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

06.2013

#3

STREET

Pedro Diaz Molins INDIA Mahesh Balasubramanian USA Alveraz Ricardez SPAIN

EXTRA

Kamil Grygiel LEBANON Samer Mohdad POLAND

SERiES

Christophe Debon USA Erin McGuire ENGLAND Deborah Parkin TURKEY Ilhan Marasli INDONESIA Octo Ahadi POLAND Marta Rybicka

FRANCE


Editor in Chief, Photo Editor, DTP & Design ADRIAN MIRGOS Translators EWELINA STANIASZEK MICHAŁ BOBOWSKI

COVER: Deborah Parkin

WEBSITE 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 Alveraz series Christophe series Deborah

Ricardez

Debon 24MM PARABELLUM

Parkin SEPTEMBER IS THE CRUELLEST MONTH

street Mahesh

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Balasubramanian

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Ahadi VERTICAL HORIZON

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McGuire ON THE SURFACE

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Marasli BRICK FACTORY WORKERS

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series Octo series Erin series Ilhan

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series Marta

Rybicka PASSENGERS

street Pedro

Diaz Molins

Donation extra Samer

Mohdad BEYROUTH MUTATIONS

extra Kamil

Grygiel SENTIMENT

Join us

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Alveraz Ricardez

STREET photography [UsA] ViEWORLD.pl

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Woman And Man At Bus Stop This image is misleading but funny nonetheless. At first glance, we see a man shaken, or scared of a woman with a “hunchback”. It’s funny, but only by a mistake on my part. I was actually late with the exposure I wanted. The man was sitting down on that bench, looking forward. I just thought there was something interesting with his erect posture in contrast with the woman’s hump, caused by a backpack under her shawl. I was certain the image would never see daylight, it was just taken because I hadn’t shot anything in over ten minutes and needed to shoot something, anything. When I processed the image I realized I missed his posture, as he jumped up just as I took the shot. I shrugged at first, ready to delete the shot when I noticed something else was happening here, something hilarious.

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Woman Watching Man On Bicycle This was a little easier than the image might suggest. As many shooters in downtown know, this gentleman on the bike is a very animated rider. You always know he’s coming by the loud, guttural screaming he emanates to let everyone know he’s the king of the road. The expression on the woman’s face is common from most folks who see him coming. He’s quite a character and I’ve been lucky to grab a few images of him in my three months downtown.

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He’s a street photographer in Los Angeles. He has only been shooting the street for about three months now. His focus has been on a 4-block radius of downtown, L.A.. He wanted to give himself ample opportunity to learn the craft in a contained environment to maintain focus and improve. So far it’s been incredibly rewardingand he thinks that is has been the biggest fun he has ever had. WEBSITE FANPAGE TUMBLR

“I’m a Buddhist and I think my practice of being present and available during any given moment allows me to become part of the immediate story around me. I’m not “looking for the shot” as much as I am already engaged in whatever is happening around me. This presence and immediacy allows me to observe a little deeper than many I suppose, and having a tool around my neck to capture those observations and share them with friends and family makes it all worth it.”

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Dog In Wheelchair

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Man In Hood, Smoking Cigarette This man was looking down at first, his face cloaked. I wanted to capture the smoke billowing from under his hood. That’s when I saw the man on the left who looked as if he just walked out of a gym. So I adjusted my frame. At that moment the subject looked up, taking a hit from his cigarette. He was angry at first, but I smiled and asked if I could take a few more images of him for a project I’m working on, and he was cool about it. Unfortunately that’s not always the outcome, considering how close I get sometimes.

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Man With Child’s Shoes I came across this young man from behind in the train station near 7th street. He had an intensity about him that drew me in. He was wearing his shades in a relatively dark tunnel and was standing abnormally still. He had an intense focus and looked almost inanimate to me. When I moved around to his side I was able to see what he was focused on; these small child’s shoes in a box. His intensity suddenly dissipated into something more caring, maybe even longing.

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Man Looking Into Cell Phone The man seemingly looking into his iPhone was actually slowly passing out. I’m not sure if he was just tired, or intoxicated, but he was very still for a good 5 minutes, which gave me ample time to compose the image. I wish I could say it just happened, but it didn’t. I had time to work this scene and I walked around him, taking several shots. At one point, I lowered my camera to the ground as people walked in front of him. I have a few images very similar to this one, of varying legs, framing the subject. I felt these legs were the most intriguing.

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Christophe Debon

24MM PARABELLUM [france]

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Born in 1970 in time for analys to reveal the st reveal by a drea tesque, to navig

“When someone it. No careful co emerge from hu and look it in th thinking… It’s a The 24mm lens eurism of a dist like? Just there,

WEBSITE B&WSTREET BOOK

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Photography ca what is evanesc ment. His pictu They show little no frills, a tigh must not be red rapher who wa them in their w power comes fr recorded. Inner sought-after sp to-man, the ind


n Paris, France. Living in France. When a subject catches his attention there’s no sis or composition. His work is instinctual. An image, a retinal memory, he wishes trange land that surrounds us and let himself be overwhelmed, phagocytosed. To amlike vision, moods of the ordinary people. To observe the extravagant and grogate between reality and imagination, dream and banality, souvenir and present.

e or something captures my attention, I take the shot, without even thinking about onsideration of framing or composition. It’s pure instinct. I like to see the improbable umdrum daily life and grab hold of me. Just like I might grab an unsuspecting crab, he eyes and wonder what it’s thinking. “What a bizarre creature,” is what the crab is all about point of view. I approach things from a broad point of view, a wide angle. s forces a true encounter with my subject. This is no longer observation, or the voytant photographer, but a quasi-terroristic approach. A holdup! “Is that what you’re , yes, and…it’s a wrap.”

aptures the magic of a pure moment, setting down what cannot be said in words, cent. The photography of Christophe Debon also masters the art of understateres indicate his method: a short focal length, an aperture wide open and probing. e but reveal much. His art affirms his stylistic attitude: strongly graphic, abrupt, ht frame, deep, rich blacks that create vigorous contrasts. However, his photos duced to simple mastery of aesthetics. Debon is a spontaneous, intuitive photoganders a city curiously, poaching at random, unearthing his subjects and baring weakness and in their grandeur, without reserve and without apology. The image’s rom its clandestine nature, a fragile, fleeting instant stolen from time itself, and r meditation disappears, the line of sight is drawn. When it reaches that exact, pace, toward the expressive light, then, with the exquisite politeness of goodwilldex finger triggers the first notes of the sensitive crystal’s alchemy.

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Deborah Parkin

September is the Cruellest Month [england]

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WEBSITE BLOG FANPAGE ARTLIMITED

Deborah’s passion for photography started in earnest with the birth of her son. She had always enjoyed the photograph as an object but with the arrival of her son came the need to record their lives. After the birth of her daughter she found that she was photographing as a way of exploring her own childhood memories as well as using it to document their lives. Photography was now becoming a means of expressing herself artistically. In her photography she have always been drawn to the theme of childhood, whether it has been recreating her own personal memories, making images of her children and recording their childhood or working with children using ancient photographic processes. Her work is ultimately about emotion. It is about capturing a moment or a memory. She has always been interested in the idea of ‘memory’ – “I think this came through my studies of reading diaries and journals for my MA in Holocaust Studies”. Although her work is very personal, the intention is that it is open enough for others to bring their own story to it. She works with a variety of photographic mediums, from medium and large format cameras using film, to working with the Victorian Wet Plate Collodion Process. She loves to work in a slow and considered way and one in which she collaborates with each child that sits before her.

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These portraits started during the summer of 2010 when I came to the stark realisation that my children are growing up and to a point, away from me, and that time passes and is never recaptured – we are only left with memories and photographs. The images are taken on a 4x5 large format camera, using instant black and white film that requires me to slow down, to observe, allowing us to collaborate as mother and child. It is a very intimate, intense process. I wanted to capture moments of our school holidays together whether it be in play, at the mountains, at the sea, moments of contemplation, sleeping, sulking… moments that don’t necessarily record the act but will trigger the memory and emotion we felt in years to come when we look back and hold these images in our hand. I am photographing for the future as well as the present. Why “September is the Cruellest Month”? Because it is the time when I have to let my children go back out into the world again without me. The summer holiday is now over. It’s a month that, for me, symbolises the passing of time. Back to school, back to their clubs, back to routine, progressing, moving on. Something we all embrace and want for them, but secretly wanting to hold back time a little bit longer. We can’t stop time but we can freeze it for a split second in our images.

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Mahesh Balasubramanian STREET PHOTOGRAPHY [india] 62

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WEBSITE FANPAGE Mahesh Balasubramanian comes from Chennai, India and he’s a Street Photographer. He started his photography journey in 2008 and took photographs of everything which he felt was beautiful. He shot macro, nature, landscape, etc. but it did not seem to satisfy him much. He realized that his interest was in people photography and it soon became a passion. Most of his portraits are taken in the streets of India, with available ambient natural light. He strives to portray their inner heart and soul through the expressions in the eyes. He believes that through the subject’s eyes and expression, one can get a feeling of the person’s emotions, state of mind, happiness or sorrow. It is his goal to make portraits which will connect the viewers and the subjects directly.

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I mostly take close portraits and I take pictures with their permissions. I watch people and their character. If I found something unique or something special about their eyes or the gestures or expressions, I approach them and talk to them. In my knowledge, most of the people wants to be photographed. But, it is quite not easy to straight away clicking pictures. I am a slow photographer. I mean, I don’t take pictures instantly. I prefer some good background or dark background for my portraits and I always make use of good ambient light. So, I plan for a portrait and ask them to pose for me in specific places which has good lighting and backdrop in their own environment. Most of the time, I get portraits from strangers. But, in sometimes, they prefer not to be photographed. We should respect people and give their spaces. By a glance, face tells story. Anything conveying with undercurrent of emotions is character. The challenge is once the mouth and the eyes tells two different stories at the same time. I try to take the convergence. I photograph everyone on the street. I explore new places and sometime visit the same place to meet the same people. I look for unique character, gesture and emotions & expressions.

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Octo Ahadi

Vertical horizon [indonesia]

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Octo Ahadi was born in 1982. Interested in photography since high school. In 2009 he began to take photos. Since 2011, fell in love to black and white photography. During photographing trying to see things in black and white. Vertical horizon is a title which he dedicated to small town called Bogor, place where he lives and born. Almost all existing photos, taken in this city between his busy schedule as a commercial photo grapher. FACEBOOK 500PX 1X

“The creation of the image is finesse, but sometimes it’s frustrating.”

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Erin McGuire

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Currently pursuing her Bachelors of Fine Art in photography, Erin McGuire merges her love of the desert and film photography with the training she is receiving at the Academy of Art University, San Francisco to create distinctly unique landscape images. Born in Orange County, California in March, 1965, she became interested in photography at an early age and at eighteen, began to actively pursue photography after receiving her first SLR camera, a Pentax ME Super. Life had other plans and it would be more than 25 years before she would use a camera again. Eager to catch up on so many lost years, she moved quickly from using a digital point and shoot camera to trying many different types of film cameras where she discovered a simple, plastic camera that opened a whole new world of photographic possibilities. The Holga camera, with its square format, sweet spot center focus and dark, blurry corners was the perfect tool for expressing her vision of the desert landscape. Erin has extensive experience shooting with antique film cameras, including medium format press cameras and Polaroid instant cameras that she uses to shoot Impossible Project and Fuji instant films. With a love for all things photographic, she hasn’t left the digital world behind and is currently using her knowledge of Adobe Photoshop to create image compositions that merge Holga film base images with components of digital captures to create the lonely, moody photographs that make up her latest series, On the Surface. Erin’s work has been exhibited nationally in many group exhibition’s and is held in private collections around the globe. In addition, here is some of her awards: 2010 - Julia Margaret Cameron Award - Finalist 2010 - 30th Annual Spring Photography Contest - Finalist 2011 - Spring Holga Hike - Grand Prize Winner 2012 - 32nd Annual Spring Photography Contest - Finalist 2012 - The APA Awards 2012 Photo Competition - 1st Place 2013 - Academy of Art University: Spring Show - 2nd Place

WEBSITE FANPAGE

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On The Surface is a series of work that explores my feelings of deception and abandonment. The recent discovery and diagnosis of a life threatening illness for a beloved family member, along with the realization that the illness had gone unnoticed for some time, has forced me to look at my life and my work in a new way. These images of abandoned homes are digital composites created to intentionally deceive the viewer. How the deception manifests itself is left to the personal history, emotions and imagination of the individual viewing the image.

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Ilhan Marasli

Brick Factory Workers [Turkey] 102

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Brick is the first construction material which mankind has produced in certain size and shapes, according to the requirements 600 years ago. Burned bricks were used in Mezopotamia region around 3500 B.C. During 2100-1950 B.C. the first standardization in brick dimensions was made. Brick was widely used in Byzantium constructions. It was a primarily sought building component before the industrial revolution, and after that period it still did not lose its importance. The production stage of brick starts from the clay-rich soil. Clay is the raw substance. Soil brought to the factories is first grinded and then mixed with water, producing a sludge. The sludge is shaped into specific sizes using moulds and slicings and put on the racks for several days in a closed environment, and after that is put outside for drying. The shaped and dried material is put in the ovens for the burning process. After igniting, the ovens are kept at about 850-900 C for 4 days by feeding coal dust from the upper floor. At the end of this final stage the product is loaded to trucks and sent to the customers.

Born in MaraĹ&#x;, Turkey in 1974. Occupation in advertising sector. Member of AFAD (Adana Photography Amateurs Association) and AFIAP (International Federation of Photographic Art). As my profession requires I am closely related with photography. Trying to produce photos about society and life actively since 2006. I like seeing life through the wide angle as well as telling stories in my photos using the advantages of the wide angle lens. Awarded by many national and international salons.

WEBSITE MAIL

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Marta Rybicka

Passengers [poland]

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Born in Brzesko near Cracow, Poland. Graduated from Cracow University of Economics where she studied International Relations and also a graduate of Warsaw National Defence Academy. She gained her first experience in photography in Napo Images and Sputnik Photos agencies as well as in Photojournalism Academy.

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For “Metro” project she got a special mention at the Street Photography Now exhibition in Warsaw. Her photograph from a project „Flood 2010” was chosen for book cover “Best Publications” published by the Association of Polish Journalists. She documented effects of an earthquake on Haiti and a flood in Poland. She explores topics related to life and working conditions in India. Her great passion is war photography therefore she completed a course for war

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ry. pac colo wha tim the imp cam not self tim ma den not is r


rrespondents and plans trips to conflict nes. Currently working in a law firm.

If photography, then only documentaThere was no first film, no first comct. Painting was first – with ink, waterors, charcoal. I painted what I saw and at could fill the A4 frame. I guess with me my enthusiasm slowly vanished. But en photography appeared. The most portant thing was that I could take a mera everywhere with me. Till now I am t moving anywhere without it. I am a f-taught photographer. I spend a lot of me taking pictures. I take many of them, aybe even too many. But exploring hidn places, playing with light and last but t least telling stories through images really fascinating. I think that pictures

should not be taken if you have nothing to tell about them. I see great potential in a street photography because it doesn’t require interaction with the environment and helps to maintain a specific distance and space. I focus mainly on the form and simplicity of the message but also on the unique opportunity to catch a great moment with one picture. I train a variety of different styles and techniques in order to use them freely in bigger projects. In contrast, in classic document photography, the personal contact with other people is the most important thing. Therefore, I try to give my interlocutors as much attention as possible in order to understand them best. When I photograph them I also give them joy at the same time. And that’s extraordinary.

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I have travelled since I remember. When I was a child, my nose was glued to a window of our car when we were traveling to Italy, Turkey or Slovakia during wintertime. Later, my travels began to be more local. When I attended music school in Bochnia and Cracow, 3 times a week I was travelling between different cities. During my studies I usually was taking a bus instead of a plane when went on my holidays to London. I do not like to shorten the time when moving from one place to another. It is an integral part of the expedition. For me the most important thing in travelling is the sense of moving forward, and being in constant move. When things around me are changing and I see something new, I feel that I am alive. When travelling by train I can never focus on a book or newspaper. I always feel like I am going somewhere for the first time. I remember that long time ago in London underground I was maybe the only person who was not flipping through the morning paper. I held a notebook in my hands and wrote down what passengers have in common. I remember at that time men’s pink shirts were in fashion. I could often spot long rows of men in that kind of shirts who looked almost identical. And this thing happened almost every time when I stayed in London. I sometimes travelled three stations further in order to go back and observe this once again. My senses sharpen when I travel. I almost always walk in the train with my camera and take pictures of people and what it is outside. I photograph completely intuitive and I never thought that a consistent portrait of passengers will emerge from it. It has always been a specific pause from other photographic projects. Passengers are mostly loners. They look for free spaces and empty compartments. Everyone of them only has time for themselves and their own thoughts desperately searching for privacy. I am also a lonely passenger however I am trying to take advantage of it. When you travel alone, you see and hear a lot more things. You meet new people, observe them and celebrate the conversation. A lonely trip to Indonesia would not be the same with my family or friends. I guess I am lucky. I have never been tired after any trip!

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Pedro Diaz Molins

street photography [spain] ViEWORLD.pl

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500PX FLICKR

Born thirty four years ago in Orihuela,Spain. In 2009, he bought his first réflex camera and begun with taking seascape photography. Next year he won the third prize in the international contest of nature and mountain photography (Montphoto) in the “Environmental claim” category. After that, he started to work with black and white treatments applied to minimal compositions, where the sea is the main point of interest. Pedro uses the long exposure technique to capture the movement of water and clouds. From June 1st 2013, he takes part with other photographers, in a exposition titled “The Art of Long Exposure” organized for PhotoHaus Gallery in Vacouver (Canada). In the same year, he is one of the thirty finalists in the National Contest of Landscape Photography organized in Spain. Along the experience, he does not only take photos of seascapes but also tries to introduce the human figure.

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As a lover of black and white, he tests other styles and travels to New York to capture the street world. In this trip, he thinks about playing with the visions through or reflected in the windows. The Long Island Ferry is where he takes, in his opinion, the best pictures - when the tourists take photos in the ferry deck. On the other hand, he touches the photography in a more creative way by basing on the Motion Blur concept, where the street is his principal motivation.

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BOOK PATRONAGE

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Samer Mohdad

Beyrouth Mutations [Lebanon] 162

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Pioneer photographer, initiator of the Arab Images concept, expert in creative media and visual communication, Samer Mohdad was born in Bzebdine, Lebanon, in 1964. Following his graduation in photography from St-Luc in Liège, Belgium, he started working for the Agence Vu in Paris in 1988. After obtaining the Belgian citizenship, he was able to travel freely to accomplish his visions about the Arabs mutating societies. For the last 25 years, he pictured the Arab World by showing it from the inside. Author of six books featuring his intentions, War Children in Lebanon 1993, Return to Gaza 1996, “Mes Arabies” 1999, “Assaoudia” 2005, “Mes Ententes” 2005 and the latest one “Beirut Mutation”s 2012. His latest exhibition, “Accomplished Visions: the Arabs” has been presented during springtime 2013 at the submarine base in Bordeaux in its cycle “Photographers for the History” and the same show will move on to les Rencontres d’Arles this summer. Samer Mohdad is a unique artist who dedicates his creativity not only to serve his photography, but also to build institutions dedicated to the preservation and transmission of this modern art. He is currently in charge of the communication and the networking of Euromed Audiovisuel III a programme financed by the EU and he operates from Lebanon.

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“This book shows Beirut’s mutations from the war to nowadays. Throughout its pages, the facts are conveyed both through the images that reflect and build reality and through personal stories.” “Beirut is not just a town centre, it is made up of neighborhoods, women, children, men, and paths that I was brought to walk on throughout my life. These landscapes have not only been transformed on an architectural level, but also on a human and social one.” “The way I see Beirut is conditioned by the context of my beginnings 25 years ago, and all the transformations that the city has since been through. From the beginning, I knew that the day would come when I would tell this city’s story from my distanced but also intimate point of view. This story aims not only to convey facts, but also to make you experience Beirut as if you had really lived through these past events.” “These photographs, displayed side by side, depict a story that is a cross between a thriller, a dark humor novel, and a fairy tale -- a story in which the fine line between fiction and reality remains very blurred.” “With them, I would like to allow others to experience key moments during these 25 years when Beirut transformed itself, succumbing to the temptation of becoming more beautiful through the mirror of great architects - all this often at the expense of the interests, needs, and sensibilities of its populations.” “Most of the photos that make up this story are in black and white, a choice that allows the viewer to better see the city’s contrasts. By deleting all the extra information brought by color, it allows us to directly access the essence of its poetry, passions, and suffering. The Beirut Mutations exhibition and this book are born from this link between the city’s mutations and my experience as a photographer.”

Published by Actes Sud (France) in November 2013 AMAZON

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BOOK PATRONAGE

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Kamil Grygiel

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Kamil Grygiel, born in 1991. Young and still developing photographer from Cracow, Poland, who specializes in long-term projects, documentary, street photography and reportage. „Sentyment” is his second project, right after a short esey named „KrakówŁobów”. What I do is mostly associated with human emiotions. They play one of the main roles because they affect our lives the most. They affect on the decisions we make. That’s why my photographies reflect what I feel and what I want to say. First of all I focus on showing the things which people who are in a hurry don’t see. Maybe because of that street photography is the fastest and most subjective form of what surrounds us. The perspective is just as important as other things. Having witnessed any situation, a person can literally present the situation in a number of „dimensions” that are completely different from one another. But the only aspect of the whole project is that the game called „game of emotions” will be presented in the same way. In my work I also try to keep a little distance to the people and places that I photograph. Integrating with this kind of things and people does not always work out and bodes well for what can happen after you press the shutter button. Cracow, by some considered to be the capital of Europe in terms of tourism, aehstetic and commercial attractions. But for every inhabitant of this city, this agglomeration plays a completely different role. City of glamor? City of innovation? The aim of the project is to realize what and who is Cracow, the main character of my story. Cracow has many faces. It often wears a face of a sad and depressed old man who is struggling with the problems of today’s world. But also often it pretends to be a cheered, dignified man who goes ahead and drags the traces of the past. Society in this coutry has a lot of definitions. They are not always positive but the mentality makes this society very original. Historical accretions which are often discussed in the book (and I do it with full awarness) depict people as residents, citizens - as actors who play a certain role. They are often just extras in the film, which takes place on the street.

Grand opening: 21 of June at 7:30 PM. 14 Szlak Street, Cracow, Poland. BLOG FACEBOOK

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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 “Contributors� 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 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 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.

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Profile for Vieworld photo magazine

Vieworld #3  

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

Vieworld #3  

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

Profile for vieworld