JANUARY 2018 | ISSUE NO.2
COVER: MASAMICHI KAGAYA
MASAMICHI KAGAYA ADRIENNE LEE ANDY STOUT FLAMINIA REPOSI FINLAY BOWMAKER KARAN SARNAIK SHASHWAT SHANKAR STU MODH VLADA ATTALI YI CHENG LEE
PROPAAH is a quarterly published online magazine that aims to provide a platform to young photographers to showcase their ongoing and completed photography projects. It will also serve as an inspiration resource for anyone seeking to further their visual education in photography genres like fashion, documentary and fine art and embark on their personal journey in the complex photography market.
Director - Taushik Mandal Artistic Director - Akashdeep Ghosh Advisor - Claire Saint Jean E-mail : email@example.com Submissions : firstname.lastname@example.org
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CONTENTS PAGE 6 AUTORADIOGRAPH An interview with Masamichi Kagaya, an award wining Japanese artist who is developing a unique body of work around radiation.
PAGE 14 GENEVE-PARIS Vlada Attali
PAGE 20 HOTEL SOCIAL Andrew Stout
PAGE 28 SEWING MACHINE Yi Cheng Lee
PAGE 34 FAMILY IS FAMILY Adrienne Lee
PHOTO CREDIT: ADRIENNE LEE
CONTENTS PAGE 40 LOST IN THE CITY Shashwat Shankar
PAGE 46 PRAIRIE MADNESS Stu Modh
PAGE 54 PLEASURE TO MEAT YOU Flaminia Reposi
PAGE 62 DOPING Finlay Bowmaker
PAGE 68 ROCK GARDEN Karan Sarnaik
PHOTO CREDIT: SHASHWAT SHANKAR
AUTORADIOGRAPH MASAMICHI KAGAYA INTERVIEWED BY TAUSHIK MANDAL
Feather Namie Town, Fukushima (June 2012), 30 km from plant Radiation Level : 70 cpm
We met up with Masamichi Kagaya, an alumni from 2008 batch of Speos International Photo School, on the day of his exhbition 'Autoradiograph' at the Speos gallery. Masamichi is a Japanese artist who has won the FUJIFILM Award in Kyotographie 2017, Special Jury Award at Lianzhou Foto 2017 and had a Honorary Mention at Prix Ars Electronica 2017 for this project. Here's an excerpt from the conversation that we had.
"I want to provide the reality of the radiation through this project to the ordinary people." PAGE 6 | JANUARY 2018 | ISSUE NO.2
Cypress leaves and cones Iitate Village Fukushima (2014), 35 km from plant
Why did you decide to become a photographer?
I think nobody has the time to do this kind of
I do not consider myself to be a
and so I thought it’s my responsibility to do
photographer. I am doing this project
work, everybody is pressed for deadlines
because nobody is doing this kind of work, nobody arrived at this idea. So I thought I
I developed a 3D autoradiograph at the end
have to do this project and if you see the
of 2016 and this technique can be applied to
captions of the images, they are scientific
a wide range of samples. The photo project
descriptions and they are not like a
“Autoradiograph” is still in progress. It is not
photographic project. I want to provide the
only a collection of visual records of the
reality of the radiation through this project to
nuclear disaster but it also shows world
the ordinary people. That is my purpose.
media and scientists a new way to present
What are you after, what and why are you sharing?
and analyze radioactive contamination.
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Boot Obori, Namie Town Fukushima (October 2013), 10 km from plant Radiation Level : 260 cpm
Your favorite photographer and why?
20 years but the Japanese government
It’s difficult to choose one favorite because I
doesn’t do that even now. I wanted to show
have looked up to so many of them over the
this French system to the Japanese and I
years. So I would go with Henri Cartier
took some very beautiful pictures, where I
Bresson and Jonas Bendiksen.
came up with a way to combine fine art with journalistic meaning. Every photographer
What is your strongest memory from your time at Speos? When I was in Speos in 2009, I started my first project. It was during this time, the French natality rate was increasing while the
takes a beautiful picture but it is hard to find a meaning for the images. Through this first project I wanted proactively combine these two ways of doing photography and this was the origin of all my work.
Japanese natality rate was falling. The French government had been making an effort for
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What did you do after the school? I continued the natality project in Paris for one year and after that I returned to Japan and began working on Autoradiograph project from 2011.
Do you have a favorite photo and why? From the Autoradiograph series, the very first photo of the feather that I made is my favorite photo as this gave me the confidence to continue this project. Also, the soccer ball image was the 3D photo that I made with this technique. I cut out all the 32 faces of the ball to create this image and the result gave me a lot of satisfaction. Some may compare it to a disco ball while to others it may look like a scale model of the universe.
Soccer ball Obori, Namie Town Fukushima (June 2013), 9km from the power plant Radiation level：280∼770 cpm (measured on each face)
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Have you faced difficulties in your career and what advice will you give to new photographers who just finished school? For my first project, I was alone like any other photographer but I realized by collaborating we can do much more. The important thing is to have or get an idea on what one should do, this is the most basic motivation for a photographer. For this project I have succeeded in making a progression with an university and now I am collaborating with another researcher. He is an expert and I can ask him what I can tell through these images. If I work alone, the idea is very narrow but we are a team and we can discuss and this is very important to expand the idea. Sometimes I even ask the former residents if we can go into their houses etc. so I would say that collaboration is very important.
Black Bass Iitate Village Fukushima (August 2012), 40 km from plant Radiation Level : 350 cpm
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Why did you choose ‘Autoradiograph’ as a name for your project? This is a scientific name of the process that I have used to make the images in the project. I want young photographers to discover this process so that they can carry forward what I have started.
Did you have any kind of scientific degree or did you work with radiation before? I studied engineering before beginning my photography series and every Japanese has had first hand experience with radiation.
How did you meet Pr. Satoshi Mori? I found his info on the web and I sent him a letter to see if he and I could collaborate on the project. I was working very closely with the university of Tokyo and so that helped as well.
Do you take special security measures when taking the pictures? Yeah I wear radiation protection suits and masks.
How did you manage to take the pictures? What kind of equipment do you use to show the radiation? The radiographic images were created by a method called “autoradiography.” Major universities and research facilities in Japan and throughout the world have autoradiography equipment, which is commonly used in biological, biochemical, and microbiological research to quickly view, with high sensitivity, the distribution of radioactive substances in a sample. PAGE 11 | JANUARY 2018 | ISSUE NO.2
These images are frequently used in research papers and in conference presentations. The radiation-sensitive imaging plate was developed in 1987 by Fuji Film Industries and Kasei Optics is approximately 100 to 1000 times more sensitive than x-ray film. The imaging process involves placing a radioactive sample on the imaging plate for a given period, after which the imaging plate is read by a device called a BAS. The contrast of the read image is carefully adjusted, whereby the distribution of radioactive substances gradually becomes apparent. Radiation emitted by radioactive particles appears as white portions in the radiographic image. The brighter the portion is, the stronger the radioactive contamination is. An autoradiographic image exhibits the same phenomenon as an x-ray image taken at a hospital. When viewing a radiographic image, one point to keep in mind is that since each image is individually adjusted for contrast, the images cannot be compared with one another to determine which indicates greater contamination. In this series of images, records concerning specimens indicate β radiation levels in both “cpm” measured using a survey meter in the sampling of each specimen and in “becquerels” (Bq/kg) obtained by a gerimanium semiconductor detector.
Concerning the measurement value “cpm” of the survey meter, for example, radioactive contamination is determined for an area if a value twice the usual background level is detected. The background level where measurement by a survey meter was performed is 25 to 40 cpm. Further, as a reference for measurements in becquerels, naturally occurring radioactive potassium K40 is on the order of 33Bq/kg for white rice, 1600Bq/kg for dried kelp, and 66Bq/kg (dry weight, excluding water content: 165Bq/kg) for the human body. Therefore, when comparing the measured values with these reference values, I think that you will come to appreciate the extent to which the specimens on display have been contaminated by radioactive particles.
What question would you ask to the next photographer we will interview? How do we promote a photography culture? This is a very important because photography culture is not as strong as music or movies or sports. How can we get the attention from the ordinary people? This is very important.
www.autoradiograph.org All photos: Masamichi Kagaya
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BY VLADA ATTALI
Vlada Attali was born between the land and the sea, in a small town hidden in the Caucasus mountain, Russia. From childhood she has been attracted to art. At the age of eight she started to learn to draw at the school of fine arts. She graduated seven years later with a distinction. At the age of 10, she dreamed to own a camera and after two years of saving her pocket money she bought one: it's a Smena. With the help of her father's friend she loaded the camera, learned to manipulate it and began her hunt for images. By the end of that day, her first film was over and she opened the camera in light to see the images, but to her great disappointment, there were no images, her first film was ruined. She did not tell anyone this story.
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Gifted in mathematics, Vlada chose a profession that had no relation with art, and after 5 years of studies she graduated with a degree in Engineering from a school in Moscow. She left her native country in 1995 for Israel and met her future husband, an art collector. She was interested again in artistic creation and particularly in photography. In memory of the old forgotten Smena, her husband offered on a party night a new device. From that moment on, her Leica did not will leave her anymore. A few years later the couple moved to France. Here, Vlada first followed a photographic formation at the Jean Verdier Center with Carlo Werner and Bruno Dubreuil, and then at Speos International Photo School, Paris. She has participated in several group exhibitions (IMMIX gallery, Mairie du 10th arrondissement in Paris) and is currently working on different artistic projects.
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I live between France and Switzerland. The trip has become a ritual. What is a trip? A trip is a movement in space, made to a more or less distant point. "A displacement in space". What do we think of reading this sentence? At the time, at the speed. This photographic series relates to time and speed. Time, I compare it to a puzzle composed of small images captured by the windows, the only elements in motion, because life inside stops at the point of destination. Speaking of time and speed, the first thing that comes to mind is light. Light is a physical phenomenon, a transport of energy without transport of matter. It becomes more visible in the dark, that's why I chose the images taken in the night. www.vladaattali.com
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Andy Stout is a former financial analyst who left the corporate world to find a new career in photography.
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A "hôtel social" can be described as an establishment that offers social lodging to persons in need. The inhabitants often stay for periods from two weeks to several months or even years depending on the establishment. The cost of the lodging is paid for by the French government. The apartments in the hôtel social where I took these pictures were small. They had one room with a bed and a kitchen. The bathroom and showers were in the hallway and were shared by several residents. The inhabitants were often African women and their children. They often came from Senegal or the Ivory Coast. I was very interested in photographing these people in the natural settings of their apartments. I did not want them to clean the apartment or put on different clothes for the photographs, although some of them did. They wanted to look nice, as it was rare for them to have the opportunity to have a nice photograph taken.
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Taking the photograph was not easy, because the apartments were so small. That also made it difficult for me to feel at ease and to make the people I was photographing feel relaxed. It was the first time that I had ever taken such intimate portraits, and at first I couldn't help but feeling that I was invading their personal space. A few times it was impossible to establish any kind of rapport with the subject. Mother's were often in a hurry and had things to do before picking up a child from school. But with other families the photo shoot was very relaxed, and the smiles on some of the children's faces made me realize why I liked this type of photography.
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YI CHENG LEE
Yi Cheng Lee was born in Taiwan in 1993. After finishing her study in university, she spent all her savings to travel all around Taiwan and Asia, however that wasn't enough. She felt that she has been living on that island for too long. She needed a bigger change. She felt the need to do things she had never done and live a life where she will have to start from zero. She found it more interesting and exciting. So she arrived in Paris. In the beginning she had very little knowledge in photography but now she can confidently claim that it is one of the things she can completely focus and enjoy while doing it.
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This is a series I produced at home in Taipei. My mother had thrown away almost everything when my grandmother left us last year. My family situation was complicated at that time, I think that was her way to deal with stress and sorrow. The only thing left in my grandmother’s room was her sewing machine, and a lot of strings and zippers that she had collected. This was her life, 70 years of her life, taking care of her family, by sitting in front of this sewing machine, making a lot of clothes and little stuff.
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This sewing machine probably kept her company more than us. I sat down and opened it. There was a lot of dust and thread detritus. I took photos of these details, mottled paint, and rust of the metal part. I imagined my grandmother squinting her eyes behind her glasses, spending an afternoon to modify the elastic bands of shorts, or mending holes in a sock. I remember the sound of this sewing machine when she stepped on the pedal. I remember the smell in the air every time I opened her door, humidity of the old textures. These the images that I have made are like puzzles scattered, but warm and calm.
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FAMILY IS FAMILY ADRIENNE LEE
Adrienne is a travel and fine art photographer born in the United States. She spent her childhood in the countryside of Kansas, then later moved to Seoul, South Korea. This huge change in environment helped her cultivate a deep interest for different cultures and travel. She initially started her career in fashion design, but her love for traveling eventually turned her interests to photography. She is currently based in Paris, France after finishing her masters in photo journalism at Speos Photographic Institute.
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‘Family is Family’ is a collaborative art project with creative director Betsy Roszkowiak. The idea started with Betsy coming to me with a series of drawings illustrating a family of ghosts sitting for a portrait session. We wanted to create a series of classical family portraits that you would see on the walls of old houses, but with our own twist. The inspiration comes from 80s portraits with all the awkwardness and glitter of the disco-era. Imagine these photos in grandma’s house, covering walls, cluttered on top of tables and night stands, and you get the gist of our project! www.adrienneslee.com
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LOST IN THE CITY SHASHWAT SHANKAR
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Hello world. For the remainder of this document, you may refer to this speaker by using the name, “Shashwat”. I was born and raised in the sub-continent of India. However, I was never rooted in a single place. My parents had that kind of jobs wherein they had to shift and relocate every few years. This I feel shaped me into the man that I am today. I was always motivated in trying to capture the uniqueness of my surroundings. With such moving around, I had a wide palate of ever changing subjects and a gambit of changing landscapes. Thus my journey to capture the world in my vision started off in the 11th grade with my first camera. camera. It was a phone camera, quite different from the phone cameras available today. But that little camera made the young me feel so empowered. Suddenly, I had my canvas to paint the world in my vision. It wasn’t long before I decided to take the leap and got myself a DSLR. There has been no looking back since then. PAGE 42 | JANUARY 2018 | ISSUE NO.2
As my skills in the art and science of photography increased, I participated and won various photo competitions. This gave me the confidence I needed to pursue it onward. With time, I met Prabhakar Kusuma, a quite noteworthy photographer who took me under his wing. His style rubbed on me and influences me even today. My first bout of relevant success came when I participated in a group exhibition named, “Goethe Zentrum” which resulted in me being published twice in the local daily. I pursued a Bachelor of Science degree in Economics from Symbiosis International University. After completing the same, I decided to go back to my original calling and decided to dedicate my life in pursuit of the perfect picture. I cemented this decision by moving to Paris to study Fashion Photography from Speos International Photog School. This is where I was introduced to not only new and advanced techniques but I had a renewed vision and vigour. I decided to come back to India and with a friend create our own wedding photography and cinematography startup, “Yellow Bay Films”. Parallely, I still continue to work as a fashion photographer and incorporate all my learnings in both the genres. The idea for the series, “Lost in the city” was conceived in a very short period of time. It was a personal experience I wanted to portray. The very mood of the project was to capture how you can find yourself without letting yourself be lost. I wanted to portray an Indian woman in a traditional Indian attire roaming on the streets of Paris. Even though she feels lost in a new city, she chooses not to let go of her own identity or her confident self. Rather she brings to the new city her uniqueness, whether it be willing to explore the mysterious enchantment on the streets of the city or be it sitting at a cafe the recompose her emotions and take it all in. The idea was to showcase that if you are truly lost in a city that is when that city slowly becomes familiar to you. It was a interesting and a fun day of a shoot where we had team members from three different parts of the world,India, Mexico and Tahiti. I have done a few shoots since then but this shoot still remains my favourite till date. Model : Alexandra Rodríguez MUA: Tevaite Rota Hair: Justin Proctor Photography Assistant: Stu Modh Designer/stylist: Swathy Anumala www.shashwatshankar.com PAGE 43 | JANUARY 2018 | ISSUE NO.2
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PRAIRIE MADNESS STU MODH
From the age of 12, I have been fascinated by the never ending world of an Artist. The beginning of my dream was to become an image in the Fashion Industry. At the age of 17, I begun to purse the Arts. I followed this up by completing a Masters in Fashion Design. During this period, I drew inspiration from images in magazines by- Mario Testino and Herb Ritts.
I then decided to pursue Fashion Photography. I bought my first camera before moving to Paris, thus began a wonderful year surrounded by the most amazing people, a journey that I will never forget. This series was shot in Paris along with the team: Photographer: Stu Modh. Assistant: Taushik Mandal Model: Helena Spilere @ Mademoiselle Paris. MUAH: Tiphaine Bonneterre Fashion: Thy Nguyen
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"I've always loved the language of the feminine," said Erdem Moralioğlu. Prairie Madness was a nineteenthcentury condition, referring to the agoraphobia and depression experienced by immigrants newly arrived to America's Great Plains. I had also been looking at the mid-century paintings of American regionalist artist Andrew Wyeth. .
But it isn't the backstory itself - like the fact that women alone on the prairies were given chunks of land to tend - that matters. a sense of drama and danger to a collection that might otherwise be just another floral festival. Fabrics frayed at the edges and smocking, quilted lamé and tiny concertina frills were all ways of bringing in lightness to the more practical side of the show. While the floaty dresses were right on message.
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PLEASURE TO MEAT YOU FLAMINIA REPOSI
Flaminia Reposi was born in 1995 in Rome, an important and enriching cultural center that gave life to her passion for art. Her arrival in Paris in 2013 opened new horizons, leading her to make the still image and the moving image her study center. Photography being the medium that captures the moment and testifies that it took place,
it is particularly this almost metaphysical aspect that fascinates the young photographer. Desiring to reconcile her two study centers, Flaminia integrates a “BTS Audiovisuel option Image” where she learns about filming and framing, and then a master's degree in photography at Spéos Paris Photographic Institute. In her work, Flaminia is inspired by surrealism, pop art, but especially onirism.
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These aspects translate into colorful images that are often absurd and out of touch with reality, where the subjects reflect the photographer's daydreams and inner feelings. Youth, maturation and femininity are also subjects often treated by the photographer, as in her series “Pleasure to meat you”.
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This series is part of a larger project on which the photographer is currently working. With this series, Flaminia Reposi wanted to add a deeper message to the usual "pop" and colored façade of her photos. Pleasure to meat you, treats in an ironic way of two debates at the heart of today's society. First of all : meat consumption. Global meat production and consumption have increased rapidly in recent decades, with harmful effects on the environment and public health as well as on the economy, according to research done by Worldwatch Institute’s Nourishing the Planet project for Vital Signs Online. Worldwide meat production has tripled over the last four decades and increased 20% in just the last 10 years. Meanwhile, industrial countries are consuming growing amounts of meat, nearly double the quantity in developing countries. Not only meat consumption is increasing drastically, but also the use of animal skin or fur in fashion is unfortunately still present. By using an hamburger like an ashtray or an hotdog like a cigarette, the photographer wanted to bring attention and criticize this aspect of modern society, where meat and animals in general are often “overused” for wrong purposes. The second theme treated in this series is the fact of being a woman. The sexual allegations on Harvey Weinstein has shed light on an aspect often forgotten: sexual abuse on women. Too often women are seen as "pieces of meat" that can be consumed without asking their permission or opinion. According to the World Health Organization, an estimated 35% of women worldwide have experienced physical and/or sexual violence by an intimate partner, or sexual violence by another person at some point in their lives. However, some nationwide studies show that up to 70% of women have been physically and / or sexually abused by an intimate partner during their lifetime. In the series, this topic is showed by the choice of the clothes (and by the model). The model’s outfit (la femme t-shirt + crimson red jacket), really refer to this topic on which we need to raise more and more awareness.
Model : Marion Vienne Blue Jacket : Thomas Barone MUA : Azami Tissam Assistant : Patrick Sambiasi www.behance.net/flaminiareposi
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DOPING FINLAY BOWMAKER
Finlay Bowmaker is a sports photographer with a unique blend of French and Scottish heritage. His passion for photography was ignited by watching sport photographers pitch side, court side, track side and ring side, being fascinated by how they captured the unique elements of each sport. This evolved to studio expertise capturing the many emotions and physical complexities of sport in a photograph.
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My project is about denouncing the practice of doping as it is cheating. More importantly, denounce the lack of respect for the other genuine competitors who put everything on the line, to be victorious. The goal is to send a message to the athletes photographically. It is aimed at all top athletes. A true physical performance is brought about by applying our mind and body and not with doping products. It is necessary to ban doping products at all costs. They seriously harm the health of these sportsmen and deteriorates the authenticity of the sporting environment for the sake of economic gains.
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ROCK GARDEN KARAN SARNAIK
Karan Sarnaik is an Indian portrait and fashion photographer. Having graduated from Speos International Photo School Paris, he is now based in Mumbai, India.
Credits: Photography and styling – Karan Sarnaik Model: Drisha More (Toabh Management, Mumbai) MUA: Hemal Thakkar Photo Assist: Pratik Bankar www.karansarnaik.com
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This photo shoot is based in two public installations with rocks of different sizes placed in angle giving an interesting perspective. I attempted to create spatial relationship between the model and the installation. The images were treated in black and white to stress on the different textures in the images. I also chose an overall sleek and angular look of the styling, make up and poses complement the rocky installations.
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a big thanks to all the featured artists in issue#2
Issue #3 Submission Call For our next issue which is planned for release in April 2018, we invite submissions in the following genres: 1. Fashion 2. Documentary / Photojournalism 3. Fine Art 4. Travel 5. Interviews 6. Culture / Society 7. Architecture 8. Street Photography The submission guidelines are: 1. Upto 12 images per submission. 2. Images should be submitted in .jpeg format 3. Image dimension should be 1000 px max on the wider side. 4. Images should be profiled in sRGB or AdobeRGB1998 5. Images should be less than 250 KB in size and should be saved for web. 6. Image naming format should be 'firstname01.jpg' (ex. brooklynbeckham01.jpg) 7. Send in a text file with the following details: > Photographer Name > Photographer Bio > Project Title > Project Description (400-800 words in English) > Photography Genre > Image titles and Sequencing of series 8. Send in your files to email@example.com as an attachment in .zip format or using wetransfer. 9. Last date to receive submission is March 05, 2018 Follow us on our Facebook, Instagram and Twitter channels (@propaahmagazine). To get featured on our Instagram profile, use #propaahmagazine in your posts.
PARIS | JANUARY 2018 | ISSUE NO.2
PHOTO CREDIT: KARAN SARNAIK
Issue 2 (January 2018) of PROPAAH, a quarterly online magazine promoting the work of young and upcoming artists in the field of photography.
Published on Jan 11, 2018
Issue 2 (January 2018) of PROPAAH, a quarterly online magazine promoting the work of young and upcoming artists in the field of photography.