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Photo by Przemek Strzelecki
Photo by Matt Pringle
Street photography will always be closely linked to the stroll, to the meandering, to Baudelaire's flânerie and to the charm before the city atmosphere. The descriptions of the cities' 'frames' - which traditionally are the sphere of the word and of the writers - will soon be stored in the memory of the sensitive plate and of the film. The street becomes a theme and the camera, which becomes an instrument of scopophilia par excellence, is dedicated to it. - António Barrocas
'Images haunt language like a shadow' - Foreword from ‘Positive Black Negative White’ by Lara Kantardjian and Paulo Abrantes
Analog work is a religious experience. There is Father Time and Mother Light to contend with and you need to find a way to mix yourself with them. This takes time. Time supports a slower, deeper experience for each individual image. This implies a sort of Zen experience. It’s a long Tactile Decisive Moment vs the digital representation of a tactile experience. - Don Springer
From TASC ‘novem II’ Foreword
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Photo by António Barrocas
No. 5
Photo by Lara Kantardjian
INTRODUCTION
DIRK VOGEL . 18 MANOLO L B MANTERO . 26 LARA KANTARDJIAN . 39 MARIE-PIERRE LAMBELIN ‘LOCKDOWN’ . 50 PAULO ABRANTES . 60 FRIEDER ZIMMERMANN ‘END OF SUMMER’ . 72 ESES MOTO ‘SMELL OF RAIN (2021)’ . 86 AURORA ‘POLAROIDS’ . 102 ANTON NOVOSELOV ‘CITY WINDOW VIEW’ . 114 JOEL DURAND ‘OVER THE DAYS, MY SOUL, THE WAVES ABOUND’ . 136 RUI CORREIA . 156 ROGÉRIO AKITI DEZEM ‘STATE OF EMERGENCY’ . 168 FELECO ’NIGHTCORE SEVILLA’ . 184 FEATURING
ANTÓNIO BARROCAS EXCLUSIVE ‘THE CREATION OF IMAGES’ . 206 MATT PRINGLE INTERVIEW ‘STILL SCENES FOR A RESTLESS MIND’ SERIES. 234 PRZEMEK STRZELECKI . 256 VINCENT HEDOIN . 278 STEFAN KAMERT . 302 DONALD JOHN MACLEAN ‘AMBEDO’ . 326 VALERIO ZACCONE ‘EVERYDAY VENICE’ . 350
INTRODUCTION
I.
Using one of the most stressed words in photography, the 5th edition of TASC Magazine is one of the most atmospheric ones, as for the words and also as for the pictures.
The work of the Collective, among others, includes: Frieder Zimmermann’s ’End of Summer’ series of the Belgium Coast; Eses Moto’s ‘Smell Of Rain’ (2021) series from Tokyo; Anton Novoselov’s ‘City Window View’ series from his home in Russia, taken over the course of 10 years; Extracts from an Exhibition: ‘Over the days, my soul, the waves abound’ by Joel Durand, accompanied by text written by Leslie Buleux; ‘State Of Emergency’ Lockdown series by Rogério Akiti Dezem and Feleco’s ‘Nightcore Sevilla’ with a great article on ‘Taking Photos, Feeling The Image, Savouring The Street’, and we feature the work of 7 invited photographers.
António Barrocas is a well known and highly reputed Theory and History of Photography Researcher at the Faculdade de Belas Artes de Lisboa, in Portugal. He is featured with an exclusive of his work with a wonderful article on ‘The Creation Of Images,’ with a selection of his amazing fine art, portrait and urban photography.
We interview Matt Pringle who seeks to evoke a sense of stillness and quiet reflection in his work and publishes a selection from ‘Still Scenes For A Restless Mind’ series.
From Poland, we have the outstanding humanist street and documentary photographer. Przemek Strzelecki, whose work from his travels around the world over the past 25 years can be compared to the Czech/French Magnum photographer Josef Koudelka in his humanist style, with each frame as if photographed from the soul.
The visually poetic work of Vincent Hedoin, from Marseille, France takes us on what feels like a dreamlike trip into an extraordinary and enigmatic world.
From Germany, we feature the work of Stefan Kamert who embraces the wonderful imperfection of film to convey what he calls “the right feeling”.
Donald John Maclean, based in Glasgow, Scotland creatively captures “the loneliness of life within the realms of a busy city centre”, using a Holga 120 in his Series ‘Ambedo’.
Valerio Zaccone from Palermo, Italia, shows us the beauty of a spontaneous and everyday Venice - to use his own words.
And those reasons above are just a small part of all the ones why maybe this is the one of the most “atmospheric” issues of the TASC Magazine. The other part of those reasons are between this page and the very last one of this magazine. We invite you to go through and to double check for yourself.
II.
Featured Photographers
ANTÓNIO BARROCAS MATT PRINGLE PRZEMEK STRZELECKI VINCENT HEDOIN STEFAN KAMERT DONALD JOHN MACLEAN VALERIO ZACCONE
III.
The Collective
DIRK VOGEL MANOLO L B MANTERO . LARA KANTARDJIAN MARIE-PIERRE LAMBELIN PAULO ABRANTES FRIEDER ZIMMERMANN ESES MOTO AURORA ANTON NOVOSELOV JOEL DURAND RUI CORREIA ROGÉRIO AKITI DEZEM FELECO
T H E COLLECT I VE
DIRK VOGEL
Dortmund, Germany
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DIRK VOGEL
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DIRK VOGEL
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DIRK VOGEL
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MANOLO L B MANTERO
C, Portogallo
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MANOLO L B MANTERO
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MANOLO L B MANTERO
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MANOLO L B MANTERO
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MANOLO L B MANTERO
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MANOLO L B MANTERO
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LARA KANTARDJIAN
London, UK
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LARA KANTARDJIAN
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LARA KANTARDJIAN
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LARA KANTARDJIAN
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LARA KANTARDJIAN
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LARA KANTARDJIAN
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MARIE-PIERRE LAMBELIN
Paris, France
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L O C K D O W N
MARIE-PIERRE LAMBELIN
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MARIE-PIERRE LAMBELIN
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MARIE-PIERRE LAMBELIN
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MARIE-PIERRE LAMBELIN
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PAULO ABRANTES
Aveiro, Portugal
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PAULO ABRANTES
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PAULO ABRANTES
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PAULO ABRANTES
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PAULO ABRANTES
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PAULO ABRANTES
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FRIEDER ZIMMERMANN
Koeln, Germany
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E N D
O F
S U M M E R
____________________________________________________________ Series by Frieder Zimmermann Ende eines Sommers
Der Sommer, der in diesem Jahr in unseren Breiten keiner war, ist nun endgültig gegangen. Und mit ihm die Menschen. Wo sind sie geblieben, die Kinder, die gestern noch mit ihren Schaufeln und Eimern im Strand nach Schätzen gruben? Die Touristen, die ein wenig Erholung von wochenlangen Lockdowns suchten? Nur noch wenige sind da, um ihre Flugdrachen in den ersten Herbststürmen Kapriolen schlagen zu lassen. Liegestuhlvermieter wissen, dass sie jetzt kein Geschäft mehr machen können. Sie verpacken ihre Strandhütten winterfest oder lassen sie abtransportieren. Man weiß in dieser Gegend, dass die Nordsee ein wildes Meer ist und im Herbst und Winter Stürme drohen, die ein zerstörerisches Potential haben. Von einem Tag auf den anderen sind die Strände wie leer gefegt. Nur ein paar Hunde, deren Zuhause an dieser belgischen Küste ist, freuen sich. Sie dürfen wieder an den Strand. Endlich ohne Leine laufen, laufen, laufen. Und Möwen jagen, die in den Sielen, die die Ebbe hinterließ nach Nahrung suchen. Der Tisch ist reich gedeckt. Ich trinke in der einzigen Strandbar, die noch geöffnet hat, mein letztes Bier. Aus dem Radio klingt leise die Stimme von Jacques Brell zu mir herüber „Ne me quitte pas“ . Fast so, als wolle mich auch diese rauhe Gegend bitten, doch noch nicht abzureisen. Aber auch meine Tage hier sind vorbei. Die M6 hat ihr letztes Bild belichtet. Als ich mich vom Barkeeper verabschiede und die Tür nach außen öffne, vermischt sich Brell's „La Mer du Nord“ mit dem Rauschen der zurückkehrenden Flut.
The summer, which was not one in our latitudes this year, has now finally gone. And with it the people. Where have they gone, the children who were still digging for treasure on the beach with their shovels and buckets yesterday? The tourists who were looking for a little rest from weeks of lockdown? Only a few are still around to let their kites do capers in the first autumn storms. Beach chair rentals know they can't do business any more. They pack up their beach huts for the winter or have them transported away. People in this area know that the North Sea is a wild sea and that storms threaten with destructive potential. From one day to the next, the beaches are swept clean. Only a few dogs, whose home is on this Belgium coast, are happy. They are allowed to go to the beach again. Finally running, running, running without a leash and chasing seagulls looking for food in the sills left by the low tide. The table is richly set. I drink my last beer in the only beach bar that is still open. From the radio the voice of Jacques Brell sounds softly to me over "Ne me quitte pas" . It's almost as if this rough region is asking me not to leave yet. But my days here are also over. The M6 has exposed its last picture. As I say goodbye to the bartender and open the door to the outside, Brell's "La Mer du Nord" mixes with the roar of the returning tide. FRIEDER ZIMMERMANN
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FRIEDER ZIMMERMANN
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FRIEDER ZIMMERMANN
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FRIEDER ZIMMERMANN
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FRIEDER ZIMMERMANN
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FRIEDER ZIMMERMANN
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ESES MOTO
Tokyo, Japan
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S M E L L
O F
R A I N
( 2 0 2 1 )
____________________________________________________________ Series by Eses Moto
Sometimes he smells the rain on the streets, especially at the moment when he feels mentally isolated. The smell is like a fuzzy distant memory or an old locked diary the pages of which he can't directly turn. It is strange that it always becomes to be a gentle trigger for evoking his emotions and taking him to the blurred border between illusions and reality even if he is standing on a noisy and disordered street.
ESES MOTO
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ESES MOTO
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ESES MOTO
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ESES MOTO
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ESES MOTO
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ESES MOTO
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ESES MOTO
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AURORA
South of Portugal
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P O L A R O I D S
AURORA
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AURORA
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AURORA
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AURORA
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AURORA
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ANTON NOVOSELOV
Yekaterinburg, Russia
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C I T Y
W I N D O W
V I E W
____________________________________________________________ Series by Anton Novoselov
I moved into this flat in 2011. I have a good view of the city and I like to take pictures of it. When something interesting happens in the sky, I open a window, put a stack of books on the window sill instead of a tripod, and count the seconds out loud. Over ten years, I've accumulated a lot of different shots. I want to show you some of them.
ANTON NOVOSELOV
This is one of the early photos. The house opposite is still under construction. Health and safety at the construction site was very poor. Everyone was without helmets or overalls. THE ANALOGUE STREET COLLECTIVE | No. 5
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ANTON NOVOSELOV
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The gift from heaven I woke up for work at 5:50 am, looked out the window and marvelled: For the first time in my life Isaw a rainbow at sunrise. ANTON NOVOSELOV
First ray The most beautiful light in the city can be seen in autumn at dawn, when the first ray of sunlight barely touches the houses.
Dark skies I cycle to work and when I look at the sky like this in the morning I always wonder if I will make it before the downpour. THE ANALOGUE STREET COLLECTIVE | No. 5
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Fire outside An old abandoned wooden house in the courtyard is on fire. The film was accidentally lit during development and a red tint just happens to stain the sky. ANTON NOVOSELOV
Disturbing night
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Romantic view through my window It's simple: a double exposure of a single frame with the Rolleinar 2 attachment turned the house lights into bright spots. ANTON NOVOSELOV
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ANTON NOVOSELOV
Sunny day On a bright, sunny day, the snow suddenly fell with large flakes. THE ANALOGUE STREET COLLECTIVE | No. 5
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ANTON NOVOSELOV
Amber light usually appears in cloudy weather, when the light from city lights is reflected by low clouds. THE ANALOGUE STREET COLLECTIVE | No. 5
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Snow squall When there's a celestial drama playing outside the window, it's impossible not to admire it. ANTON NOVOSELOV
The War of the Worlds Remember that 2005 film with Tom Cruise? There was lightning striking the ground without end and the aliens were moving around in their walking squids stashed underground. THE ANALOGUE STREET COLLECTIVE | No. 5
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ANTON NOVOSELOV
Here I'm experimenting with expired cine film. It's an unexpected take on a familiar story. THE ANALOGUE STREET COLLECTIVE | No. 5
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ANTON NOVOSELOV
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JOEL DURAND France
The photographs are an extract from an exhibition: ‘Over the days, my soul, the waves abound’ which includes 35 photographs each accompanied by a text, 3 photographs are made by my daughter. Text written by Leslie Buleux. English translation by Leslie Buleux and Rebecca Coath
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O V E R T H E D A Y S , M Y S O U L , T H E W A V E S A B O U N D
Un doigt sur la bouche, un clou dans le nez Il a vingt ans Et il suspend l'histoire Au printemps brodé de pivoines Il disperse ça et là Le trésor dans les motifs La sénescence d'une mouche l'étourdit L'élégance de l'abandon Éclipse le charme de la magie
JOEL DURAND
A finger on the mouth, a nail in the nose He is twenty years old And he suspends history In the springtime embroided with peonies He scatters here and there The treasure in the patterns The senescence of a fly stuns him The elegance of abandon Eclipses the charm of magic
À la lune
Profondément Délavé de ses vertiges Démasqué durant le carnaval Laissons reposer Le secret farfelu
To the moon
Deeply Faded from its dizziness Unmasked in the carnival Let it rest The loony secret
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Arbre barbe ailé
Derviche tourneuse Plume d'esprit Qui chatouille le creux Des rêves exquis De la plante palpitante À la particule planante S'illumine l'ivresse
JOEL DURAND
Winged Thorn Tree
Spinning dervish Spirit feather Tickling the hollow Of exquisite dreams From the throbbing plant To the soaring particle Exhilaration lights up
Au 15 rue du pas pressée
Fière comme un ballon mongol Partie faire des sillons dans les nuages Ma peur sait où se cacher des risées Cent trente deux feux d'artifices Et cent trente deux fleurs de soucis Dans son panier Elle s'intéresse au soleil Et au 107ème ciel
At 15 Not In A Hurry Street
Proud as a Mongolian balloon Gone to make furrows in the clouds My fear knows where to hide from the laughter A hundred and thirty-two fireworks And a hundred and thirty-two marigold flowers In her basket She’s fond of the sun And of 107th heaven
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Cariatide abdiquant
Minuit donne sa parole Et l'ondulée gravite Or et graphite Tissent l'attente
JOEL DURAND
Abdicating Caryatid
Midnight gives its word And the corrugated gravitates Gold and graphite Weave the wait
Dé en bulle
Pulpe de pamplemousse La masse s'ennuie Quand le vent amusé Palpe la miss À mesure que la sueur se meurt Que le vent amusé Dans les mains de l'orpailleur Sépare la poussière Et le temps semé Comme un pépin De pamplemousse
Bubble dice
Pomelo pulp The masses are bored When the wind, amused Squeezes the lass As the sweat dies As the amused wind In the hands of the gold digger Separates the dust And the time sown Like a seed Of pomelo
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Deux bulles
Two bubbles
La traversée du mistral Avec le vent dans le dos c'est facile Face au front de la mer La promenade à cloche pieds nus
The passage of the mistral Is easy with the wind behind me Facing the sea front The barefoot hopping walk
La routine sur piédestal Avec le néant à la corne fragile J'envisage un voyage À tâtons sur mes deux pieds nus
Sur l'itinéraire natal J'ai perdu la tramontane futile Sous l'étoile polaire En marmelade les deux pieds nus
JOEL DURAND
Routine on a pedestal With fragile-horned nothingness I contemplate a journey Feeling my way on my two bare feet
On the natal route I evaded the futile tramontane Under the polar star Both bare feet raw
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Là où le vent m'importe
Je jouerai les somnambules Dans sa dernière ronde de nuit J'aurai mon courage dans les mains Couleur du vide Et chair de poule dans le cou Je serai bien
JOEL DURAND
Where the wind matters to me
I'll be the sleepwalking In their last round of the night I'll hold my courage in my hands Colour of the void And goosebumps on my neck I'll be fine
Le jour viendra
Encore un jour de soleil Mangé par la lune Étourdissant Vole au vent Mon amant fusain Libre d'explorer En tout petit De toute son âme en alerte Un œil bondissant Sur le monde Qui s'agite dans la rue À découvert
The day will come
Another day of sunshine Eaten by the moon Stunning Snatch the wind My charcoal-drawing lover Free to explore In all smallness Whole soul alert A leaping eye On the world That stirs in the street Out in the open
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Le marchand de sable
Cherche faune éphémère Près de la roche aux fées À découvert Les plumes au vent Si tu pouvais Sur le rebord de tes paupières Exaucer mes vœux
JOEL DURAND
The Sandman
Seeking ephemeral fauna Near the fairy rock Exposed Feathers in the wind If you could On the edge of your eyelids Grant my wishes
Le parapluie
The umbrella
Remettre le sens intimidé par la violence Sur les mots Sans leur interdit
Put the bullied meaning back On words Without their prohibition
La tête me tourne et me perd Lorsque la raison visse mon corps Je réussis la descente
Dormir alors à découvert En vieux chêne aux vertèbres en décalé Par le mouvement du monde
Plus besoin de se cacher au loin Ni de presser le pas à la lecture de mes actes Vous dire seulement que le récit est aléatoire
My head is spinning and I'm lost When reason screws my body together I manage the descent
To sleep then under an open sky Like an old oak with slipped vertebra Displaced by the movement of the world No need to hide far away Nor to hurry in interpreting my deeds Only to tell you that the story is random
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Le petit vélo
Clef farouche et tintinnabulante Gisant dans le puits sans fond Du fourreau de mon manteau Tu gémis comme un grelot Tu ne le sais pas mais Je te porte comme un fardeau J'aurais pu apprendre à dormir sans toi Et dans le jour plus complexe Forcer la porte du sommeil artificiel Mais la vie sans toi est un mensonge Et pris de vertiges Au détour d'un regard sur le lieu de l'échappée Me voici dans le ventre qui palpite Entre la mer et le soleil Sur la baleine Je rêve
JOEL DURAND
The little bicycle
Fierce and tinkling key Lying in the bottomless pit From the sheath of my cloak You wail like a bell You don't know but I carry you like a burden I could have learned to sleep without you And in the more complex day Forcing the door of artificial sleep But life without you is a lie And dizzying At the turn of a glance on the site of the escape Here I am in the belly that palpitates Between the sea and the sun On the whale I dream
Le seigneur des passereaux Compter mes plumes Siffler à la fontaine Changer de branche Épier les gens Voler plus haut Essayer la marche Dévoiler ma cervelle Pondre mon secret Sublimer l'apesanteur Retrouver mes mainates
Lord of the sparrows
Counting my feathers Whistling at the fountain Changing branches Spying on people Flying higher Trying to walk Unveiling my brain Laying my secret Exalting weightlessness Meeting my mynahs
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L'impossible légèreté de soi Ma mie farandole Au parfum disparu Tu es nue Entre deux bras de mère
JOEL DURAND
The impossible lightness of self My Beloved farandole With the vanished perfume You are naked Between two mother's arms
Mémoire sauvage pour âme farouche
Wild memory for an untamed soul
Timide chaos entremêlé d'effroi Au verso de velours écarlate
Timid chaos intertwined with dread On the reverse side of scarlet velvet
Le rêve insolite Aux perspectives de l'errance Tambourine aux portes de la conscience
Le chagrin est une bestiole fatiguée Étendue sur la couverture bleue Du plancher de la baignoire En fermant les yeux Sur le seuil de la salle de bain Verrai-je nager le roi grenouille ?
The quirky dream To the prospects of wandering Drums at the gates of consciousness
Sorrow is a tired little creature Lying on the blue blanket On the floor of the bathtub
Closing my eyes On the threshold of the bathroom Will I see the frog king swimming?
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Saint Jacques
Aujourd'hui c'est tous les jours Dimanche En mouvement continu Le berger dans le verger Sans moutons comptés Peut s'endormir Aujourd'hui c'est l'extra ordinaire D'une main tenant le fil S'écoulant dans le siphon d'hier Mais la vie court comme elle danse Et brille seule au sein du columbarium L'étincelle qui définit l'ensemble
JOEL DURAND
Saint Jack
Today it’s Sunday every day In continuous motion The shepherd in the orchard Without counted sheep Can fall asleep Today is the extra ordinary Of a hand holding the thread Flowing down the siphon of yesterday But life runs as much as it as dances And glows on its own in the columbarium The spark that defines the whole
Solitude à 2
Dans un canapé velouté rouge Dans l'impasse couverte de jacinthes Parce que le baiser était improvisé Sur le front brillant Mystère de nos solitudes Comme un désir flou Laissé caché Dans un tiroir de l'enfance
Solitude for two
On a red velvet sofa In the dead end covered with hyacinths Because the kiss was improvised On the shining forehead Mystery of our solitude Like a blurred desire Left hidden In a childhood drawer
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RUI CORREIA
Portugal
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RUI CORREIA
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RUI CORREIA
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RUI CORREIA
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RUI CORREIA
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RUI CORREIA
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ROGÉRIO AKITI DEZEM
Osasco, Sao Paulo, Brazil
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S T A T E
ROGÉRIO AKITI DEZEM
O F
E M E R G E N C Y
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ROGÉRIO AKITI DEZEM
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ROGÉRIO AKITI DEZEM
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ROGÉRIO AKITI DEZEM
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ROGÉRIO AKITI DEZEM
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ROGÉRIO AKITI DEZEM
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ROGÉRIO AKITI DEZEM
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FELECO
Sevilla, Spain
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“When I repeatedly look at a photo, over time I no longer see the image on paper, but I begin to feel, smell or savor moments of my life and and it does not matter if the photo is mine or someone else’s, because the image is ours: it is shared.”
____________________________________________________________ Taking photos, feeling the image, savoring the street ... by Feleco Hacer fotos, sentir la imagen, saborear la calle…
El mundo griego creo el concepto de aletheia para referirse a la auténtica realidad, a lo que no está oculto, a lo que es verdadero….Ello me llevó a creer de forma erronea, que si pudiesemos ver adecuadamente, podriamos captar la esencia, o auténtica realidad de las cosas, como algo independiente de nosotros, y en cierto modo pensaba que la finalidad de la fotografía se resumía en educar la mirada, para captar la esencia de la realidad, pero la cámara me ha enseñado que eso no es así.
¿Cual es entonces, la finalidad de hacer fotos? Para mi la finalidad de hacer fotos conlleva la acción de desvelar, de hacer que aparezca lo que está oculto a nuestra mirada, de hacer patente con una imagen lo que está latente tanto en la realidad externa, como en nuestra realidad interna. Cuando veo repetidamente una foto a lo largo del tiempo, ya no veo la imagen en papel, sino que siento, huelo o saboreo momentos de mi vida y es indiferente si la foto es tuya o de otra persona, porque la imagen es nuestra. La finalidad de hacer fotos es recordar un afecto que hemos paralizado en el tiempo.
Cuando hacemos una foto u observamos una escena no solo es el ojo el que decide atrapar ese tiempo que fluye delante de nosotros, no solamente es un ejercicio de observación de la calle, sino que también consiste en saborear los acontecimientos que suceden ….
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Todo se vuelve uno. Nuestros sentidos se agudizan y hacen despertar elementos de nuestra memoria que hemos ido digiriendo a lo largo de nuestras vidas y que abren las puertas a un nuevo territorio, donde confluyen los distintos tiempos. Esos tiempos que estan latentes en la imagen que se nos ofrece de la realidad y también en nosotros mismos, aunque sehagan patentes en el Darkroom nunca reflejará del todo el momento vivido porque la imagen no desvela la auténtica realidad, pero si ayuda a hacer patente nuestra sensibilidad …La fotografia es memoria puesta en papel, pero la memoria no es vida, sino simulacro de esta.
Cuando hago fotos por la noche, y veo las luces, los reflejos, y sobre todo si llueve, siento como la noche se hace presencia saliendo de su ocultamiento , diferenciando todos los elementos úrbanos del paisaje y haciendo patente la poesía o la musica que se esconden en los elementos reflejados, que a su vez resuenan en mi interior . Siento que descubro un nuevo territorio que me lleva a asomarme al abismo de mi propio ser y siento que le doy sentido a la frase de Nietzsche: “.......Cuando miras largo tiempo a un abismo, el abismo también mira dentro de ti”. ¿Cómo me permite la fotografía asomarme al abismo de mi propio ser?
Una velocidad lenta y un diafragma abierto nos abre a esos territorios, tan cercanos como lejanos, a ese sabor añejo y fresco que envuelve nuestra. existencia y detiene el avance del desierto que supone todos aquellos elementos superfluos que entierran la esencia del territorio o de nuestro ser .... La magia de la noche, ni se ve ni se toca, se saborea en el ambiente. Pero, ¿qué es para mi saborear la calle y porque tengo el sueño de dejar de hacer fotos?
Saborear la calle y sobre todo en la noche, es entrar en lo inefable, donde la cámara y lo que se quiere fotografiar, la mirada y lo que resuena en nuestra sensibilidad, van a la misma velocidad… .una velocidad lenta con un diafragma abierto.
“Si uno pudiera ser piel roja, siempre alerta, cabalgando sobre un caballo a todo galope, con el cuerpo inclinado y suspendido por el viento, constantemente sacudido sobre la tierra estremecida, hasta arrojar las espuelas, pues no harían falta espuelas, hasta arrojar las riendas, pues no harían falta riendas, y apenas viera ante sí que el paisaje era una pradera llana, ya sin el cuello y sin la cabeza del caballo”. Franz Kafka (1913)
FELECO
The Greek world created the concept of aletheia to refer to authentic reality, to what is not hidden, to what is true ... This led me to believe (erroneously) that if we could see properly, we could capture the essence, or authentic reality of things, as something independent of ourselves. In a way, I thought that the purpose of photography was essentially about educating the gaze in order to capture the essence of reality, but the camera has taught me that this is not the case.
What then is the purpose of taking photos? For me, the purpose of taking photos involves the action of revealing, of making what is hidden from our gaze appear, making clear with an image what is latent both in external reality and in our own internal reality.
When I repeatedly look at a photo, over time I no longer see the image on paper, but I begin to feel, smell or savor moments of my life and it does not matter if the photo is mine or someone else’s, because the image is ours: it is shared. The purpose of taking photos is to remember an affection that we have frozen in time.
When we take a photo or observe a scene, it is not only the eye that determines to capture the time that flows in front of us. It is not only an exercise in observing the street, but it is also a savoring of the events as they unfold...
Everything becomes one. Our senses are sharpened and elements of our memory that we have been digesting our entire lives are awakened. This opens the door to new territories, where different times converge. These times are latent in the image that we are offered of reality, and also in ourselves. Yet, even if they become evident in the Darkroom, they will never fully reflect the moment lived because the image does not reveal the true reality, but it does help to make patent our sensitivity ... Photography is memory put on paper, but memory is not life, it is a simulation.
When I take photos at night, and I see the lights and the reflections,, especially if it rains, I feel how the night becomes a presence emerging from its concealment, differentiating all the urban elements of the landscape and making the hidden poetry or music evident. In the reflected elements, which in turn resonate within me, I feel that I am discovering a new territory that leads me to peer into the abyss of my own being and I feel that I can make sense of Nietzsche's phrase: "....... When you look at an abyss for a long time, the abyss also looks into you." How does photography allow me to peer into the abyss of my own being?
A slow speed and an open diaphragm opens us to those territories, which are as close as they are far away, to that old and at the same time fresh flavor that surrounds our existence and stops the advance of the desert that supposes all the superfluous elements that bury the essence of the territory or of our being ... The magic of the night, neither seen nor touched, is savored in the ambiance.
But what does it mean for me to savor the street and why do I have the dream of not taking anymore photos?
Savoring the street and especially at night, is the desire to capture the ineffable, where the camera and what one wants to photograph, the gaze and what resonates in our sensitivity, go at the same speed… .a slow speed with an open diaphragm.
“If one were only an Indian, instantly alert, and on a racing horse, leaning against the wind, kept on quivering jerkily over the quivering ground, until one shed one’s spurs, for there needed no spurs, threw away the reins, for there needed no reins, and hardly saw that the land before one was smoothly shorn heath when horse’s neck and head would be already gone.” “The Wish To Be a Red Indian” by Franz Kafka. THE ANALOGUE STREET COLLECTIVE | No. 5
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N I G H T C O R E
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F EAT URED PH OT OG RAPH ERS
EXCLUSIVE
ANTÓNIO BARROCAS
Lisboa, Portugal
Photographer / Theory and History of Photography Researcher / Faculdade de Belas Artes de Lisbon
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“The presence of a body, of a building, of a landscape equally arouses my attention. I pursue the relationship and in it the desire to maintain contact, stir up a memory, give life to it in a figure that is autonomous and free.”
____________________________________________________________ The Creation of Images by António Barrocas
A necessidade de criar imagens, de nos apropriarmos de um espaço ou de um corpo e deles criar um duplo. E é no modo de fazer dessa criação que pode residir a vertente poética da fotografia como lembra Bernardo Pinto de Almeida. A presença de um corpo, de um edifício, de uma paisagem despertam de igual modo a minha atenção. Persigo a relação e nela o desejo de manter um contato, suscitar uma memória, dar-lhe vida numa figura que fique autónoma e livre. Deixar ficar no tempo o objeto da atenção ou a ideia que dele tenho. Deixar o único e o diferente neste mundo de imagens que fluem apertando as margens e o rio - a violência lembrada por Brecht obrigando a um modo de ver unidimensional, da ausência de sonho e da permanência do controlo. As imagens foram sempre perigosas e ainda o são para os poderes instituídos, dai proibi-las, controlá-las ou alimentá-las num modo de ver único que adormece os sonhos e desejos.
Este olhar diversifica-se em duas vertentes: por um lado, o trabalho sobre o corpo e, por outro, o trabalho sobre os edifícios e espaços. Nas imagens que se seguem esse olhar incide sobre espaços, locais de memória, locais de habitação de living souls, outros modos de estar no espaço ou na paisagem. A criação de imagens envolve dois momentos, ambos fundamentais e diferentes: o taking da imagem e o making da imagem. O meu trabalho acabou por envolver câmaras fotográficas antigas a partir do momento em que senti que os foles, os obturadores e as lentes introduziam uma diferença no modo de ver. Os registos em 6x6, 6x7, 6x9 ou 35. As Voigtlander, a Agfa Billy, a Agfa Isolette, a Leica M3 ou a Rollei. Esta atenção com a câmara não nos faz esquecer o conselho de Adriano Pinto, fotógrafo português oitocentista, que nos diz “-Vejam com os olhos - desprezem a lente.’ Todos elas constroem a matriz de uma imagem diferente - no grão, no enquadramento - que será muitas vezes digitalizada e terminada nas diversas aplicações de fotografia. Desaparecem os riscos e os grãos de pó, acertam-se brancos e negros. Poder-se-ia argumentar que é apenas um modo de recuperar a aura perdida (Walter Benjamin) mas penso que o fundamental é manter viva a presença de uma tradição, e com ela partir para a criação de imagens que, depois de criadas, se impõem por si próprias despertando questões, ideias e perturbando. Como referia António Pedro Frade perturbação suscitada pelas ‘figuras de espanto’ que decorrem da criação de imagens pelos processos fotográficos. ANTÓNIO BARROCAS
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The need to create images, to appropriate a space or a body and create a double of them. And it is in the way of making this creation that the poetic aspect of photography can reside, as Bernardo Pinto de Almeida recalls. The presence of a body, of a building, of a landscape equally arouses my attention. I pursue the relationship and in it the desire to maintain contact, stir up a memory, give life to it in a figure that is autonomous and free. Let the object of attention or the idea that I have of it remain in time. Leaving the unique and the different in this world of images that flow squeezing the banks and the river - the violence remembered by Brecht - forcing a one-dimensional way of seeing, the absence of dreams and the permanence of control. Images have always been dangerous and still are for the instituted powers, hence forbidding, controlling or feeding them in a unique way of seeing that dreams and desires fall asleep.
This view is diversified in two ways: on the one hand, work on the body and, on the other hand, work on buildings and spaces. In the images that follow this look focuses on spaces, places of memory, places of living souls, other ways of being in space or landscape. The creation of images involves two moments, both fundamental and different: the taking of the image and the making of the image. My work ended up involving old cameras from the moment I felt that the bellows, the shutters and the lenses introduced a difference in the way of seeing. Records in 6x6, 6x7, 6x9 or 35. Voigtlander, Agfa Billy, Agfa Isolette, Leica M3 or Rollei. This attention to the camera does not make us forget the advice of Adriano Pinto, a 19th century Portuguese photographer, who tells us “- Look with your eyes - despise the lens. 'They all build the matrix of a different image - in the grain, in the frame - which will often be digitized and completed in the various photography applications. The scratches and dust are gone, white and black are right. One could argue that it is only a way to recover the lost aura (Walter Benjamin) but I think that the fundamental thing is to keep the presence of a tradition alive, and with it to start creating images that, once created, become impose by themselves arousing questions, ideas and disturbing. As António Pedro Frade said, the disturbance caused by the 'figures of astonishment' that result from the creation of images by photographic processes.
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F E AT U R E D I N T E R V I E W
MATT PRINGLE
Originally from Newcastle Upon-Tyne, now living in Edinburgh, Scotland.
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“The most important part of the creative process for me has always been to try to convey a feeling or mood in my work that mirrors how I perceive the world at a certain point in time.”
____________________________________________________________ Interview with Matt Pringle by Lara Kantardjian
You are originally from Newcastle Upon-Tyne and now live in Edinburgh, Scotland. Did the re-location affect your photographic style or make any impact to your subject?
I never had an interest in photography whilst living in Newcastle, and it wasn’t until 2008 that I started to take an interest in it, in Stirling. However, growing up by the coast in north east England has certainly had an influence on my work. As soon as my interest in photography began, I had a craving to photograph the sea. The sea has always been very important to me. I like space and openness in my images and the sea affords that a-plenty, Stirling is inland, so I focussed mainly on street photography.
Now that I’m living in Edinburgh, I feel lucky to be within walking distance of the coast, while also being afforded the opportunity to photography a beautiful and ancient city. What does photography mean to you and why do you make photographs?
My original interest was in video production with the aim of making short films. I did make a few abstract experimental pieces many years ago and thoroughly enjoyed the process. With video you are often working with other people and that can complicate the process somewhat. Not only in what direction a project takes but on the logistical side of things too. The most important part of the creative process for me has always been to try to convey a feeling or mood in my work that mirrors how I perceive the world at a certain point in time. I transitioned to photography as it was much easier to do by myself. It was just me and my camera, and I had full control. No other external pressure or influences. Photography for me is an almost therapeutic endeavour. I’ve suffered from anxiety all my life and photography has become a way for me to find calm and stillness in a world I often perceive to be hectic, chaotic and frightening. I hope that the photos I take exhibit these feelings. In a way, they are a form of escapism for me. They represent moments in time where I found that stillness, that quietness, and hopefully my work communicates that to the viewer.
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How long have you been working with film?
I first tried film in 2010. Two years prior I had enrolled on a 10-week digital photography course at the Open University here in the UK. It was during this time that I well and truly caught the photography bug. I bought myself a Nikon D40 in order to do the course and I’d often find myself trying to reduce the clinical nature of my digital photos. I would add grain, some vignetting and blur here and there.
After a while I thought why not try film? I’d seen many great film photos online and I’d spent two years trying to replicate the look and feel of them. My first foray into film was with a Holga 120N. It was the cheapest and simplest way for me to get into medium format film photography. I loved the simplicity of the camera and how it slowed down my photography. Shooting on medium format film can get expensive fast so you need to be fastidious and frugal with what you shoot. I loved the experience and the results and I’ve been shooting film ever since.
What determines which cameras, format and film type you use for your images?
I like simplicity. Not only in my images and composition but also in my cameras. This has not always been the case. When I first started out on my photographic journey, I would often find myself researching the latest and greatest in gear. This lusting after new gear (which I could never really afford) is in my opinion very unhealthy and does nothing to enhance one’s own creativity or ability. I found that having a camera with an abundance of features and functions often lead to a form of paralysis for me. Are you drawn to certain places and time of day to capture your images and what draws you to them? What is it you want to photograph?
As I’ve already mentioned, the sea is of special importance to me and whenever I’m at the coast I will try and photograph it.
Very early morning and late evening are my favourite times for photography. Early morning is very quiet and I’m always looking to capture moments of a quiet nature so that is a perfect time for me. A substantial number of the images taken for my series Still Scenes for a Restless Mind were captured just as the city was beginning to awaken. I’d often be out with my camera between 6-7am in a city shrouded in fog. It was a wonderful and comforting experience. What qualities do you strive for in your work?
I strive to create images that evoke a sense of stillness and quiet reflection. As someone who suffers from anxiety my photographs are a way for me to escape from my internal worries. If I create an image which evokes a sense of calm and beauty, I feel at peace.
I try and put something of my self into my photos because above all else, my photography is for me. Does technical perfection matter to you?
In short, no. Composition and feeling are the most important elements for me. I don’t consider myself to be very technically minded when it comes to photography. If I see something in front of me that affects me intensely, I try to capture that.
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A lot of the cameras I work with are technically imperfect to start with. Toy cameras exhibit extreme vignetting and softness from their plastic lenses. Pinhole cameras often produce a soft image simply due to the nature of pinhole photography. The lack of a viewfinder can make framing difficult. I embrace these qualities as I feel they add a lot to the type of images I aim to capture. What inspires or influences you?
All sorts of things inspire and influence me, both consciously and subconsciously. Photographers, individual photos, music and film all play their part. Film director Andrei Tarkovsky’s polaroid photography is out of this world, offering an abundance of atmosphere and feeling. Nancy Rexroth’s monograph ‘Iowa’ is a particularly evocative collection of dreamlike images and shows what can be accomplished with a simple toy camera, if you have a vision behind it. The pinhole photo ‘American Falls’ by Tom Baril is a stand-out work. Powerful, abstract, almost primordial in its effect.
The work of Bill Brandt has perhaps had the greatest influence on my photography. His use of light, shadow and contrast were exceptional as were his compositions. Not afraid to break rules, his work is a testament to experimentation and poetic vision.
What future projects do you wish to pursue?
I’m a very sporadic and relatively unproductive photographer. What I mean by this is that I shoot far too infrequently for my liking, often going months without taking a single photo. There have been years where I could count the number of rolls of film I’d shot on one hand. This is something I’m actively looking to change.
I’ve spent quite a bit of time reflecting on my photography this year. I’d like to try and be more experimental in my approach. I love toy cameras so I’ll most likely aim to build a body of work based around them. I’d like to start modifying a couple of cameras as well, trying different lenses, flipping the lens, that type of thing. Perhaps try and make my own DIY tiltshift for a Holga or Diana camera. I definitely want to try more multiple exposure work as I’ve really enjoyed experimenting with that in the past. The results can be breathtakingly beautiful when everything falls into place.
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F E AT U R E D P R O F I L E
PRZEMEK STRZELECKI
Przemek Strzelecki is a street and documentary photographer from Poland. Although he is currently based in UK, he has been traveling around the world for over 25 years.
You will always find him with a film camera in hand.
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F E AT U R E D P R O F I L E
VINCENT HEDOIN
1991 (FR), currently lives in Marseille.
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F E AT U R E D P R O F I L E
STEFAN KAMERT
Germany
A few thoughts on analog photography
I like to take pictures with a digital camera but I love to shoot with my old analogue cameras. It has something lasting, it is so wonderfully imperfect. It is very exciting when you see the result only after some time. Taking photos on film is something special and it already starts with inserting the film roll, which is definitely more fun than inserting a memory card. I like strong contrasts, grain, blur, burned out highlights. For me a picture doesn’t have to be technically perfect, it has to convey the right feeling. I achieve these things best with black and white photography on film.
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F E AT U R E D S E R I E S
DONALD JOHN MACLEAN
Based in Glasgow, Scotland
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A M B E D O
____________________________________________________________ Series by Donald John Maclean
I seek to capture the loneliness of life within the realms of a busy city centre. Using a Holga 120 and black and white 120 film, I desire the aesthetic of starkness to the images to be challenging and inventive – the subjects appear ghost like, lost within the busy realms of the city where people appear like strangers to one another. I want the viewer to feel and see the sense of doubt, pain and anguish that are visible on the streets… I want to question the belief that street photography should be well composed, properly lit and in sharp focus. This is dedicated to my true photography inspiration that is Csilla Kozma.
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F E AT U R E D S E R I E S
VALERIO ZACCONE
Palermo, Italia
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“Taking photos is like writing, with images rather than words.”
____________________________________________________________ Thoughts on analogue photography by Valerio Zaccone
Taking photos is like writing, with images rather than words. The camera is like the pen. The light that is imprinted on the silver of the film is like the ink imprinted on the sheet of paper. Photographs as tales of light and snapshots of life as novels and poems.We are used to running from place to place without really observing what and who surrounds us. Always pursued by some commitment, with eyes always fixed on the clock that imperturbably marks the tight rhythms of our life.On the contrary, photography allows you to take a breath, to really perceive what surrounds us. Freezing an instant of time and space within a frame allows us to understand the value of what we sometimes take for granted.Analogue photography for me is like a therapy, it allows me to stop, slow down and meditate on what surrounds me.
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____________________________________________________________ Series by Valerio Zaccone
This photographic series captures the beauty of a spontaneous and everyday Venice, sometimes invisible to the eyes of the many passing tourists. Through these shots I tried to tell the life of the people who live and work there, catching unexpected views and urban landscapes.Everyday I go out with my camera and simply walk through the streets (“Calli”).Since I was born and raised in Palermo, the street city life I was used to was very different from Venice. Yet I realized that here I can feel good all the same. I feel like I'm one with the city. Maybe because everytime I'm by the sea, I am home.I've arrived in Venice as an adult for work and I have learned to know the city on my own. There was no one to guide me, except the city itself, and I still like it that way. I think I have built a personal relationship with its streets.Right from the start, I liked wandering around the city without maps or gps. I love to get lost and then find myself. I'm always glad to find a corner that I had never seen before or some detail I hadn't noticed. And everytime, depending on the daylight, the city seems different to me.
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ALSO BY THE ANALOGUE STREET COLLECTIVE novem II novem
Magazine No. 1 - 5 CO-AUTHORED & CO-PUBLISHED Positive Black Negative White by Lara Kantardjian and Paulo Abrantes Foreword: ‘Images haunt language like a shadow’ by António Barrocas Afterword: Essay by Miguel Soares de Albergaria
Co-Editors Lara Kantardjian and Paulo Abrantes Graphic Design by Lara Kantardjian Cover Photo by Vincent Hedoin
Published in London, 2021 by Kantardjian Editions © 2021 The Analogue Street Collective theanaloguestreetcollective.com All images and text published in this magazine by The Analogue Street Collective are copyright protected and the sole property and ownership of the photographers and editors. No part of this publication may be copied, printed, manipulated, edited, distributed or used in any form without prior written permission from the copyright owners and publisher. All rights reserved.
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