PRISMA Issue 13

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PeacePhotography: Everydaymoments by:DrAliceKönigand RobertRayner


29 February 2024 Issue 13 CULTURE - EVENTS - TRAVEL - NATURE

Issue 13 - 29 February 2024

Editor-In-Chief: Louise Anderbjörk & Tristan Sharman

Polar Bears in Kaktovik: Prelena Soma Owen discusses photographing polar bears in Kaktovik, Alaska. They talk about the challenge of dealing with the extreme Arctic conditions during their photoshoots

Opposites Attract: Neil Gallacher’s captures the patterns and shapes formed at the intertidal landscape of the Eden Estuary. He describes the landscape of opposites ‘like ‘a canvas that is constantly changing’.

The Coastline by Air: Jamie Sullivan uses drones to capture the strength and beauty of British coastlines He describes his awe for the shapes formed by coastal erosion, and the patterns of our coastal landscapes.

Lago di Saoseo: Dominik Kobler capturesd the tranquillity of Lago di Saoseo He emphasises its beauty and how the unspoilt natural setting means that when he is there, ‘time seems to stand still’.

Stockton International Acts : Eve McDonald describes a serendipitous journey into photography She tries to make sure every photo has an interesting story to tell behind it, to keep photography an active hobby.

Automotive Film Scenes: After discovering his grandad’s old camera that places this modern moments back in time, Nicolas Ragaz combined his two interests of photography and automobiles













Issue Overview 1 3 5 17 Editorial Article Photo Stories Photo Competition
Inside this Issue
Photo:PrelenaSomaOwen Photo:NeilGallacher Photo:EveMcDonald Photo:JamieSullivan Photo:DominikKobler
Photo: NicolasRagaz Photo: Lloyd Lane


Issue 13 - 29 February 2024



Photographs are world-building They don’t just reflect the world around us: they shape what we know, and impact how we feel. In his book Peace Photography Frank Möller explores the role that photography have played in determining how we visualise and approach peace. He contrasts the use of ‘war photography’ in representing peacemaking, to highlight photography’s equal potential of making peace, as a subject in itself, more tangible and better understood. By telling the stories of local activists, photographers also play a vital role in gaining support for grassroot peace efforts across the world. The University of St Andrews’ Visualising Peace Project has been working with amateur and professional photographers to picture peacebuilding from new perspectives In 2023, we hosted an exhibition called Picturing Peace, featuring Hugh Kinsella Cunningham’s award-winning photographic project on the Women’s Peace Movement in the DRC. Visualising Peace student Robert Rayner also investigated ‘Everyday Peace’ through with a group of amateur photographers. The participants were asked to send in photos that symbolized ‘peace’ to them Many were self-effacing about their submissions, claiming their contributions were just ‘generic landscapes’. Though, several people commented that they found the curation process enjoyable and that they felt relaxed or calm looking at their peace photographs. The way that people were included in the submitted photos was particularly interesting: when they were the subject of the image, the people in peace photographs were almost always family members or friends. Many other photos, such as those of old towns, merely implied the existence of people. Positive peace is not just the absence of violent conflict, but the presence of strong institutions, justice, and social harmony When the Everyday Peace Indicators Project asked people in post-conflict zones to photograph peace, participants included drone-free skies, de-mined roads and un-looted livestock. Despite significant differences, due to people’s distance from or proximity to conflict, the global similarity across different manifestations of ‘peace photography’ is striking. From war-torn cities to quiet university towns, peace photography demonstrates that many individuals and communities have an implicit understanding of positive peace The commonplace calm and bonds of connection and care evident in different examples of peace photography across cultures indicates that true peace –and therefore true peacebuilding – must encompass all of life: both its mundanity and transcendence.

The ‘everyday peace’ collage created by Robert will go on display – alongside other visualisations of peace, curated by the wider Visualising Peace team – in the cloister of St Salvator’s Quad from April to June 2024 In March 2024 the Visualising Peace team will be collaborating with PRISMA to run a photography competition entitled Visualising Peace. We are keen to see how people all around the world, in different contexts and communities, understand peace –from inner peace to geopolitical or even cosmic peace, past, present and future The deadline for entries is 31st March, and a selection of photographs will be exhibited at a local showcase in St Andrews in April 2024 in the lead-up to PRISMA announcing the winner in the April issue. Please use the link below to submit your peacebuilding-themed photo, with a corresponding caption that explains where the photo is taken and how it relates to peacebuilding 85CkHb4HrEY-zGf2TjM cjb9LueUTOkTP6ilg/viewform

You may submit several photos for the competition, but please do so via separate entries with one photo per submission. We look forward to seeing your work!

Everydaypeace inphotos
Photo: Robert Rayner


PhotographyEditor:Kailee Parsons

Photographing polar bears in Kaktovik, Alaska, presents unique challenges due to its harsh Arctic conditions Extreme cold, unpredictable weather and limited daylight hours require photographers to be wellprepared with specialised gear and equipment. However, overcoming these challenges results in images that showcase the resilience and adaptability of these Arctic giants My objective was to capture the beauty of these creatures and to increase awareness of the importance of protecting their fragile ecosystem. Kaktovik’s popularity stems from the gathering of polar bears along the Beaufort Sea caused by their need to feed. The local Inuit are allowed to hunt three bowhead whales each year, and the remains of the carcass are left on a bone-pile As the bears feed on the carcass, land photographers are afforded a unique opportunity to photograph them Ethical considerations are paramount here. Respecting the local inhabitants and maintaining a safe distance from the animals is crucial for both the well-being of the bears and the safety of the photographer. A commitment to ethical photography not only preserves the integrity of the natural environment, but also contributes to the long-term conservation of the polar bear population in Kaktovik My advice for photographers in Kaktovik would be: Prepare for extreme cold. Pack enough cards and batteries, know how to fix condensate on your camera and lenses, and then learn how to master exposure. Finally, be prepared for days you won’t be allowed out to sea, and get a local guide and listen to their advice Above all, enjoy the experience!

Photo:PrelenaSomaOwen Photo:PrelenaSoma Owen
Issue 13 - 29 February 2024
Photo: Prelena Soma Owen
Beautifulcreatures inafragileecosystem


PhotographyEditor:Maggie Zhu


I have always been drawn to the beach as an overlapping landscape between land and sea The Eden Estuary in north east Fife is a perfect example of this unique space It is a centre of many activities such as bird watching, walking, and horse riding. It also supports lots of wildlife, including birds such as the black-tailed godwit, grey plover, and red-breasted merganser. However, what makes it most fascinating for me is its landscape. The water rushing over loose, granular sand creates unique sights and sounds which I love to visit and witness again and again My photos explore themes of memory, transience, climate effects, and the passing of time on and within the landscape. They capture the transient area between the land and the sea where twice a day, the tide ebbs and flows, creating diverse patterns and shapes In my eyes the landscape appears composed of opposites: the hidden and revealed, the visible and invisible, the seen and unseen, the wet and dry The estuary is like a canvas that is constantly changing, its waters and winds crafting magical images on the newly exposed surfaces: simple geometric patterns and complex organic pattern formations. The patterns are repeated, altered, and formed in different areas of the estuary I love how it never looks the same from one day to the next, particularly when I go at different times of day and year Seeing the shadows fall over the flats as the sun sets over the horizon is a truly unique experience. My records of this animated landscape highlight its impermanence, stimulate the imagination, and I hope urge people to help protect this valuable environment.

Photo:NeilGallacher Photo:NeilGallacher Photo:NeilGallacher
PHOTO STORIES Issue 13 - 29 February 2024

Thetransientarea betweenlandandsea

Photo: Neil Gallacher


PhotographyEditor:Kailee Parsons


These photos were taken between 2018 and 2023 at Stockton International Riverside Festival (SIRF) Stockton (my hometown) is a fairly quiet town in the North-East of England, but once a year it becomes home to an array of international acts. A Catalan punk brassband, Finnish all-female circus, and Korean divers are just some of the performers that come to mind from over the years. The first year I volunteered as a photographer, I was actually trying to gain work experience for my Spanish and French classes (which had been proving quite difficult) I thought SIRF would be a great opportunity to practise speaking, and I planned to strike up conversations under the guise of “photographer”. I’ll admit that I didn’t really know anything about photography, but I soon became addicted to that giddy feeling when you know you’ve captured a great shot. I fell into photography through pure serendipity and even though I am now learning the technicalities behind cameras and photography, my approach still stems from inviting happy coincidences into my life. Whilst many great photos, especially in street, landscape, and wildlife photography seem to come simply from being in the right place at the right time, I don’t believe this means you have to be completely passive Most of my favourite photos have come from when I’ve been open to having conversations with people that led me to beautiful places, or given me an interesting story behind the shot. This excitement to meet new people, tell stories and be open to the weird and wonderful is something that I will always carry with me as I develop my photography.

Photo:EveMcDonald Photo:EveMcDonald
PHOTO STORIES Issue 13 - 29 February 2024
InternationalActsat SIRF
Photo: Eve McDonald



The ocean has always been a place of profound inspiration for me, as it embodies an untameable, almost supernatural strength It is often difficult to gain perspective on the magnitude of the sea’s powerful force, especially considering the limitations of our own landbound mobility. I discovered that a drone transcends this, which gave me a sense of freedom I had never felt before The drone extended my eyesight as if I were an eagle gliding effortlessly through the sky, that is, if an eagle had four propellers rather than two magnificent wings. I found delight in photographing the coast to observe distinctive contours formed by the interactions between the ocean and land. The fascinating shapes formed on the coastline symbolise both acceptance and resilience Cliffs welcome the relentless forces of nature while forming an impenetrable barrier, one which protects us From above, I also keenly observe the many patterns formed underneath the vast blue expanse, revealing nuanced forms of rocks, coral and sand like it were unfound treasure. I love experimenting with the unique and ever-changing forms of waves alongside the joyful reflections by the sun on the ocean surface and land too From years of developing my love for coastal pictures, I have learned that no two images can ever be the same, and each tells its own story. Despite having lived by the ocean my whole life, I am wonderstruck each time I create a new image or relive the experience of an old one, and am captivated by the beauty of nature in its many forms I hope to continue exploring this love by unpacking the beautiful Scottish coast too

Photo:JamieSullivan Photo:JamieSullivan Photo:JamieSullivan
PHOTO STORIES Issue 13 - 29 February 2024

Contoursofland andsea

Photo: Jamie Sullivan


PhotographyEditor:Maggie Zhu


My photography aims to tell the story of my experiences in Val da Camp My description of the environment accompanies the photographs as evidence of its beauty and tranquility. The slowly setting sun bathes the Val da Camp in warm light as we arrive on the shores of Lago di Saoseo. The golden glow of the autumn afternoon transforms the landscape into a picturesque painting. The clear sky is reflected in the azure waters of the lake, which is surrounded by imposing mountains Our steps lead us along the shore, where the silence is broken only by the gentle rustling of the leaves and the soothing lapping of the water. The Lago di Saoseo, nestled in the Swiss Alps, radiates an almost mystical tranquillity. The Val da Camp, framed by majestic peaks, tells stories of times gone by. Old stone houses bear witness to the traditional farming culture that has been preserved here over the years Time seems to stand still in this unspoilt natural setting Lago di Saoseo lies at an altitude of 2,029 metres above sea level. Its deep blue water is fed by the surrounding glaciers, giving the lake a cool clarity. The Val da Camp, once a retreat for shepherds, reveals its secrets to those who explore its paths. The clear mountain air carries with it the scent of fir trees and autumn flowers In the distance, the peaks glow like snow-covered jewels, while the setting sun bathes the panorama in warm orange tones. A sunny autumn day at Lago di Saoseo and in the Val da Camp is an unforgettable journey through a region that impresses not only with its picturesque beauty, but also with its rich history and fascinating natural treasures

Photo:DominikKobler Photo:DominikKobler
PHOTO STORIES Issue 13 - 29 February 2024
Photo: Dominik Kobler


PhotographyEditor:Maggie Zhu


My photography journey has only started very recently Even though I always had an interest in the art form, I considered it too daunting to begin learning the gear and editing that seems part of the job nowadays. However, in January last year, I found my grandad's old film camera, a Zeiss Ikon Contaflex from the 1950's, which previously belonged to my great-uncle. This gave me the perfect reason to get started, using the camera to document adventures of my own and in a way, share those adventures with them even though they are no longer with us I instantly loved the simplicity of this 65-yearold camera. It is purely mechanical, and there is something very therapeutic to the process of taking photos with it. I was able to combine my newly found passion for photography with my love for cars. Although I love landscape and documentary photography, I always get drawn back to automotive scenes An amazing event for this is the Goodwood Revival as it is the biggest historic motor racing event in the world. Consequently, there are many great opportunities to take photographs. I even had the opportunity to shoot a Formula 1 race on film this past year. The photos came out like they were lost in time, with those complex modern machines in full focus images that feel like they were taken 30 years ago I never expected to enjoy black and white photography as much as I did. With this, you have to think a lot more about composition and lighting to get the perfect shot. However, one of the biggest lessons I have learned thus far is to just shoot what piques your interest, 9 times out of 10 the image will come out well!

Photo:NicolasRagaz Photo:NicolasRagaz
PHOTO STORIES Issue 13 - 29 February 2024
Photo:NicolasRagaz Photo: Nicolas Ragaz Goodwood Revival


It is our pleasure to congratulate the winner of PRISMA's January Photo Competition: SarahGarde "ANorwegianwintermorningontheKvaløyafjord.”

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

PHOTOGRAPHY COMPETITION SHOWCASE YOUR WORK PRISMA 17 Email or contact us on social media to showcase your photography and enter into our monthly photo competition. FOLLOW US @prismaphotomag PRISMA Photography Magazine PRISMA Photography Magazine Issue 13 - 29 February 2024
Photo: Thomas Khilberg

Cover art: Martin Bennie

(c) PRISMA Photography Magazine 2024
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