it.

Though not a self-identifying street photographer, Jason Peterson really does embody the true spirit of the subject. A great street photographer must be constantly looking, most importantly seeing, and being aware of the environment in which he or she finds themselves. Peterson strives to capture the moments that are happening all the time around us. Although there could be much debate as to whether the phone camera will ever truly replace its bigger counterparts, he shows us that given thought and consideration to photographic practices, the iPhone can be an invaluable tool for the modern street photographer. This allows Peterson to always have a camera on hand to document the dramatic and unseen world around him.

45

► © Jason M Peterson

46

within the image. This relates heavily to the artist's love of conveying the scale of human beings within the urban environment. On the other hand, we also see this technique used in natural environments, notably beaches. Here we see Peterson use the distance from his subject to portray the vast scale of the natural world in stark contrast to the tiny figure that exists within it.

Though not a self-identifying street photographer, Jason Peterson really does embody the true spirit of the subject. A great street photographer must be constantly looking, most importantly seeing, and being aware of the environment in which he or she finds themselves. Peterson strives to capture the moments that are happening all the time around us. Although there could be much debate as to whether the phone camera will ever truly replace its bigger counterparts, he shows us that given thought and consideration to photographic practices, the iPhone can be an invaluable tool for the modern street photographer. This allows Peterson to always have a camera on hand to document the dramatic and unseen world around him.

45

► © Jason M Peterson

46

I look forward to following the continued work of Jason Peterson through his Instagram feed @jasonmpeterson and to being constantly blown away by his ability to produce breathtaking imagery in a style that harks back to the original premise of street photography.

“My best images haven’t happened yet. I’m hunting for them.” Jason Peterson

47

► © Jason M Peterson

I look forward to following the continued work of Jason Peterson through his Instagram feed @jasonmpeterson and to being constantly blown away by his ability to produce breathtaking imagery in a style that harks back to the original premise of street photography.

“My best images haven’t happened yet. I’m hunting for them.” Jason Peterson

47

► © Jason M Peterson

INTERVIEW

AARON LACY www.aaronlacy.com

Aaron Lacy is a fine art photographer that was born in Canton Ohio. Having worked in electrical engineering, he has always possessed expert knowledge of the mechanics of light. Aaron primarily works in black + white and masterfully controls light to create depth and shadow, often giving the appearance that time has frozen in exquisitely focused, suspended reality. African American women are typically at the center of his art, and his work is heavily inspired by the fluidity of the female form. His work has been featured in many galleries, and he won the “Best in Show” award at the Mnemonic Exhibition at H Gallery in 2018. His work is enigmatic and precise and can be found in private collections across the country.

by Photographize Tell us about the development process that culminated in the artist you are today.

I began my journey as a child. I used to draw portraits in my sketchpad constantly. I think I was always fascinated by capturing humanity at some level. It wasn’t until engineering school that I picked up a camera. After experimenting with many different types of photography I fell in love with fine art specifically capturing humanity.

I loved being able to express myself through another person. My engineering background allowed me to easily understand the technical parts of photography and freed me to focus more on the creative elements.

What is your main source of inspiration?

Honestly, I never quite know what is going to inspire me. Sometimes, it’s a song. Other times, it’s a story. Maybe, even a dream. I even get inspired by concepts in quantum physics; such as particle/wave duality. I remain open to as many sources of inspiration as I can. I think the 49

key to this is being present. Paying attention to each of life’s moments. There is inspiration everywhere.

What other artists have influenced your work?

There are a plethora of different artists that have influenced me over the years. There are many photographers such as Helmut Newton, Richard Avedon, Harold Edgerton, and others that really moved me. The way Avedon incorporated movement, the way Newton could tell a story and pushed the limits, and the way Edgerton was able to freeze action with high-speed photography captivated me.

I’m also greatly influenced by sculptors such as Rodin and Michelangelo with their work on the human anatomy and form. Rodin would use a candle and walk around his sculptures to see how the light hit them from every angle. I use this same meticulousness when I light the human form.

NEXT PAGE: Milk ► © Aaron Lacy

INTERVIEW

AARON LACY www.aaronlacy.com

Aaron Lacy is a fine art photographer that was born in Canton Ohio. Having worked in electrical engineering, he has always possessed expert knowledge of the mechanics of light. Aaron primarily works in black + white and masterfully controls light to create depth and shadow, often giving the appearance that time has frozen in exquisitely focused, suspended reality. African American women are typically at the center of his art, and his work is heavily inspired by the fluidity of the female form. His work has been featured in many galleries, and he won the “Best in Show” award at the Mnemonic Exhibition at H Gallery in 2018. His work is enigmatic and precise and can be found in private collections across the country.

by Photographize Tell us about the development process that culminated in the artist you are today.

I began my journey as a child. I used to draw portraits in my sketchpad constantly. I think I was always fascinated by capturing humanity at some level. It wasn’t until engineering school that I picked up a camera. After experimenting with many different types of photography I fell in love with fine art specifically capturing humanity.

I loved being able to express myself through another person. My engineering background allowed me to easily understand the technical parts of photography and freed me to focus more on the creative elements.

What is your main source of inspiration?

Honestly, I never quite know what is going to inspire me. Sometimes, it’s a song. Other times, it’s a story. Maybe, even a dream. I even get inspired by concepts in quantum physics; such as particle/wave duality. I remain open to as many sources of inspiration as I can. I think the 49

key to this is being present. Paying attention to each of life’s moments. There is inspiration everywhere.

What other artists have influenced your work?

There are a plethora of different artists that have influenced me over the years. There are many photographers such as Helmut Newton, Richard Avedon, Harold Edgerton, and others that really moved me. The way Avedon incorporated movement, the way Newton could tell a story and pushed the limits, and the way Edgerton was able to freeze action with high-speed photography captivated me.

I’m also greatly influenced by sculptors such as Rodin and Michelangelo with their work on the human anatomy and form. Rodin would use a candle and walk around his sculptures to see how the light hit them from every angle. I use this same meticulousness when I light the human form.

NEXT PAGE: Milk ► © Aaron Lacy

You are a truly multifaceted individual, with a background in electrical engineering. How does this diverse experience contribute to your art?

Engineering is a very rule-focused profession.

Having to adhere to standards and meet deadlines. It puts you in a box. This is the antithesis of my experience as an artist. But I believe that it is the fight between the engineering thought process and the artist thought process that allows me to create my best images. Essentially putting myself in a box and breaking myself out of it.

In your Milk and Water series, you magically freeze time at the precise instant at which these liquids splash against the models’ faces and bodies. The result is exquisite, a perfect combination of human beauty and expression with the spontaneous forms and motion of the fluids. How did you come up with this idea?

Fluidity is the quality of being likely to change repeatedly and unexpectedly. It is the ability of a substance to flow easily. This to me has always been fascinating; Fluid Dynamics. I believe that fluidity aligns with the feminine energy. I wanted to superimpose these two elements. I wanted to capture the raw feminine form in combination with the frozen motion of liquid. The 2 forms essentially become one entity.

What are the technical challenges of this kind of photography and how did you overcome them?

Freezing motion in photography has always had its challenges. You have to make sure that your light is powerful enough while having a short enough flash duration and keep the ambient light at a minimum. At times it also can be difficult to maintain accurate focus on the subject. I use many techniques to overcome these challenges. I use a mirror-less camera that allows me to use touch-focus and focus peaking. I also keep my ambient light to a minimum. This way, my strobe will overpower it to the point where it’s negligible.

This is a very delicate process and a lot of trial and error and experimentation led me to my method.

51

Milk ► © Aaron Lacy

► © Aaron Lacy

You are a truly multifaceted individual, with a background in electrical engineering. How does this diverse experience contribute to your art?

Engineering is a very rule-focused profession.

Having to adhere to standards and meet deadlines. It puts you in a box. This is the antithesis of my experience as an artist. But I believe that it is the fight between the engineering thought process and the artist thought process that allows me to create my best images. Essentially putting myself in a box and breaking myself out of it.

In your Milk and Water series, you magically freeze time at the precise instant at which these liquids splash against the models’ faces and bodies. The result is exquisite, a perfect combination of human beauty and expression with the spontaneous forms and motion of the fluids. How did you come up with this idea?

Fluidity is the quality of being likely to change repeatedly and unexpectedly. It is the ability of a substance to flow easily. This to me has always been fascinating; Fluid Dynamics. I believe that fluidity aligns with the feminine energy. I wanted to superimpose these two elements. I wanted to capture the raw feminine form in combination with the frozen motion of liquid. The 2 forms essentially become one entity.

What are the technical challenges of this kind of photography and how did you overcome them?

Freezing motion in photography has always had its challenges. You have to make sure that your light is powerful enough while having a short enough flash duration and keep the ambient light at a minimum. At times it also can be difficult to maintain accurate focus on the subject. I use many techniques to overcome these challenges. I use a mirror-less camera that allows me to use touch-focus and focus peaking. I also keep my ambient light to a minimum. This way, my strobe will overpower it to the point where it’s negligible.

This is a very delicate process and a lot of trial and error and experimentation led me to my method.

51

Milk ► © Aaron Lacy

► © Aaron Lacy

Your Penumbra series is striking. It explores the interplay between geometric shadows and naked bodies. The result is sensuous, utterly elegant and visually stunning. Tell us how you developed and implemented the concept.

In monochrome photography, shapes and form are extremely important to me. I wanted to explore the notion of wearing fabric without actually wearing it. I did this by partially illuminating the subjects with the shadows actually being the focus. The method was shining a focused beam of light through different fabric textures at the bodies of the subject.

What is the secret for an image to become unforgettable?

I always endeavor to take images that attach themselves to the subconscious mind of the viewer.

This can be difficult. Especially, since we are overrun with a multitude of imagery on a daily basis.

I believe there are 2 elements that attribute mostly to this; The SHOCK and the STORY. The shock value attracts the viewer and the story pulls them in deeper.

Penumbra ► © Aaron Lacy

What are the unique features of monochrome photography and the keys to master it?

In monochrome photography, one really gets the opportunity not to be distracted by different colors and focus strictly on the light intensity, shadow, and form. Color, in my opinion, is much more subjective than shape. Color can be interpreted in many different ways depending on the light source and the eye of the viewer, while form remains a more constant element. Understanding the relationship between light and shadow and how they affect one another is one of the most important components to monochrome photography.

53

NEXT PAGE: Water ► © Aaron Lacy

34

Your Penumbra series is striking. It explores the interplay between geometric shadows and naked bodies. The result is sensuous, utterly elegant and visually stunning. Tell us how you developed and implemented the concept.

In monochrome photography, shapes and form are extremely important to me. I wanted to explore the notion of wearing fabric without actually wearing it. I did this by partially illuminating the subjects with the shadows actually being the focus. The method was shining a focused beam of light through different fabric textures at the bodies of the subject.

What is the secret for an image to become unforgettable?

I always endeavor to take images that attach themselves to the subconscious mind of the viewer.

This can be difficult. Especially, since we are overrun with a multitude of imagery on a daily basis.

I believe there are 2 elements that attribute mostly to this; The SHOCK and the STORY. The shock value attracts the viewer and the story pulls them in deeper.

Penumbra ► © Aaron Lacy

What are the unique features of monochrome photography and the keys to master it?

In monochrome photography, one really gets the opportunity not to be distracted by different colors and focus strictly on the light intensity, shadow, and form. Color, in my opinion, is much more subjective than shape. Color can be interpreted in many different ways depending on the light source and the eye of the viewer, while form remains a more constant element. Understanding the relationship between light and shadow and how they affect one another is one of the most important components to monochrome photography.

53

NEXT PAGE: Water ► © Aaron Lacy

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JAKE WOOD-EVANS www.jakewoodevans.com

JAKE WOOD-EVANS www.jakewoodevans.com

MEXICO

www.moiseslevy.com Born in Mexico City in 1963, Moises Levy is a lifelong resident there and works in the city as an established architect. His earliest interest in architecture and photography occurred on a trip to New York City when he was 13 years old.

“I was fascinated with the buildings and the evening shadows of the city.”

FEATURED

In 1982, when he began his studies in architecture at Universidad Iberoamericana, his appreciation of the natural relation between light and architecture was deepened. Subsequent travel to Boston, Paris, and Venice served to illuminate the unbreakable bond between architecture and its relationship with light. It was this early interest in the qualities of light that lead Levy to photography, and as counterpoint to his work as an architect, he has now been drawn to landscape work.

About 15 years ago (1998) he began to explore photography more deeply, with a broad interest in artistic composition, influences, history, and styles.

Levy appreciates the history of the medium and states that he has learned from the photographic work of Sebastião Salgado, Edward Weston, Manuel Alvarez Bravo, and Eugene Atget. From other creative venues, his musical preference is classical and includes Mozart, Bach, and Vivaldi.

He also enjoys the written works of Gabriel Garcia Marquez and Edgar Allan Poe.

57 ► © Moises Levy

MEXICO

www.moiseslevy.com Born in Mexico City in 1963, Moises Levy is a lifelong resident there and works in the city as an established architect. His earliest interest in architecture and photography occurred on a trip to New York City when he was 13 years old.

“I was fascinated with the buildings and the evening shadows of the city.”

FEATURED

In 1982, when he began his studies in architecture at Universidad Iberoamericana, his appreciation of the natural relation between light and architecture was deepened. Subsequent travel to Boston, Paris, and Venice served to illuminate the unbreakable bond between architecture and its relationship with light. It was this early interest in the qualities of light that lead Levy to photography, and as counterpoint to his work as an architect, he has now been drawn to landscape work.

About 15 years ago (1998) he began to explore photography more deeply, with a broad interest in artistic composition, influences, history, and styles.

Levy appreciates the history of the medium and states that he has learned from the photographic work of Sebastião Salgado, Edward Weston, Manuel Alvarez Bravo, and Eugene Atget. From other creative venues, his musical preference is classical and includes Mozart, Bach, and Vivaldi.

He also enjoys the written works of Gabriel Garcia Marquez and Edgar Allan Poe.

57 ► © Moises Levy

► © Moises Levy

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50

► © Moises Levy

49

50

ARTICLE

Fine Lines through different dimensions

by Thomas Jukes

www.redmerhoekstra.nl

Fineliner drawings on paper warp and shift before our eyes giving a glimpse into the weird but wonderfully brilliant mind of this Dutch artist.

Graduating from the Art Academy in Zwolle, Netherlands in 2009 as a visual artist and illustrator, Hoekstra has not stopped his mind from wondering. Daydreaming is a trait that many schools would probably like to see lessen in the classroom and in their students but if you’re creative it can sometimes be the very best tool for discovering your niche. Redmer has “always loved alienation and fantasizing, daydreaming” and was lucky enough to rediscover this passion during his time at the academy.

Children have a fascinating way of seeing and attempting to understand the world.

Without proper explanation, theories run rampant and with a good enough imagination, all sorts of weird and wacky thoughts begin to spiral around in their minds. Many of us are unfortunate enough to lose connection with this fascination of all the things around us.

With knowledge and understanding in 61

► © Redmer Hoekstra

► © Redmer Hoekstra

ARTICLE

Fine Lines through different dimensions

by Thomas Jukes

www.redmerhoekstra.nl

Fineliner drawings on paper warp and shift before our eyes giving a glimpse into the weird but wonderfully brilliant mind of this Dutch artist.

Graduating from the Art Academy in Zwolle, Netherlands in 2009 as a visual artist and illustrator, Hoekstra has not stopped his mind from wondering. Daydreaming is a trait that many schools would probably like to see lessen in the classroom and in their students but if you’re creative it can sometimes be the very best tool for discovering your niche. Redmer has “always loved alienation and fantasizing, daydreaming” and was lucky enough to rediscover this passion during his time at the academy.

Children have a fascinating way of seeing and attempting to understand the world.

Without proper explanation, theories run rampant and with a good enough imagination, all sorts of weird and wacky thoughts begin to spiral around in their minds. Many of us are unfortunate enough to lose connection with this fascination of all the things around us.

With knowledge and understanding in 61

► © Redmer Hoekstra

► © Redmer Hoekstra

adulthood comes a loss of this childhood wonder. Redmer is an artist who has whole heartedly embraced this youthful mindset and uses it alongside his talent for illustration to create these surreal drawings.

We can begin to see the artists enthralment for the inner workings of objects and creatures from the day to day to exotic. Extraordinary imaginary worlds are opened up by the artist with his cut away drawings, much like one would see in science museums. However, instead of these machines or animals showing the interior biological or mechanical workings, the artist lets his imagination take over from the real world.

We see animals depicted within machinery and humans hidden within animals in an almost scientific drawing style as if we would come across them in a textbook explaining how these things worked. These drawings appear ridiculous as your logical mind steps in to remind you that this is not the way of things but the wonderfully technical drawing style that Hoekstra employs makes them seem so tactile that one could begin to imagine a world flipped on its head where everything we thought we knew was actually untrue.

► © Redmer Hoekstra 63

In some ways we could see this as a reverse of the changes that occur to children when they develop these fantastical explanations for the world around them, only to then be taught a different reality that overthrows the imagination and replaces it with cold logic. If someone was to turn around to an adult and explain that sewing machines actually worked by a live woodpecker contained within, it would certainly shatter an element of that person's reality.

A feature that comes through again and again in Hoekstra’s early work is the mixing of anatomical detail with that of inanimate objects, as well as creatures.

Whilst initially appearing as sketches from some strange sci-fi cartoon or film moodboard, these drawings come across as slightly disturbing.

They are roughly drawn with heavy, scratchy mark making and cross hatched shading further adding to the mad scientist invention atmosphere.

The organs and bone structures fit scarily well within these everyday objects and conjure bizarre thoughts on the nature of technology.

These appliances have all been invented to do a job which in many cases a human body could do

► © Redmer Hoekstra 64

adulthood comes a loss of this childhood wonder. Redmer is an artist who has whole heartedly embraced this youthful mindset and uses it alongside his talent for illustration to create these surreal drawings.

We can begin to see the artists enthralment for the inner workings of objects and creatures from the day to day to exotic. Extraordinary imaginary worlds are opened up by the artist with his cut away drawings, much like one would see in science museums. However, instead of these machines or animals showing the interior biological or mechanical workings, the artist lets his imagination take over from the real world.

We see animals depicted within machinery and humans hidden within animals in an almost scientific drawing style as if we would come across them in a textbook explaining how these things worked. These drawings appear ridiculous as your logical mind steps in to remind you that this is not the way of things but the wonderfully technical drawing style that Hoekstra employs makes them seem so tactile that one could begin to imagine a world flipped on its head where everything we thought we knew was actually untrue.

► © Redmer Hoekstra 63

In some ways we could see this as a reverse of the changes that occur to children when they develop these fantastical explanations for the world around them, only to then be taught a different reality that overthrows the imagination and replaces it with cold logic. If someone was to turn around to an adult and explain that sewing machines actually worked by a live woodpecker contained within, it would certainly shatter an element of that person's reality.

A feature that comes through again and again in Hoekstra’s early work is the mixing of anatomical detail with that of inanimate objects, as well as creatures.

Whilst initially appearing as sketches from some strange sci-fi cartoon or film moodboard, these drawings come across as slightly disturbing.

They are roughly drawn with heavy, scratchy mark making and cross hatched shading further adding to the mad scientist invention atmosphere.

The organs and bone structures fit scarily well within these everyday objects and conjure bizarre thoughts on the nature of technology.

These appliances have all been invented to do a job which in many cases a human body could do

► © Redmer Hoekstra 64

but we have less and less time for in the modern world. So is it so odd to imagine that you would look at the living mechanism first to better understand what you are trying to mimic? I would say no, just that Redmer Hoekstra puts these drawings before us as an unnerving glimpse into how we are making ourselves less and less needed as technology takes on a life of its own.

This idea is echoed in the artist's skill at combining human objects with animals, a bird as a whistle, a parrot as a microphone, an octopus as a set of bellows. Human creativity and imagination have taken inspiration from the natural world and replicated their anatomical evolutions to create objects that allow humans to further their own capabilities.

To take Redmer’s work as a message, I feel that it conveys a substantial amount about how we should perceive things. That isn’t to say that we should begin burning text books and ignoring scientific understanding and replace it with whatever we can come up with. More that we should not be so quick to dismiss imagination and the \inquisitive nature of the human mind, especially at the critical point of childhood. A logical mind is good but a mind which has both logic and a sense of imagination will be much better suited for finding ways to solve issues in the world.

“Often surprising, strange and funny but also with a strange kind of logic, in a fantastic and surreal world.” Redmer Hoekstra

► © Redmer Hoekstra 77 65

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but we have less and less time for in the modern world. So is it so odd to imagine that you would look at the living mechanism first to better understand what you are trying to mimic? I would say no, just that Redmer Hoekstra puts these drawings before us as an unnerving glimpse into how we are making ourselves less and less needed as technology takes on a life of its own.

This idea is echoed in the artist's skill at combining human objects with animals, a bird as a whistle, a parrot as a microphone, an octopus as a set of bellows. Human creativity and imagination have taken inspiration from the natural world and replicated their anatomical evolutions to create objects that allow humans to further their own capabilities.

To take Redmer’s work as a message, I feel that it conveys a substantial amount about how we should perceive things. That isn’t to say that we should begin burning text books and ignoring scientific understanding and replace it with whatever we can come up with. More that we should not be so quick to dismiss imagination and the \inquisitive nature of the human mind, especially at the critical point of childhood. A logical mind is good but a mind which has both logic and a sense of imagination will be much better suited for finding ways to solve issues in the world.

“Often surprising, strange and funny but also with a strange kind of logic, in a fantastic and surreal world.” Redmer Hoekstra

► © Redmer Hoekstra 77 65

66

CROATIA

www.olga-karlovac-photography.com Our existence is a continuous sequence or ephemeral encounters, of brief snapshots that we hardly perceive. Visual artist Olga Karlovac takes us into a journey into a deeper layer of reality, one of imperceptible gems hiding within the flow of time.

Olga masterfully controls light, motion and textures to create exquisite monochrome images suspended in an intermediate dimension between dreams, memories and paintings.

Born in Dubrovnik and currently residing in Zagreb, Olga has reached widespread recognition, with exhibitions throughout the world. Her photographs books: “The Disarray”, “Before Winter” and “Escape”. Her constant exploration of different media and the drive to erase the boundaries between art forms have led to the creation of musical pieces inspired by her work. Powerful, mysterious and compelling, Olga Karlovac’s vision of the world is

FEATURED

have also been collected in a successful trilogy of

pure visual poetry.

68 ► © Olga Karlovac

CROATIA

www.olga-karlovac-photography.com Our existence is a continuous sequence or ephemeral encounters, of brief snapshots that we hardly perceive. Visual artist Olga Karlovac takes us into a journey into a deeper layer of reality, one of imperceptible gems hiding within the flow of time.

Olga masterfully controls light, motion and textures to create exquisite monochrome images suspended in an intermediate dimension between dreams, memories and paintings.

Born in Dubrovnik and currently residing in Zagreb, Olga has reached widespread recognition, with exhibitions throughout the world. Her photographs books: “The Disarray”, “Before Winter” and “Escape”. Her constant exploration of different media and the drive to erase the boundaries between art forms have led to the creation of musical pieces inspired by her work. Powerful, mysterious and compelling, Olga Karlovac’s vision of the world is

FEATURED

have also been collected in a successful trilogy of

pure visual poetry.

68 ► © Olga Karlovac

► © Olga Karlovac

07

► © Olga Karlovac

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► © Olga Karlovac

07

► © Olga Karlovac

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UNITED KINGDOM

Men of the Suri, Ethiopia ► © Trevor Cole

www.alternativevisions.co.uk To capture people and landscapes and the interactions between them in the light of a world in transition is to encapsulate an inimitable moment, which will never again materialize. His own 'take' as a geographer photographer!

Born in the City of Derry (Ireland), Trevor has lived most of his life outside the bounds of Ireland: England, Singapore, Togo, Italy, Ethiopia, and Brazil. He returned to Ireland (Donegal) in 2012.

FEATURED

His photography, together with travel, have become two of his life’s passions. His photography focuses predominantly on culture and landscapes; images which reflect a spatial and temporal journey through life and which try to convey a need to live in a more sustainable world. He seeks the moment and the light in whatever context he finds himself and endeavors to use his photographic acumen to turn the ordinary into the extraordinary.

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Young girl of the Hamar, South West Ethiopia ► © Trevor Cole NEXT PAGE: Boy of the Mundari, South Sudan ► © Trevor Cole

Children of Principe, São Tomé ► © Trevor Cole

UNITED KINGDOM

Men of the Suri, Ethiopia ► © Trevor Cole

www.alternativevisions.co.uk To capture people and landscapes and the interactions between them in the light of a world in transition is to encapsulate an inimitable moment, which will never again materialize. His own 'take' as a geographer photographer!

Born in the City of Derry (Ireland), Trevor has lived most of his life outside the bounds of Ireland: England, Singapore, Togo, Italy, Ethiopia, and Brazil. He returned to Ireland (Donegal) in 2012.

FEATURED

His photography, together with travel, have become two of his life’s passions. His photography focuses predominantly on culture and landscapes; images which reflect a spatial and temporal journey through life and which try to convey a need to live in a more sustainable world. He seeks the moment and the light in whatever context he finds himself and endeavors to use his photographic acumen to turn the ordinary into the extraordinary.

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Young girl of the Hamar, South West Ethiopia ► © Trevor Cole NEXT PAGE: Boy of the Mundari, South Sudan ► © Trevor Cole

Children of Principe, São Tomé ► © Trevor Cole

Young Arbore girl from Chew Bahir in Ethiopia ► © Trevor Cole

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Konyak tribesman with lifelines to show, Nagaland, India ► © Trevor Cole

Mud man, Niugini, Papua New Guinea ► © Trevor Cole PREVIOUS PAGE: Topossa woman with typical facial scarification, South Sudan ► © Trevor Cole

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Young Arbore girl from Chew Bahir in Ethiopia ► © Trevor Cole

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Konyak tribesman with lifelines to show, Nagaland, India ► © Trevor Cole

Mud man, Niugini, Papua New Guinea ► © Trevor Cole PREVIOUS PAGE: Topossa woman with typical facial scarification, South Sudan ► © Trevor Cole

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ARTICLE

www.simonchaudoir.com

When the Camera Stops Rolling

by Photographize Simon Chaudoir is a London based director of photography with a stellar career that spans over thirty years. His studies in Fine Art Film and Video at St. Martins in the late 80’s, together with the London’s inspiring scene of the time, laid out the aesthetic foundations for his later career. From music videos to commercial cinematography for some of the most iconic brands in the world, he has pushed the creative boundaries time and time again.

► © Simon Chaudoir

11

ARTICLE

www.simonchaudoir.com

When the Camera Stops Rolling

by Photographize Simon Chaudoir is a London based director of photography with a stellar career that spans over thirty years. His studies in Fine Art Film and Video at St. Martins in the late 80’s, together with the London’s inspiring scene of the time, laid out the aesthetic foundations for his later career. From music videos to commercial cinematography for some of the most iconic brands in the world, he has pushed the creative boundaries time and time again.

► © Simon Chaudoir

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► © Simon Chaudoir

Chaudoir’s films are masterpieces of storytelling, with edgy and stunning visuals. When discussing the filming process, he combines the visceral emotion of the artist with the meticulousness of a scientist. In his words, “I’m really interested in lighting. I sit in the cinema and wonder where the lamps on set were placed. I know it sounds wanky, but I like it when the light tells a story.” An alchemist of light, his works are visual gems. Chaudoir’s film experience gives his photography a unique dimension.

The monochrome series in this article was shot during the breaks in filming. They provide a glimpse into the world behind the camera, a world that is clearly full of fun. The compositions are exquisite, with gear and crew blending playfully, giving life to a Rube Goldberg cinematic universe. ► © Simon Chaudoir 79

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► © Simon Chaudoir

Chaudoir’s films are masterpieces of storytelling, with edgy and stunning visuals. When discussing the filming process, he combines the visceral emotion of the artist with the meticulousness of a scientist. In his words, “I’m really interested in lighting. I sit in the cinema and wonder where the lamps on set were placed. I know it sounds wanky, but I like it when the light tells a story.” An alchemist of light, his works are visual gems. Chaudoir’s film experience gives his photography a unique dimension.

The monochrome series in this article was shot during the breaks in filming. They provide a glimpse into the world behind the camera, a world that is clearly full of fun. The compositions are exquisite, with gear and crew blending playfully, giving life to a Rube Goldberg cinematic universe. ► © Simon Chaudoir 79

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► © Simon Chaudoir

► © Simon Chaudoir

► © Simon Chaudoir 78

► © Simon Chaudoir

► © Simon Chaudoir

► © Simon Chaudoir 78

SPAIN

www.angeljsanchez.com

Iglesia Ortodoxa Rumana, Logroño ► © Ángel Sánchez

Ángel Sánchez is a Spanish photographer with a CCII degree from the UPV - Basque Country University. Thanks to his work in different advertising agencies, Ángel has had the opportunity to collaborate with well-known fashion and advertising photographers, including Michael Wray, Michael Shelley, Paco Navarro, Toni Riera. All of them have served as inspiration and have helped fuel his passion for photography.

We can feel his works as the starting point in an author-receiver conversation, sometimes silent, but always immensely rich in life; a way of giving meaning to the world, of documenting presences, experiences.

Faro Favarix, Menorca ► © Ángel Sánchez

PREVIOUS PAGE: Museo del Louvre ► © Ángel Sánchez

FEATURED

For Ángel, photography opens the door for creativity, allowing him to connect with others. His images are diary, performance, meditation, mirror, and window of his most intimate self. "It is almost like a portrait or interior landscapes where my soul travels. I don't know how to express it in another way, but I feel a need to do it, to communicate, to transmit, to connect, and if possible, even to move and pinch the soul".

Among other places, Ángel has displayed his work at the Museo de la Rioja and the Salon d'Automne in Paris.

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SPAIN

www.angeljsanchez.com

Iglesia Ortodoxa Rumana, Logroño ► © Ángel Sánchez

Ángel Sánchez is a Spanish photographer with a CCII degree from the UPV - Basque Country University. Thanks to his work in different advertising agencies, Ángel has had the opportunity to collaborate with well-known fashion and advertising photographers, including Michael Wray, Michael Shelley, Paco Navarro, Toni Riera. All of them have served as inspiration and have helped fuel his passion for photography.

We can feel his works as the starting point in an author-receiver conversation, sometimes silent, but always immensely rich in life; a way of giving meaning to the world, of documenting presences, experiences.

Faro Favarix, Menorca ► © Ángel Sánchez

PREVIOUS PAGE: Museo del Louvre ► © Ángel Sánchez

FEATURED

For Ángel, photography opens the door for creativity, allowing him to connect with others. His images are diary, performance, meditation, mirror, and window of his most intimate self. "It is almost like a portrait or interior landscapes where my soul travels. I don't know how to express it in another way, but I feel a need to do it, to communicate, to transmit, to connect, and if possible, even to move and pinch the soul".

Among other places, Ángel has displayed his work at the Museo de la Rioja and the Salon d'Automne in Paris.

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Gran Arco de la Defense, París ► © Ángel Sánchez

Bodegas Ysios ► © Ángel Sánchez

Edificios Explanada de La Defense, Paris

Ingrávidos ► © Ángel Sánchez

MAMAN Louise Bourgeois. Structures of Existence: The Cells Museo Guggenheim Bilbao ► © Ángel Sánchez 07 Inglesia Católica de San José, Bilbao ► © Ángel Sánchez

72 Artium 2, (trasera) Vitoria-Gazteiz ► © Ángel Sánchez

Gran Arco de la Defense, París ► © Ángel Sánchez

Bodegas Ysios ► © Ángel Sánchez

Edificios Explanada de La Defense, Paris

Ingrávidos ► © Ángel Sánchez

MAMAN Louise Bourgeois. Structures of Existence: The Cells Museo Guggenheim Bilbao ► © Ángel Sánchez 07 Inglesia Católica de San José, Bilbao ► © Ángel Sánchez

72 Artium 2, (trasera) Vitoria-Gazteiz ► © Ángel Sánchez

Highlights Curator’s Choice

NIC KELLER www.nic-keller.ch www.instagram.com/nic_keller_photography

ERIC M. RENARD www.ericrenardphotography.com www.instagram.com/renard_photo

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Highlights Curator’s Choice

NIC KELLER www.nic-keller.ch www.instagram.com/nic_keller_photography

ERIC M. RENARD www.ericrenardphotography.com www.instagram.com/renard_photo

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ISABELLE GOEMINNE

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GUS

www.goeminneisabelle.com

www.gusfineart.es

www.instagram.com/isabelle.goeminne

www.instagram.com/gusfineart

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ISABELLE GOEMINNE

89

GUS

www.goeminneisabelle.com

www.gusfineart.es

www.instagram.com/isabelle.goeminne

www.instagram.com/gusfineart

90

ANA JUNKO www.anajunko.com

CINDY MANTLE www.instagram.com/mantlecindy

www.facebook.com/ana.junko.35

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ANA JUNKO www.anajunko.com

CINDY MANTLE www.instagram.com/mantlecindy

www.facebook.com/ana.junko.35

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ISSN 2639-569X