COVER IMAGE BY NOËLLE ADAM “RED IS RED”
POINT OF SIMPLCITY ISSUE#6.RED DECEMBER 2011 Teya Saveleva, editor in chief
4 POINT OF SIMPLICITY| EDITORIAL
RED POINT OF SIMPLICITY #6
I am pleased to present the sixth is-
But there are still red markings among
sue of “Point of Simplicity”, a free e-
the shades of gray. In this issue we will
magazine about fine art photography.
showcase works of Ron Quick, Dave Ellis,
The theme for the last issue of 2011 is color red. Red may be the most intensive color in the palette and have the most psychological baggage out of all the basic colors, but do you often come across red objects in your everyday life? Look
Noelle Adam, Siiri Kumari and many others. These photographers prove that elements of red can be found anywhere and this powerful color can be used to create beautiful, unforgettable pieces of visual art.
around. Do you have anything red near
Dear readers, ISSUE#6.RED comes out
you? May be not. Modern technology and
just before holiday season. It is the last
mainstream fashion have substituted
issue this year, a round-up of a kind. The
bright charismatic colors with colors that
theme, of course, was selected on pur-
have less personality to them. If you are
pose. What can be more festive and glori-
sitting in front of a computer or holding
ous than color red? The team behind
onto a smartphone it is probably the
POINT OF SIMPLICITY magazine is very
shade of gray, black or white - in other
thankful to every person out there, who
words, it is neutral, it perfectly blends into
helped us bring the previous issues to-
a crowd of other faceless objects. The sad
gether. Contrast, White, Lines, City, Pin-
part is that nowadays the same can be
hole, Red – all of the issues were a lot of
said about most of things and… people.
work. We hope that from time to time the name of our magazine comes to your
5 POINT OF SIMPLICITY| EDITORIAL
mind, you think of looking up a fresh issue on the Internet and, when you find it, it inspires you to try out new things. Happy Holidays! See you soon!
Teya Saveleva December 2011
Acknowledgements I would like to thank every person, who came in contact with our magazine this year, browsed through its pages and shared it with their friends! I would also like to express my gratitude to people, who support us and believe that POINT OF SIMPLICITY is a small, but an important part of online photographic universe. Thank you very much youâ€”yes, youâ€” you helped us grow and strive for more! You make us what we are. You are the inspiration behind this magazine. Thank you!
6 MAITRE OF PHOTOGRAPHY | RON QUICK
RON QUICK www.ronquickphotography.com
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Ron Quick is an amateur photographer from Lincoln, Nebraska. During college Ron enrolled in a 9 week introductory course in digital photography and became hopelessly addicted to capturing images. Ron is attracted to primarily abstract scenes that usually have elements of vibrant color, patterns, and shadows that he feels are captured in a unique way. Ron describes his method as somewhat simple: â€œI walk the streets of Lincoln until a potential photograph presents itself and then enjoy the pursuit of capturing the moment forever. Photography for me is a temporary escape and artistic tool to express myself. Overall, I hope that my images convey a visual wonderment that is my urban landscape.â€?
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24 GUEST FEATURE | DAVE ELLIS
DAVE ELLIS http://dingodave.deviantart.com/
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David was born in Australia and introduced to photography at an early age by his father, learning how to process film and make darkroom prints while in his early teens. He first started taking his own photographs in the early 90’s using an old manual Pratika camera and black and white film eventually making the change to digital photography in 2007 David now specializes in infrared and fine art nude images and has exhibited in local galleries and sold his work commercially. He recently contributed a number of images to the book ‘Derelict Nudes’ (published by markvarleyphoto.co.uk) David currently lives and works in rural Herefordshire in the U.K
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This time we are joined by Dave Ellis (DE), a well-known versatile master from DeviantArt. Dave kindly agreed to answer some questions about various aspects of infrared photography, the one technique he has been experimenting with. PS : Dear Dave, thank you very much for joining us. DE : My Pleasure, thank you very much for inviting me and for the interest you’ve shown in infrared photography PS: Dave, the theme of the issue is red. Do you have any feelings or any particular associations about this colour? DE: Red is actually my favorite colour though I prefer deeper shades like burgundy or maroon to bright reds. It’s a colour I associate with passion and intensity and I actually have a red wall in my studio room which I often use as a backdrop for portraits and art nudes. PS: Although the theme is red, we decided to give it a little twist and invited you to talk about your creative work and especially your work in the field of infrared photography. When was the first time you tried it and what was the inspiration behind this step? DE: I first came across Infrared photography in 2007 when I joined Deviant Art. My initial inspiration was seeing the work of the Israeli photographer Gilad Benari (Gilad on DA). My first attempts at Infrared photography date back to this time though it took me a while to gather
the necessary ‘know how’ and equipment and I didn’t start to make successful infrared images till 2008. PS: Dave, what would be your brief definition of infrared photography? What is it? And what does a photographer need to take infrared shots? DE: Well, put very simply, at either end of the normal visible light spectrum are two bands of light which are invisible to the naked eye - Ultraviolet and Infrared. Digital infrared photography is about using a filter to block most of the visible light spectrum from reaching the cameras sensor thereby allowing it to record the infrared light entering your lens more distinctly. Some digital cameras are more sensitive to infrared light than others. The amount of infrared light your camera can record will be dictated by the effectiveness of the IIRC (internal infrared cut-off filter) or ‘hot mirror’ inside the camera on the sensor. There are two methods a photographer can use to make infrared images. The most common method is using an ‘on lens’ filter such as the Hoya R72 along with an infrared sensitive camera. This usually requires quite long exposures and a tripod. Alternatively, you can have a camera ‘converted’ permanently to shoot infrared images – this involves removing the cameras internal hot mirror and replacing it with a small infrared filter. There are a number of companies which convert cam-
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eras and this method has the advantage of allowing the photographer to record images at ‘hand held’ shutter speeds. PS: Talking about equipment, Dave, what appliances do you have in your infrared kit? DE: I shoot with Nikon cameras - my ‘everyday’ camera is a Nikon D7000 Specifically for Infrared I use a ‘converted’ Nikon D80 (the conversion was done by ‘Lifepixel’ in the U.S.) I also use a Nikon D70 (in my opinion the best DSLR for recording infrared images) with a Hoya R72 or Singh Ray ‘I-Ray’ filter. I use a Nikkor 18-70mm kit lens with both cameras – the converted D80 camera has been calibrated to this lens to deal with infrared focusing difficulties or chromatic aberration PS: Dave, what is the most challenging part of infrared photography? Any secrets of trade a beginner should remember not to spoil their first infrared shot? DE: To start with I found the biggest challenge was acquiring an understanding of the basic techniques and technical information needed to begin taking infrared photos. There’s a lot more information available out there these days but back in 2007 when I started it was a bit thin on the ground. Once you’ve got the basics the next challenge is learning to understand the ways in which infrared light behaves differently to ‘normal’ light and the effect that has when you’re out shooting. For exam-
ple, standing in a patch of shade or shadow when taking an infrared picture will drastically reduce the amount of infrared reaching your lens and give dull under exposed looking results. This is just one of many light condition factors to take on board. As for beginners taking their first infrared shots I would offer two pieces of advice. Firstly make sure the camera you intend to use is sensitive to infrared light – you can find this out fairly easily via a Google search or there is also something known as the ‘remote control’ test. Point a TV remote control at the camera and take a picture to see if the infrared from the remotes LED register on the image Secondly, white balance is crucial. Before shooting create a custom or preset white balance in good sunlight, with your infrared filter on the lens and the camera pointed at something green (a patch of grass does well for this). This will have the effect of producing white foliage and blue skies without colour casts in your processed images. PS: What is your favorite shot that you made with using infrared filters? Please tell us the story behind it. DE: One of my favorite shots is titled ‘Inertia’ and is featured in this article. It’s a great example of the way infrared photography can take a very ordinary mundane scene and give it a surreal ethereal twist. It was a spontaneous shot taken when I stopped for coffee during a long car jour-
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ney. The hillock and pair of trees in the image are actually part of the grounds of Membury service station on the M4 motorway. I took the shot from the middle of the car park standing on the boot of my car surrounded by hundreds of parked vehicles and people. Just out of the frame to the right there is a KFC and a Burger King.
As for techniques, Infrared photography continues to be my biggest interest, and I want to try and develop using it on different subject matter and in different contexts. For example, this year, I have started to shoot outdoor art nudes in infrared. I’m also busy with learning about studio lighting techniques.
It’s the total contradiction between the circumstances in which I made this image and the end result that attract me to this particular photograph.
PS: Dave, last month guys from Ode-to -simplicity group at Deviant Art were quite preoccupied with the Helsinki Bus Station theory by Arno Minkkinen. If you aware of this theory, could you please tell us what are your thoughts on it? Does ‘staying on the bus’ mean be devoted to one genre OR does trying out new genres and techniques mean that you are still on the bus, but just taking different turns?
PS: Dave, you have a very versatile gallery. What subjects or techniques do your prefer the most? Why? DE: I think the diversity in my gallery is really a reflection of my formative years as a digital photographer. From the outset my intention was to experiment with all the different genres I found of interest, and by doing so give myself the broadest possible grounding. You can look at my Deviant Art gallery as the record of this four year learning curve. In terms of subjects, photographing people is my greatest interest at present – my initial interest in landscape photography is certainly declining. I like the connection between photographer and subject. Over the last 12 months I’ve been shooting a lot of art nudes and I intend to expand this with more portrait and fashion work. Longer term I’d like to try and make images with a more conceptual or surreal edge.
DE: I think the answer to that question really lies in where a person sees their ultimate photographic destination. For those of us who see photography as a hobby and do it purely for personal pleasure I think it’s a perfectly acceptable option to catch and swap ‘buses’ as often as you like following your changing interests and personal enjoyment. The final destination becomes almost irrelevant. However, if you aspire to make a greater mark on the photographic world you will inevitably need to start focusing on a single genre and developing a personal style by ‘staying on the bus’ sooner rather than later
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PS: Dave, can you name any artists or photographers that are your textbook and endless source of inspiration? DE: Without a doubt the late great Bob Carlos Clark was the photographer who initially inspired me to pick up a camera. His iconic book ‘The Dark Summer’ was a particular influence. When I started in digital photography I was certainly inspired by the landscape images of David Noton and Peter Lik and the surreal photographs of Joel- Peter Witkin appeal to my darker side. There are also many hugely talented photographers amongst the Deviant Art community who have inspired me over the last four years. In Particular, Mike Shaw (aka morbidthegrim) was a great supporter and inspiration from the very start and recently in the field of art nude photography Mark Varley has been an important influence and taught me an enormous amount. PS: Dave, thank you very much. Do you have any final words of encouragement for our readers? DE: Well, for a little research and the price of a filter, infrared photography can give the creative side of your work a real ‘shot in the arm’ – I would recommend it to any photographer who likes to experiment and try out new and interesting techniques.
REDHEAD SPECIES Oh, the redheads… How many of us (and by “us” I mean the photographer folk) have a fallen a victim of those green eyes, bold freckles and fiery hair? Although Wikipedia says that redheads are an extremely rare species, holding merely 1 or 2 percent of human population, it is clear to frequent visitors of photographic galleries that redheads - not brunettes or even blondes - hold a very special place in the portrait streams as the later are overwhelmed . Some like it hot, and redheads are an epitome of passion and reckless adventures that we miss so much nowadays. Redheads go well with spring sunshine and autumn leaves. Redheads are a perfect match for vivid tartan patterns and deep green tones. Redheads remind us of being shamelessly young, naïve and careless. Redheads stand out from the crowd like a splash of warm paint on a colorless cityscape. No, I am not a redhead and I am not in love with one, but you have to admit that there is something adorable and irresistible about them. Medieval people were right about the fact that redheads have many faces. They are dreamy, but bold. They are defenseless, but still very much disarming. Beautiful, but not cliché. Oh, the redheads… Never-ending source of photographic inspiration ♥
SIIRI KUMARI “THE HEAT OF HER SKIN”
42 RED CONTEST WINNER | FEATURED ON THE COVER OF THIS ISSUE
43 RED CONTEST WINNER | FEATURED ON THE COVER OF THIS ISSUE
44 RED CONTEST WINNER | FEATURED ON THE COVER OF THIS ISSUE
45 RED CONTEST WINNER | FEATURED ON THE COVER OF THIS ISSUE
Noëlle Adam http://missumlaut.deviantart.com/
“RED IS RED”
WINNER OF RED CONTEST AT #ODE-TO-SIMPLICITY
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PLMEGALO “SCREWED SKY”
47 RED CONTEST | HONOURABLE FEATURE
LÚCIA PEDRO “URBAN ABSTRACTION”
48 RED CONTEST | HONOURABLE FEATURE
STÉPHANE PELLENNEC “ABOUT HOPE—IN RED”
49 RED CONTEST | HONOURABLE FEATURE
BEN KELEVRA “PYRONALE BERLIN”
50 RED CONTEST | HONOURABLE FEATURE
GEORGE TSIPOS “150”
51 RED CONTEST | HONOURABLE FEATURE
52 RED CONTEST | HONOURABLE FEATURE
CAMILA VERDIYEVA “GYM”
53 RED CONTEST | HONOURABLE FEATURE
54 ASSORTED FEATURE | INSPIRING SHOTS
55 ASSORTED FEATURE | INSPIRING SHOTS
56 ASSORTED FEATURE | INSPIRING SHOTS
PAULINE GREEFHORST “RED LACE”
57 ASSORTED FEATURE | INSPIRING SHOTS
MINDAUGAS SAPOKA “DREAMING”
58 ASSORTED FEATURE | INSPIRING SHOTS
VERA GOLOSOVA “MY NAME IS RED”
59 ASSORTED FEATURE | INSPIRING SHOTS
60 ASSORTED FEATURE | INSPIRING SHOTS
LINDA BASSON “RED”
61 ASSORTED FEATURE | INSPIRING SHOTS
LÚCIA PEDRO “TCARTSBA ”
62 ASSORTED FEATURE | INSPIRING SHOTS
TIMEA HORVATHOVA “RED”
63 ASSORTED FEATURE | INSPIRING SHOTS
64 ASSORTED FEATURE | INSPIRING SHOTS
ADRIAN APO “RED UMBRELLA IDENTITY ”
65 ASSORTED FEATURE | INSPIRING SHOTS
66 ASSORTED FEATURE | INSPIRING SHOTS
DARKO ETEROVIC “ON THE RED SIDE ”
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ISSUE#7.MINDGAMES SUBMIT YOUR WORK UNTIL FEBRUARY 15 2012 & GET PUBLISHED!
HOW TO SUBMIT? 1.
Follow us on Facebook or Twitter and share links to your galleries or shots by replying to our posts.
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We are glad to discover and publish photographers with a fresh, untarnished view of the world. We are looking for beauty, novelty, depth, transience, special touch, and, well, simplicity. You may not be very famous, but you should have something special to show â™Ľ By submitting your work you give us the right to publish it on the pages of this magazine and you agree to your work being distributed digitally via issuu.com media plugin, which can be pasted virtually anywhere on the Internet (see Terms and Conditions). We do not publish every work submitted. We select the shots which we think are a better fit to current theme and general aesthetics of the issue. The choice is subjective and cannot be discussed. Once your work is selected for publishing we will contact you to verify your basic contact information such as your name or nickname, title of the featured work and link to your gallery. This information will be published alongside your work. If you have any questions, please contact us at email@example.com.
RED COLOR OF JAPAN
ROSES ARE RED
IES IN RED POPPIES
RED HAIR LITTLE RED RIDDING HOOD
72 THE END | THANK YOU! INDEX OF PHOTOGRAPHIC MATERIAL USED IN THE ISSUE (IN ORDER OF APPEARANCE) RON QUICK DAVE ELLIS
SIIRI KUMARI NOËLLE ADAM
PLMEGALO LÚCIA PEDRO STÉPHANE PELLENNEC BEN KELEVRA GEORGE TSIPOS CAMILA VERDIYEVA DIAOUL PAULINE GREEFHORST MINDAUGAS SAPOKA VERA GOLOSOVA LINDA BASSON TIMEA HORVATHOVA ADRIAN APO DARKO ETEROVIC
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COMING SOON! POINT OF SIMPLICITY, #7 MINDGAMES FEBRUARY 2012
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