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www.vieworld.pl | www.fb.com/magvieworld

07.2013

#4

INTERViEW FRANCE

Alain Laboile

SERiES

Mariano Silletti GERMANY Fabian Schreyer ENGLAND Mark Carey ITALY

STREET

Tarik Labrighli RUSSIA Key Gross POLAND Edyta Leszczak TURKEY Mustafa Dedeoğlu ENGLAND Linda Wisdom MOROCCO


Editor in Chief, Photo Editor, DTP & Design ADRIAN MIRGOS Translators EWELINA STANIASZEK MICHAEL BOBOWSKI LUCAS GIERS

COVER: Mariano Silletti

PDF WEBSITE DONATE FACEBOOK ISSUU Photographs published on Vieworld are the property of the photographer. None of the photographs may be downloaded, stored, printed, manipulated, distributed, or used in any form without prior written permission from the copyright holder. Works published on this website are protected under domestic and international copyright laws and are not considered to be public domain. Vieworld assumes no legal liability whatsoever for the works of its contributors. Fotografie zamieszczone w Vieworld są własnością fotografów. Żadne ze zdjęć nie może być pobierane, przechowywane, drukowane, manipulowane, rozpowszechniane lub używane w jakiejkolwiek formie bez uprzedniej pisemnej zgody właściciela praw autorskich. Prace publikowane na tej stronie są chronione na podstawie krajowych i międzynarodowych przepisów prawa autorskiego i nie są uważane za domeny publiczne. Vieworld nie ponosi prawnej odpowiedzialności za uczestników. Wszystkie prace przedstawione muszą mieć wyłączność o oryginalną własność uczestnika (-ów).


street Key series Fabian series Mariano

Gross

Schreyer SPOTLIGHT

Silletti THE CAMPANACCIO OF SAN MAURO FORTE

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street Tarik

Labrighli

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street Edyta

Leszczak

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Wisdom

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street Linda street Mustafa interview Alain

DedeoÄ&#x;lu

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Laboile LA FAMILLE - PART I

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series Mark

Carey VALENI

Join us

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Key Gross

STREET PHOTOGRAPHY [RUSSIA]

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In my childhood and youth I was drawn by arts. I drew a lot, tried to write prose and poetry, studied guitar at the jazz school. Even when I was 25 years old, I learned to play the violin. As time went by I experimented with this or that but in the end I finally came to the conclusion that all those disciplines were not mine. I was always attracted by black and white photography but never thought that I would become a photographer. Not until 2008, when I picked up a camera just for fun. In just one moment everything what I was searching for became evident - I realized that I should be a photographer and it was a superb feeling. In the next two years I was admitted to the Union of Photo Artists of Russia and I found a lot of fans around the world.

FACEBOOK 500PX

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Fabian Schreyer Spotlight [Germany] 24

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Born in Augsburg,Germany in 1983. After studying media & communication in a Bavarian small town he moved to Berlin to work in the movie industry for a while. In 2008 he moved back to his hometown. Since then he’s working as a freelance PR-agent in music business, doing nationwide public relations for concert promoters and record labels. Over the last couple of years he did some smaller solo exhibitions (recently: “Eight Million Stories – New York Street Photography”). Furthermore his work was featured in several print- and various online-magazines. In 2007 I started doing street photography and soon became a constant chronicler of everyday life. Since back then I concentrate on candid scenes, which feature human beings interacting with each other or their urban environment. Aiming at the poetry of life, I try to freeze those particular unremarkable moments that are often beyond our perception, but after all give meaning to our existence. I’d consider myself to be the crossbreed of a flaneur, a voyeur and a philanthropist and the camera turned out to be a great tool to sharpen the senses for my environment. It helps me to focus on noteworthy details. To me authenticity matters, which is why I shoot with available light only and don’t like to arrange stuff or make extensive use of postprocessing. Taking pictures of strangers makes me feel like I can partly replace the anonymity in public with a certain intimacy. Over the years I create a visual diary, a kaleidoscope of funny, strange, tragic, surreal or contemplative moments. All these (extra)ordinary episodes result in an unfinished epic, telling us something about our fellow men and thereby about ourselves.

WEBSITE FANPAGE 500PX COLLECTIVE

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The shots presented here are part of the ongoing series “Spotlight”. I was always fascinated by the impact of extreme light situations in street photography and sometimes find myself hitting the streets with a more light-driven than motif-driven approach. It’s great to see how the interplay of light and shade may create a film-noir-like lowkey atmosphere and how those settings can be used as a stylistic device to highlight certain details of a composition.

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Data as of before the publication of the fourth issue (20.07) < Disk Storage < Monthly Bandwidth

As well as the electricity bills are high and Iâ&#x20AC;&#x2122;m still unemployed..

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Mariano Silletti

The Campanaccio of San Mauro Forte [Italy]

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Mariano Silletti is an amateur photographer. He was born in Pisticci (MT) in 1972 and now lives in Matera. He discovered his passion for photography about 15 years ago. He is the Official Photographer of the Lucania Film Festival and he also attends his own and other authors photography exhibitions. He promoted several initiatives aimed at enhancing the use of the photograph within the cultural association Allelammie, based in Pisticci, where he also served as vice-president. He taught Photography at the Casa della Cultura of Pisticci. He participated in the “General Photography” and “Developing and Printing in Black and White” courses, at the Antonelli School of Photography of Bari. Mariano Silletti’s photographic research is based on themes such as Photo Feature and Street Photography. His Street Photography is the objectification of the moments he feels, sees, lives and then transfers into a photographic language. The energy with which he describes the similarities between the Report and the way to interpret and put into practice Street Photography is a symptom of his deep theoretical and practical knowledge. And this is exactly the field to which he dedicates most of his life. WEBSITE FANPAGE

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Mariano Sillettiâ&#x20AC;&#x2122;s camera lens is a secret door into the past. Itâ&#x20AC;&#x2122;s like a window from which you can look through ages and watch men and their stories from the past, our past. Lucania, his land, is the best photo set for him and his photograhy: its rugged outlines, the street stones, the faces furrowed by the ravages of time that reminds us the folds of the hills. Mariano and his land seem to interact. They understand each other. They deeply know their souls. Mariano wants to share with us this silent and mysterious dialogue, by indicating the points where you can catch the sound of this quasi-spiritual conversation. These points are his shots that perfectly capture the combination of time and space. Clouds and hills, the old traditions - like that of the Campanaccio of San Mauro Forte - draws the circular and endless flowing of time. Mariano goes back to the past to deeply breathe the smell of the ancient times and then comes to us to blow it in our faces. If you look at his photos, you could take the risk to get lost. But in space, not in time. Your eyes mix up the profiles of nature with those of the faces. They do not understand where they are. So Mariano succeeds in his attempt to make us get lost in the corners full of poetry that he catches for us.

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Tarik Labrighli

STREET PHOTOGRAPHY [MOROCCO]

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Born in 1991.Native of the historical Moroccan city, Fes. He began to develop his interest in the street life and people in his early years and before he discovered street photography, he got his first DSLR camera in 2008. He feels lucky because of the digital technology which makes life easier. The revolution of technology helped him to discover a lot of great photographers such as Bruce Gilden from who he really learned a lot. I can say that my photographs are a reflection of me. I like to find a relation between people which is invisible or missing. What I mean is, we all are one but we are separated physically. I try to capture a story between people who don’t know each other. I am intersted in people’s feelings and emotions and most of the time I feel what they feel. It is all about body language. I use a 17mm lens and I don’t know if someone used it in street before but I like it. I approach to the subject as close as possible to create a connection and to get the feelings or to capture different actions.

FACEBOOK URBAN

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Edyta Leszczak

STREET PHOTOGRAPHY [Poland]

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WEBSITE FACEBOOK BLOG

Born in 1979 in Warsaw, Poland. Graduated from Warsaw University of Ecology and Management with degrees in interior design. She’s a freelance graphic designer and is in love with street photography. She spent three years (2009-2012) in New York. She shook hands with Joel Meyerowitz during an exhibition in one of the New York art galleries, not knowing that he will become her favorite photographer. A participant of ‘Capturing the City’s Spirit’ workshop in the International Center of Photography in New York. During my stay in New York I got addicted to spying on people. I love capturing them in “frame” and taking with me. You can meet here someone unique on every step while the city and the streets with their system of lines, spots, shadows and lights form an extraordinary background for those often bizarre characters. 2012 | Urban Photographer | awarded 2012 | 2nd Leica Street Photo | finalist 2011 | Fujifilm Europe GMBH | prize-winner 2010 | Olympus Street Contest | awarded ViEWORLD.pl

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Linda Wisdom

STREET PHOTOGRAPHY [ENGland]

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Into The Light I remember it was a particularly sunny and beautiful afternoon day when I took this, but there was also a nice cool breeze. I was out on a photo walk in London and cut through a pedestrian tunnel which had some amazing light beaming down on some steps and there was a wind tunnel effect where I was standing. I turned and immediately saw three men running and looking like they were in a hurry. As they passed me I automatically focused my camera on them, with no time to check my settings or to analyse or think about composition. I took a couple of shots hoping I got something interesting and more importantly that my exposure was ok. The street photography gods were on my side that day as I captured the elements I was hoping for and more with that strong sunlight shining on them and the wind blowing through their clothing.

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Soho Rain Before I took up street photography I used to hate the rain! I would complain how it always only rained when I was just about to go out and sometimes stay indoors waiting for it to stop. Now I love the rain and I will actually check the weather forecast hoping that it rains if I want to go out and get some moody rain/umbrella images. I headed out to central London all inspired after looking at some black and white rainy photos and said to myself I want to take those kind of pictures. I was walking around Soho/Piccadilly areas and wasn’t really seeing or getting any photos I was truly happy with, so after a couple of hours of me and the poor camera getting drenched I decided it was time to go home. On my walk towards the subway station, I noticed a particular street scene that when the traffic stopped and the pedestrians crossed, the beams of light were dancing between their legs and thought this looked quite cool. The man in the beige mac caught my eye because he was the only one wearing a lighter colored coat so I snapped him. It wasn’t until I got home and looked properly at this photograph on my computer that I noticed that I timed the image just right, as I got him just as he looked up and a beam of light shining through his legs only. To this day I still don’t know what the man was looking up at, so every time I see this shot it still leaves me intrigued. My 2 hours walking in the cold and rain for this one shot was worth it!

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I’m a London born street photographer. I got into photography about 4 years ago after a friend loaned me their spare SLR camera so I could spend time learning the craft. I did this by going out for walks around central London and photographing anything interesting that caught my eye. I found after about 2-3 months shooting, that my style shifted into mostly street portraits and interesting characters around town. My natural tendency for people watching and an interest in psychology probably influenced my choice to shoot people. From therein I was engrossed on going out with my camera as often as I could, in I guess what can only be described as an ‘obsession’ to find a great moment to photograph. I did more and more research into other photographers and discovered my first introduction into the world of street photography. I am self-taught. Linda’s style consists of silhouetted subjects perfectly placed in a geometric maze, capturing moods and emotions of strong characters, clever light play and unique POV street scenes. Pressing the shutter button spontaneously without time to think or analyze, her images are clean and well composed. She has developed a natural instinct to see an interesting photo in the ordinary and daily lives of others. These intuitive compositions are captured in a split second allowing you the viewer to experience and relive the moment in time. I don’t go out with a plan on what I want to capture anymore (unless I have a set project in mind), as I find when I search and hunt for a shot I don’t always find what I’m seeking. It is usually when you clear my mind, become open minded and your subconscious takes over that you see more. This is when subjects and scenes present themselves to me and I get interesting results.

WEBSITE FANPAGE FLICKR TWITTER

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Columbia Road Flower Market This is an infamous flower market near to Brick Lane in London which is an area in East London popular with the hip and trendy fashionistas. The area comes alive on Sundays and if you want to get a good bargain on flowers and plants this is the place to come along - it is always packed and crowded and so you have no choice but to be up close and personal in this very narrow street. I love eye contact in my photos as it makes an image a lot more personable in close ups, so I walked through the crowd with my camera up not knowing what I would get. When you look through the viewfinder you usually know when you have caught a good moment almost immediately, but you always have that anxiety that maybe the subjectâ&#x20AC;&#x2122;s eyes are closed or the focus is off, etc. Luckily all the elements I wanted and more came into play for this shot.

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Something special! For a long time now we have been thinking about holding a big exhibition in 2014 with selected contributors from all issues. To make it happen, we need to find sponsors, grants, and donations to make: - prints - posters - exhibition catalogs We are also looking for galleries in Europe in order to realize the exhibition one by one in several countries. We are also thinking about holding and exhibition on other continents, but sending the photos there will be much more expensive. To achieve this, we would need: - a courier company - galleries

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Mustafa Dedeoğlu

STREET PHOTOGRAPHY [TURKEY] ViEWORLD.pl

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Mustafa Dedeoğlu, born in Istanbul in 1978. He has lived in Istanbul since when he graduated from Industrial Engineering (Cyprus/ EMU). He has been interested in taking photographs since 2007. He enjoys taking different shots like giving photos of the subject clearly and sometimes ignoring the main rules of photography. He believes to have style is reflecting specific characters on the photos, not taking the same style shots. His photography essays are still continued in İstanbul. The Inspirations from my country are the works of Ara Güler and Henri Cartier Bresson. Both of the contemporary photographers have similar studies, and have their own unique styles which are very inspiring for me. During my early days of photography, I was rather involved in fictional works by taking photos in the remote and demoted places of my beloved Istanbul. Before publishing my photos on the Internet, I hesitantly began to show them to some of my close friends and relatives. It was very surprising for me to get some positive feedback, which encouraged me to share my works from then onwards in a union of website for professional Turkish photographers. My fictional works really drew attention there too, and it kept my enthusiasm fresh. Istanbul is a very characteristic place. History and modernity are nested in this city so that it gives lots of options to photographers. You can view historical places as well as the city hosts pictures reflect the modern face of the developing city. This is a place where Asia and Europe are combined.

WEBSITE FACEBOOK 500PX

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Alain Laboile

INTERVIEW - PART ONE [FRANCE]

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WEBSITE FACEBOOK FLICKR BOOK

Born on the 1st of May, 1968 in Bordeaux. He lived from odd jobs until 1990, the year he met Anne. It was the time when he opened to art. He accompanied Anne, student in Art History, to her lectures. It was in the darkness of the crowded amphitheatres that I witnessed heatedly the dissection of the Italian Renaissance artworks. Drawing was his ally since childhood, I can let myself drift into this third dimension by making plaster portaits in a corner of the studio we share. Then came, through a random reading, my fascination for insects. Jean-Henri Fabres’s Souvenirs entomologiques will inspire me and accompany me for several years.Plaster and stone slowly fade away to let the rusty iron turn into shaggy insects.On the top of a hill near Bordeaux ,in Gironde, our house fills up with kids.My activity is taking off, and I need to take some photos of my sculptures. That’s precisely at that moment, in 2004, that I accidently dive into photography, or more accurately macrophotography, were insects are predominant.Three years later, insects went into hiding under the leaves, my six children are born, and we have left the hill for the stream on the edge of the world. My photo-diary was established without my really noticing, It now seems vital and everlasting.

I’m a father of six. Through my photographic work I celebrate and document my family life: A life on the edge of the world, where intemporality and the universality of childhood meet. Day to day I create a family album that constitues a legacy that I will pass on to my children. My work reflects our way of life,revolving around their childhood. My photographs will be the testimony of that. In a way my approach can be considered similar to the one of an ethnologist. Though my work is deeply personal, It’s also accessible,addressing human nature and allowing the viewer to enter my world and reflect on their own childhoods. Fed everyday and shared with the world via the internet, my photographic production has became a mean of communication, leading to a questionning about freedom, nudity, being and having.

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Hi Alan, or maybe Lab6? So what does your nick mean? Lab for Laboile and 6 because of bugs (my passion) have 6 legs and I have 6 children. What made you reached for the camera? My first contact with photography was through my passion for entomology. I learned the bases on my own by practicing macrophotography. The first prominent events were the winning in 2007 and 2008 of two big Canon contests.

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When you began photographing your family, how children and your wife reacted? We have 6 children: Eliott (18), Olyana (17), Luna (15), Merlin (13), Dune (5) and Nil (4). My youngest children do not pay attention to the camera and are willing participants simply by indifference. Those in the middle heartily play along and although they are aware of the photographic work in progress, it does not affect their behaviours. As for the elders, the over-consciousness of their image makes them harder to shoot naturally. Once again, the immersion in the game with the youngest makes things easier. My wife is always here, taking care of the children and helps me by offering me the possibility to build our family album. Sheâ&#x20AC;&#x2122;s a precious assistant.

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The project has been implemented for several years. How often do you take next photo? In 2007, I pointed my lens towards my growing family and this was, though I did not realized it at first, the starting point of my family album. The birth of my last two daughters is no stranger to my intensive exercise of photography. Now I shoot the everyday life. Your photos have magical atmosphere. How do you create it and where is the idea for such representation of family life? I shoot exactly how we live. I work at home and my wife does not work, therefore we never needed someone else to take care of our children. Today, they all attend school. We do not comply with the trend of having an overload of out-of-school activities and our children know how to enjoy their free time. This type of education creates situations of games, scenes of the daily life, that can somehow become shots.

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Did you have at the beginning the resistance before showing the nakedness of your family for the greater public (Internet)? We live in the countryside, in an isolated place. Our children evolve in accordance with the nature and the youngest get undressed spontaneously when the weather is fine. They get dressed again by growing when the notion of modesty comes. It is this infantile nudity which sometimes raises problem. It is sexualized and demonized and this is when the censorship appears. I accept it and remove the aimed photos. Did you have a moment, that you wanted to stop photographing the family because of the lack ideas for photos? In 2009, the photo was taking me a lot of time and I was late in my work. I stopped for a few months to feed my family and I began again when the situation improved. The photo is very time-consuming. But lacking ideas...never!

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Are all your images captured spontaneously or some are arranged/posed? I am extremely present with my children. I’m there when they play and this is often the game that introduces the photographic idea. Sometimes of course they need a boost. A gesture may suffice, or a verbal indication such as “Do that again!“, “Back up a little!”, or “Wait... Go there!“ These are most of the time indications of placing, without explanation of what I want to photograph. I think they have become accustomed to these few words being thrown. The important thing is to do it in motion and not stopping the game for a briefing. Everything is done in real time. The series “Reflection around the pool” offers them the opportunity to assume a role improvised within a few minutes. This time, the exercise differs from my daily practice of photography that seeks to capture the spontaneity of the moment. These little scenes make them take part in some sort of a theater and this is what they like.

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What did you motivate to take pictures of your family for so long? Everyday I share these photos on the internet. I realise the universal and timeless dimension of my photographic work by reading testimonies from other people living all over the world. It is fantastic to be able to share daily pieces of our family life, and find a positive response to this simple life close to nature. Immersing someone in their own childhood through photography is very rewarding. The use of black and white probably reinforces this feeling. I cannot count the stories of people remembering themselves in the countryside with their grandparents, or recalling the smell of summer vacation... I like the idea that someone could delve back into his own life by looking at pictures of a random stranger on the web. What is sure that this photographic vein based on family is not a calculation nor a conscious decision on my part. However, these universal comments necessarily influence my photographic production.

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Letâ&#x20AC;&#x2122;s move to lighter topics. Is it normal that the children hide in boxes on a daily basis? :) All children like hiding in unusual places. But often their parents forbid them! We donâ&#x20AC;&#x2122;t! In the photos we can see a lot of animals. I see that they play a large role in your life, but how did you hug a roe-deer? It is a part of secrets of the life in the countryside. Little magic moments....

...PART TWO iN #5 iSSUE

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In the next issues,we would like to write some short advices, inter alia: - Photo editing and the difference between editing in case of photography and graphics. - How to build a series of more powerful photos with your favorite yet weak photo. - Describe how to edit your photographs. - How to build your PR and where to start. These and other pieces of information which you will ask for via mails will be shown in the next issues on several pages as brief information and perhaps shown in articles as well. In addition, weâ&#x20AC;&#x2122;re still wondering how to organize in 2014: - a photo contest - a thick paper version of the magazine

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Mark Carey

Valeni [ENGLAND]

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WEBSITE FANPAGE

Mark Carey is London based street and documentary photographer. During the summer months he pays the bills by shooting weddings in a pure documentary style, mainly in the UK. Then, during the winter months he heads off to shoot street photography, social documentary and personal projects in India, South east Asia and parts of Europe. Whilst in India he also shoots social documentary projects for NGO’s shooting in slums, care homes and hospitals and he also runs a regular street photography workshop in Kolkata. Mark is particularly interested in combining strong creative compositions with sensitive reportage. He is a member of the Indian street photography collective ‘Thats life‘. I visited the small village of Valeni in Romania in 2012. He went during its Orthodox Easter celebrations, in order to document day to day life of this still very traditional area an area that currently still seems isolated after the fall of communism. It’s beautiful rural scenery, traditions, food and folk dress demonstrate a culture that will not perhaps be around for much longer as this part of Romania becomes slowly more integrated with the rest of Europe and indeed Romania itself.

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Join! If you would like to show photos in Vieworld magazine please read rules. Every of the photographers will be presented on the website in the â&#x20AC;&#x153;Contributorsâ&#x20AC;? section and on the Facebook fanpage. Vieworld is focused mainly on street photography, documentary and photo stories presented in black and white. Vieworld is a non-profit magazine!

Please create archive rar/zip (label with your name and last name) and send us to join@vieworld.pl with content: - 10-20 photos in .jpg format and resolution 1000px in long edge (RGB), - description of the material, - your profile photo, biography (awards?) and link to your website or fanpage.

From #2 issue we need something more text with photos. We want from everyone in a few sentences (min: 10-20), in addition to the biography described his photography. Let each photographer while application will pause beside their photos.

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Dołącz! Jeśli chciałbyś pokazać zdjęcia w magazynie Vieworld proszę przeczytaj zasady. Każdy fotograf będzie zaprezentowany na stronie internetowej w zakładce “Contributors” i na fanpejdżu. Vieworld skupia się głównie na fotografii ulicznej, dokumentalnej i reportażowej prezentowanej w czerni i bieli. Vieworld jest magazynem non-profit!

Proszę utworzyć archiwum rar/zip (w nazwie imię i nazwisko) i prześlij je do nas join@vieworld.pl z zawartością: - 10-20 zdjęć w formacie .jpg i rozdzielczością 1000px po dłuższym boku (RGB), - opis zgłaszanego materiału, - Twoje zdjęcie profilowe, biografia (nagrody?) i link do strony lub fanpejdżu.

Od #2 numeru potrzebujemy więcej tekstu prócz fotografii. Oczekujemy od każdego, aby w kilku zdaniach (min: 10-20), w dodatku do biografii opisał swoją fotografię. Niech każdy fotograf podczas zgłoszenia zatrzyma się obok swoich zdjęć.

www.vieworld.pl/join

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Vieworld #4  

Vieworld is a photo magazine focusing mainly on street photography, documentary and photo stories presented in black and white. In this issu...

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