PRISMA Issue 12

Issue 12

CULTURE - EVENTS - TRAVEL - NATURE

31 January 2024

Editorial Article Capturing Music: The stories of a concert photographer by: Maggie Zhu

INSIDE FEATURES

PRISMA ISSUE OVERVIEW

INSIDE FEATURES Issue 12 - 31 January 2024

INSIDE THIS ISSUE OF PRISMA Editor-In-Chief: Louise Anderbjörk & Tristan Sharman

Photo: David Boyd

Photo: Gary Simmonds

Cold Water Surfing: David Boyd’s passion for surf culture comes through in his photography. He enjoys capturing the surfers just before they hit the waves, full of anticipation and excitement.

Photo: Ken Wilkinson

Photo: Geovanny Rodriguez

Wildlife in the UK: A passion for wildlife and nature has led Garry Simmonds to dedicate his free time to photographing it. It helps him to learn more about the world we live in, and to cherish our green spaces.

Photo: Michaela Suchá

Play with Shape and Colour: Ken Wilkinson shares a simple approach to find beautiful little scenes in ordinary places, reflecting human reality and opening the door to true creative freedom.

Life and Photography: Photography can be used as a key to unlocking the past, with Geovanny Rodriguez inspired by this to take relatable photos that reminds us to enjoy life’s small moments.

Photo: Jason Colley

Fierce Beauty of Poland: Michaela Suchá describes her experiences travelling around the coast of Poland creating different compositions, from minimalistic photos of buried tree trunks to wide beach landscapes.

Issue Overview

Finland’s Morning Light: The different seasons provide the inspiration for Sami Möttönen’s images of Finland’s landscapes, as is the mystical experience of getting up early to watch a sunrise.

PRISMA

The Editorial Team

1 Inside this Issue 3 Editorial Article 5 Photo Stories 17 Photo Competition

Editor-in-Chief - Louise Anderbjörk Editor-in-Chief - Tristan Sharman Deputy Editor-in-Chief - Eleanor Reid Editorial Editor - Alexandra Godfrey Photography Editor - Kailee Parsons Photography Editor - Maggie Zhu Copy Editor - Rosie Leeson Layout Editor - Ella Wong Web Editor - Iain Cunningham Media Manager - Lucile Belorgey

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editor@prismamagazine.co.uk

Photo: Josh Feron

PRISMA EDITORIAL ARTICLE

Issue 12 - 31 January 2024

CAPTURING MUSIC Editorial Editor: Alexandra Godfrey

MAGGIE ZHU Happy 2024! Hope everyone had a restful winter break and a great start to the new year. I’m Maggie, one of the two photography editors of PRISMA, and I will be starting off this year’s first editorial by talking a little bit about my work, live music photography, and how I tend to approach it. Imagine this: you’re in a packed venue, tonight is the sold-out show of a touring international artist, the crowds are roaring, amplifiers are blasting, and you are standing in front of it all, before the barricades, so close that you can touch the stage. You have your camera ready in hand, you raise it to frame the artist bouncing on stage and capture the perfect moment of motion. Amongst the myriad of genres within the broad fields of photography, few capture the raw essence of intense emotion, vibrant colors, and rhythmic energy as vividly as music photography. As its title suggests, music photography transcends its form as a still image medium and seeks to communicate sound, melody, and rhythm visually. As I press my shutter button, I find myself trying to narrate my images so that they become a continuation of the performance.

Oftentimes, my work may not necessarily be a simple documentation of what is occurring on stage, but rather a recreation of its atmosphere. The first thing that comes to my mind when writing about music photography is the adrenaline. Shooting gigs and concerts is a thrilling process of creating art through documenting art. Performance is a transient medium, the perfect moments of aesthetic resonance come and go, usually fleeting and never generous enough to repeat itself. Amidst the chaos of protecting your ears and avoiding being run over by other fellow photographers, you need to consider lighting, perspective, and composition in split seconds. This can get quite overwhelming. The exhilarating process of music photography is in fact its inherent challenge—freezing the fleeting moment. I love the unpredictability of live photography, where I go in blind and take whatever work I manage to produce as my style clashes and melds with the artist’s. However, I’ve recently come across a new approach to shooting gigs. As I shoot more, I’ve grown to understand the little details better—the mechanics of the lighting, the performance’s next move, or what makes the crowd erupt. As I learn to anticipate these details, I learn how to plan ahead. A fun (or perhaps more burdening for some) approach to music photography is to see each show as an individually themed project. Perhaps similar to planning a commercial or portrait shoot, I set a theme or outline a

Photo: Maggie Zhu

vision to give me guidelines when I am committing to the shoot. I start off by doing thorough research on the artist’s genre and style and often begin the night’s work by listening to their soundtracks on my way to the venue.

Listening to the artist’s music helps me create a vision board of how I want to portray their work. Some might say that this is an excessive move, but I try to listen to the artist’s entire catalog before proceeding to the shoot. With preparations such as these, I find myself more decisive during the shoot. I work with a clear idea of the shots I need. This is a great way to avoid overshooting and relieves a lot of stress during post-production. At the same time, as a photographer, this helps me avoid repetition in my work.

I stop trying to trap an artist in my own style. Although I may be shooting several artists of the same genre consecutively, the work I produce for each performance has its unique aesthetics. Most importantly, planning each gig as a little project like this makes it much more fun for me. If you’re somewhat tempted to create little projects like this, bring your camera (that’s allowed by the venue) to whatever show you’re planning on going to and try to capture something. Happy shooting!

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Freezing the moment on stage

Photo: Maggie Zhu

PRISMA PHOTO STORIES

Issue 12 - 31 January 2024

COLD WATER SURFING Photography Editor: Kailee Parsons

DAVID BOYD I am sadly unable to surf. I have never tried, and yet I am irrepressibly drawn to the culture. Both the surfers and the seascapes are so free and full of life. You can sense the individuals’ excitement as they arrive at the beach, the urgency to get into the water, and to catch a wave. In the end after plenty of failed attempts, to ride that one wave that makes it all worthwhile. I live on the north coast of Ireland, where, like a lot of places, surfing and water sports have exploded in popularity over the last 15 plus years. The water here is cold all year round but that does not seem to stop the play. If anything, it seems to make them more determined! Unlike most photographers, I do not take photographs of people actually surfing. I leave that up to the experts, who do it very well. What inspires me is to try and capture the excitement these people feel just as they enter the water.

The anticipation, the waiting for the moment, how they look against the coastal landscape. I particularly enjoy contrasting the pop of colour from their boards with the grey sea and sand behind. In a way, it is my take on street photography, and I find the experience electrifying.

Nearly all of my images are taken in the harsh winter months when the Atlantic ocean makes its presence felt on these northern shores. That makes me have even more respect for the people who throw themselves into that raging sea and emerge exhausted, yet happy, refreshed and fulfilled. I hope someday to follow in their footsteps, and hope that I do justice to their sport through my images.

Photo: David Boyd

Photo: David Boyd

Photo: David Boyd

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Surfers against the coastal landscape

Photo: David Boyd

PRISMA PHOTO STORIES

Issue 12 - 31 January 2024

WILDLIFE IN THE UK Photography Editor: Maggie Zhu

GARRY SIMMONDS I am lucky enough to live in the green city of Cardiff, never too far away from parks packed with wildlife.

Whilst exotic destinations and big game animals come to mind when you hear ‘wildlife photography’, I’ve found great joy in showcasing the best of British! This has taken me around the United Kingdom, from capturing red deer in London’s Bush Park, to the far west coast of Pembrokeshire visiting the sea birds of Skomer Island.

When trying to capture that perfect image, every new location and animal has its challenges and requires me to research before I head out. I have therefore learned so much from my hobby. I grew up fascinated by nature documentaries on TV, especially how they capture such incredible moments of wildlife and bring that to the screen. From the second I picked up my first DSLR I was addicted to wildlife photography. I love being outdoors and trying to capture these secret moments in nature. I have a busy full-time job, and this is my release from the real world. Being able to go out for a few hours with my camera and hear nothing but the sound of the birds is my happy place, where I can really unwind and slow down.

In a city like Cardiff (and most others around the UK) humans and nature are closely intertwined, it’s so important to take care of what we have. I figure, the more I can get people interested in their local wildlife the more likely they’ll want to go out and see it for themselves. Hopefully, this will inspire people to take good care of those green spaces that we share.

Photo: Gary Simmonds

Photo: Gary Simmonds

Photo: Gary Simmonds

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The best of British

Photo: Gary Simmonds

PRISMA PHOTO STORIES

Issue 12 - 31 January 2024

LIFE AND PHOTOGRAPHY Photography Editor: Kailee Parsons

GEOVANNY RODRIGUEZ My photography journey started when I was growing up and just wanted to capture moments, places, and people that stirred up happiness within me. But as I got older, I found myself drawn to capturing moments that were a little more unique or interesting. When one person opened my eyes to the fact that people enjoyed viewing my photos, it made me realise that this was something meaningful I could commit to. They also pointed out that even if my photos could not please everyone, taking the pictures brought me so much happiness that I should not let a few individuals hold me back. With time, I saw my camera as a means of exploring the world. To me, photography is an endless pursuit of capturing moments that resonate with myself, the photo’s audience, and the subjects immortalised within the frame. I intend to portray the beauty of life's simple moments, stirring emotions that transport the observer back to instances where life felt complete. Perhaps that feeling of adventure felt when exploring the streets of Paris, or the laughter shared with loved ones walking down busy Brick Lane. I even wish to transport back to those less happy moments, such as when things felt purposeless, or the absence of a significant other felt like losing a part of you. I hope you enjoy these pictures in the same way I did when I captured them. Most of all, I hope they act as a reminder to enjoy life’s small moments. With the hustle and bustle of day to day living, we can sometimes live through these times without giving them much thought.

But once they become memories, we can return to them and remember how things were perfect and complete.

Photo: Geovanny Rodriguez

Photo: Geovanny Rodriguez

Photo: Geovanny Rodriguez

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Capturing moments and memories

Photo: Geovanny Rodriguez

PRISMA PHOTO STORIES

Issue 12 - 31 January 2024

PLAY WITH SHAPE AND COLOUR Photography Editor: Kailee Parsons

KEN WILKINSON I want to make compelling images, but I also want to enjoy the photographic experience, so I’ve developed a very simple approach: just play with shape and colour.

There’s an inherent pleasure in viewing balanced harmonious forms, and I work on this level. No grand artistic statements, no intellectualizing, just discovering beautiful little scenes in ordinary places. The photos are generally uncluttered, and I try to avoid extraneous elements. Every element in the photo, every shape, texture or mark, must serve the image as a whole, I’m not concerned about “accurate” colour, only about pleasing colour. Fujifilm colours are my favorite and it’s the trans IV sensor that’s the basis of my colour. My kit for these shots was very basic: a Fujifilm X-T30ii with a Fujinon 23mm (35mm equivalent) lens. Little or no forms of life are explicitly shown. Human presence is inferred from the structures and landscapes, which are generally manufactured, mundane, and banal. But I don’t pass judgment on the human condition. It’s more important to accept and reflect human reality rather than commentate on it, as this opens the door to true creative freedom. It’s also important that the scenes are devoid of sentimentality, which is generally poisonous to true creative expression. This isn’t to say there’s no emotion in the images, but the emotional response comes from the harmony of composition and colour. I believe this is a more authentic emotional reaction. It comes down to developing a practice of seeing, and getting into the rhythm and flow. It takes time, lots of walking, and patience is required.

Photo: Ken Wilkinson

Photo: Ken Wilkinson

Photo: Ken Wilkinson

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Harmony of colour and composition

Photo: Ken Wilkinson

PRISMA PHOTO STORIES

Issue 12 - 31 January 2024

FIERCE BEAUTY OF POLAND Photography Editor: Maggie Zhu

MICHAELA SUCHÁ Our journey around northern Poland starts in the Leba, a small town located right on the coast of the Baltic.

Although neither picturesque nor exciting, it turns out to be a perfect starting point for exploring the beautiful nature that this area is known for. You can feel the chilly northern wind on your face, fine sand between your toes, and the specific smell of pines and sea. These sensory experiences are the most precious memories I take away from the trip. Slovinski National Park is a location sought after by tourists. Usually I don't like to visit crowded places, but you just need to see the breathtaking scenery of the white untouched dunes. I was impressed by the tree trunks buried in the sand, reaching up to the sky. There was something really photogenic about its minimalistic composition. Interestingly, the dunes are moving from three to ten metres per year, so several villages remain buried under the sand. It is quite a unique European phenomenon. I recommend entering the park as soon as possible, so you can enjoy this beautiful natural scenery without crowds. The real highlight of the trip was the beach near the Ulinia village, in the Nature reserve Mierzeja Sarbska. I will never forget the feeling of euphoria I felt while walking the miles of deserted beach as waves tried to catch my bare feet. From the parking lot you can reach the beach through a pine forest. This walk itself is very pleasant. I wished to walk with my eyes closed and breathe in the scent of pine trees and the sea. The beauty of this fierce north coast is mesmerising, and I hope one day to return.

Photo: Michaela Suchá

Photo: Michaela Suchá

Photo: Michaela Suchá

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A journey through Poland’s landscapes

Photo: Michaela Suchá

PRISMA PHOTO STORIES

Issue 12 - 31 January 2024

FINLAND’S MORNING LIGHT Photography Editor: Maggie Zhu

SAMI MÖTTÖNEN I started taking photos in 2019. I witnessed a magical sunrise during the early summer, and only had my mobile phone with which to capture it. The experience was mesmerising, and after that moment I started to explore the world of nature photography. Here in the northern hemisphere we are privileged to have four totally different seasons; cold, snowy winters, the low temperatures of which make for frosty trees and steamy rivers. It lives up to its name of “winter wonderland”.

Spring is when nature wakes up from hibernation, followed by summer with its bright days and nights. And finally we have beautiful, colourful autumn. Autumn in the north is particularly beautiful, surrounded by forests and entirely living up to its name of the "land of a thousand lakes”. I like to use morning light for my photos whenever it's possible, it adds a softness and moodiness to the composition that is unobtainable during daylight.

Mornings are often also accompanied by great mists. For example during those bright nights, when I stand in the middle of total silence and watched only by a couple of animals, the experience of seeing the sun rise through the beautiful fog is unforgettable! This great atmosphere, mysticism and surrounding silence are the aspects that I really want to bring to my photos. I attempt to capture all this beauty in many different ways. Sometimes I just want to search for little details, flowers, plants, or a drop of water. At other times I just search for the light and shadows. For me it is so important to keep my mind and eyes fresh for new ways to photograph, and bring out all those surrounding mesmerising moments.

Photo: Sami Möttönen

Photo: Sami Möttönen

Photo: Sami Möttönen

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Beauty of the seasons

Photo: Sami Möttönen

PRISMA PHOTOGRAPHY COMPETITION

Issue 12 - 31 January 2024

PRISMA PHOTO COMPETITION It is our pleasure to congratulate the winner of PRISMA's January Photo Competition: Gino Yunnissi "Bolivian street cuisine in La Paz. 'Anticuchos' is a dish of beef heart brochettes, usually sided by sliced potatoes. Present in the Andes since pre-Colombian times, Anticuchos is valued as an important part of Bolivian culinary culture.

To enter for your chance to be featured in our upcoming issue, submit a photo through the link on our social media!

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Photo: Nicola Montaldo

Cover art: Sami Möttönen

editor@prismamagazine.co.uk (c) PRISMA Photography Magazine 2024