theFix Analogue Photography Magazine issue 15 by theFIX Analogue Photography Magazine

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Part Deux Couple of days ago, I was walking around the park, holding my old Yashica MAT 124. This guy approached me and started asking me about it. Is it real...? Can you still buy a film for it… is it expensive? This shows two things. One, Yashica is a great conversation starter, and that outside our analog world not everyone knows, that the film is still alive and that not everyone believes in film. Obviously, this is very subjective, as personally, I am submerged deep in the world of analog photography and cannot imagine my life without it. But every now and then, it is vital to have this little, reality check. Enough chatting, let’s talk about issue #15. So, as you may noticed we are moving away from publishing news. Publishing photography news on quarterly basis will make us showing some really outdated stuff. So instead, we will be focusing more on interviews, techniques and reviews of different movies, books and magazines. We have partnered with http://thephotoshop.ie/ (our truly great film supplier) and we will be supplying; 2 rolls of C-41 film, covering developing and scanning costs + publishing selected projects. For more information we have a full spread with more details and also a separate page with some FAQ at the end of the magazine.

Hope you enjoy issue #15! ...and don’t forget to subscribe: http://www.thefix-magazine.com/subscribe/ Thank you for your support! Stay creative and shoot film. Tomasz Olejnik Editor-in-chief

Tayo Oyekan is a medium format film

photographer based in San Diego, California. He began venturing into photography after he received a Nimslo 3D 35mm camera. He now specializes in portraits and BTS photography with emphasis in tinted color palettes. Instagram: instagram.com/tayo.yo Website: https://tayooyekan.myportfolio.com

Jace Martin. Iâ&#x20AC;&#x2122;m an Australian photographer currently based in Saigon, Vietnam. Instagram: www.instagram.com/jacemartin_/ Website: http://jacemartin.net

We would love to see your photographs So we can then show them to a wide international audience Please visit our website for more informationon www.thefix-magazine.com/contribute You can also email us your sample images to: info@thefix-magazine.com info@thefi

Ioana Tăut; a Romanian music and fine art photographer based in Berlin. I am a mixed medium photographer as I am using a digital camera for my music photography and various Polaroid cameras and instant films for my fine art photography. I started out as a music photographer about seven years ago, but it wasn’t until three years ago when I first discovered the magic of instant cameras and film. And it was instant chemistry! Ever since, my life as a photographer has experienced a substantial creativity boost that lead to the materialization of several projects. A particular project is my Piers series, which I would, hereby, like to submit for your consideration. Attached to this e-mail you can find a selection of instant photographs from this exact series. Originally, almost each instant photograph in this series has a digital equivalent yet I would like to mention that the project itself is just as sustainable with or without the digital photographs. You can view the whole project on my web page, at the following link: https://www.ioanataut.com/pages/work/work-pier.html

Piers is a selection of instant photographs of the piers which Ms. TÄ&#x192;ut has discovered among her travels particularly in the Swedish Archipelago. While the story line of the project seeks to reveal beauty in simplicity, primarily through the use of instant film Ms. TÄ&#x192;ut also refers to a number of digital photographs for a very specific reason. The two formats have the role of conveying two different aspects, two different images of the same reality, where one is meant to highlight and complement the other. The digital approach is meant to reproduce a very precise copy of the reality and, by that, to underline and compliment the more romanticized, otherworldly approach that the instant film offers through its very own nature. Putting the two perspectives together brings opposites.

“I really like piers, they speak to me as if they were a secret door to a whole new dimension of unconditional freedom and possibilities. Coming across so many of them over time, allowing myself to feel and giving myself the time to eventually decrypt those feelings, I came to find out as to what my connection to them is all about. It’s about its symbolism, about its organic texture, about where they led and what follows after. A soft wooden structure overpassing water and who’s ending - interesting enough - coincides with the beginning of the horizon... Looking straight ahead, it feels as if I am lead into this big and endless unknown where imagination has no limit and freedom’s at its best!” - Ioana Tăut ( https://www.ioanataut.com/index.html ) ( https://www.instagram.com/tautuniques/ ).

My name is Daria Adamitskaya, Iâ&#x20AC;&#x2122;m 29 years old born in Leningrad, the USSR. Growing up in the dark cold place in the Arctic Circle I used to watch Northern Lights every morning walking through a frozen lake on the way to figure skating classes. My step-father was a truck driver and used to take me on long journeys across the country, so instead of attending school I was rather learning about life watching how and where other people live. Most probably those experiences built up my passion for landscapes, light and psychology. Later my family moved back to St.Petersburg where I studied Information Technology but much earlier than that I found that what I truly want to do as a job is environment modelling in 3d such as landscapes buildings etc and photography as a hobby. Only at the age of 21 I learned about an opportunity to study something related to computer graphics for free in Tampere University of Applied Sciences in Finland. That was my ticket to a new life. Now I found myself settled in video games industry as a 3d environment artist in England.

Growing up quite isolated I haven’t learned to interact with people so only photography has become the main dialogue with the others. But I believe I benefited in a way that I have a lot of time to see things around me, contemplate and appreciate the beauty in mundane. My photography is a diary of different memories and emotional states I’ve been through, almost all of them have some music related to them as well. The meaning of existence I found for myself is to collect memories as many as possible, to learn about art, discover films, books, music and artwork, because I think artists are some of the most important and influential people in the world. One can live without stuff, without comfort, even completely isolated but never without emotions that art can provide. I can’t skip mentioning that my gods and guides in life are Dostoevsky, Nabokov, Sartre Camus, Tarkovsky and Lars von Trier. The most inspiring photographer is Saul Leiter. My philosophy refers to existentialism and I think loneliness is a price you pay not to lose yourself. Film photography became my escapism from normality of life that somebody has designed for us to live. Here are the links to my social media presence: https://www.facebook.com/loonyidea https://loonyidea.tumblr.com/ https://www.flickr.com/photos/loonyidea/ https://www.instagram.com/loonyidea Model: Eva Seyeux

My name is David Meehan a studying photographer from Chicago currently working out of Alabama. I’ve been taking photos for about four years now, and I tend to focus my work on street and portraiture. This photo was during one of my first few weeks at the University of Alabama. The school’s football team had just won their first game and my roommate and one of his friends wanted to go get tattoos to commemorate the moment. This idea was so strange and ridiculous to me I couldn’t help but go along. They got lip tattoos of “RMFT” (Roll Mother**** Tide, the school’s motto) from a dingy, back alley tattoo shop in rural Alabama. Watching them get tattooed by a man in a Slipknot tattoo was unsettling and downright creepy and I think that photo stirs up a lot of the uncomfortable feelings I felt that night. (c) David Meehan Instagram @david_mee website: www.181.photography

Information about the technique. Lars is using photography paper or positive / negative film, with different layers and structures to build abstract photo sculptures. This is basically an analog constructed sculpture. Lars then uses his scanner as a camera to produce the final image.

How analog photography influence your work Analog Photography is the base of my work. All the layers are his own analog photos. Mostly, Polaroids and manipulated large size pictures. In his college days he learned many of analog photography processes of the 19 century.

Lars Plessentin was born 11 September 1985 in Rostock (Germany) • 2013 degree in product design (Diplom equal to a masters degree)

Lars Plessentin websites: http://larsplessentin.tumblr.com/ http://larsplessentin.de/

• 2012 internship at “aplos” (Wismar,Germany) • 2010 till 2011 internship at “kaseee & art” (Apolda,Germany) • 2007 till 2013 university qualification for design at the University of Applied Sciences, Technology, Business and Design (Wismar, Germany) • 2006 till 2007 voluntary social year in the “Ernst Barlach Foundation” (Guestrow,Germany)

“GROW” Even if we do not always have it in mind; our entire life is permeated with growth. Whether it’s growing beyond ourselves outgrowing ourselves, growing with our tasks or outgrowing our clothes, we grow almost continuously and usually only notice it after the fact. In his series “Grow”, Plessentin creates entire spaces of growth. He pours entire greenhouses of ambiguity with folded foils, different shapes and bold colors. When looking at it, you can focus on different areas for several minutes and let the combination of the familiar and the unknown sink in. Plessentin’s works cover a cosmos of artistic enthusiasm, in which similar to the spaces created by him, everyone finds a corner that he could make his own, if desired. At the end of the day, Plessentin’s series shows similarity to growth itself – not intrusive, but very present. In “Grow”, by following his style, Plessentin has created a house full of spaces inviting everyone to let go and feel the play of colors in the depth of growth. * Hanns Segelcke

- Tell us few things about yourself. I started to photograph with a small digital compact camera at the age of 12, I went everyday out in the hills to capture images. Later I learned more about photography by doing the assistant in some studios and itâ&#x20AC;&#x2122;s now my job. Today, eleven years later, I still go to walk in the woods to take photographs but with my analogic reflex camera. - Who inspires you the most? Above all what inspires me is the nature, then the transformations of traditions and ways of living by reading about ancient civilizations.

- What inspired you to create this project? One day I randomly entered in a zoology museum and as I was looking around I heard a mother saying to her child: “Look! There is a Lion!”. Then, I tried to think what I would have said to a child in a place like that to explain what there was around. There wasn’t clearly any lion, but just its skin, reassembled to look alike a real lion. Can you affirm that you saw an actual animal if you saw it dead? A living creature it’s very different from a dead one. I walked close to the display case of the fake lion and I stared into its glass eyes. For an instant I felt a sort of instict, as I wasn’t respectful of the animal’s living space and I had to be afraid. But nothing happened of course. You can’t learn nothing of a living creature if it is without its life attribute. In the prehistoric art, our ancestors gave us many representations of animals, among those there are also peculiar petroglyphs and paintings of various human-animal hybrids. When you live in the natural environment you are willed to learn as much as you can from the other animals, their adaptions, their skills of survival, each of this lesson can help you live longer and this is why women and men from prehistory used to imitate their camouflages and moves. Since we are now living in a built environment, there are few places where we can still live and experience a natural environment, so we try to learn by observing a nature that is dead, posing ourselves as external and unrelated to it. If we focus on this, we realize that in a museum we are in an artificial place, it follows that the knowledge we achieve from this constructed place it’s mostly a fiction. In order to return to a more authentic investigation of the nature, we could start by coming back to our false lion on display and see it as if it was still the one quoted on the unknown lands of geographic maps, “hic sunt leones”, to mark the unexplored parts of the world. Inside a bestiarium of the middle ages you can find draws and descriptions both of real that of fantastic animals. This approach was dictated by the few notices of travellers about some of the animals, for example the crocodrile was often drawn with ears and body similar to a dog. The manticore instead was a creature from Persia, the body was that of a lion, scorpion’s tail and human head! It was first named by Ctesias (Greek historian of the 5th century BC) and it survived through the manuscripts for all the long later centuries, it is said that this creature its probably linked to the extinct Caspian tiger and even though we don’t know if this is true, truth is that this specie of tiger lived in Turkestan.

It was later discovered that this tiger was related with the amur tiger (now threatened) and there was a plan to reintroduct it in nature, but unfortunately it wasnâ&#x20AC;&#x2122;t and still is not possible because the environment changed totally for the excessive anthropization (for cotton cultivation especially) and it is not anymore the environment suitable for this tigerâ&#x20AC;&#x2122;s life. Many things are going to be lost forever as we are walking inside a built environment that excluded the nature, causing that we will have lesser chances to learn from it. The chimeras I create wants to make you believe that if the mounted animal you see inside a museum exists even if you didnâ&#x20AC;&#x2122;t see it moving, they can exist too, and if you want to meet them you need to come back to the nature. All the photographs are multiple exposures, without retouches, on black and white film.

Silvia Kuro is an italian photographer

and filmmaker that worked in many photographic studios in Milan as a still life and interior photographer. With her personal work she analyzes the behaviour that the human beings are developing by detaching theirself from nature, as in one of her last projects â&#x20AC;&#x153;Nature and contextâ&#x20AC;? where she photographed urban green spaces and wrote on how we perceive them. Website: www.kurosilvia.com https://www.facebook.com/KuroSilviaFotografa/

theFIX Project Sponsorship FAQ:

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A: Scanning Resolution approx. size: 3600x2400

A: Yes, of course we will post them back to you.

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A: Yes, we will email you the link where you can A: Yes, you will need to post the film back to us at download your images. your expense.