205dpi Issue Mar’15
Marta Lewicka Illustrator www.martalewicka.co.uk
This issue Mar’15
Who are we? We are photographers. Journalistic ones. We document, record and capture anything we find interesting, beautiful or captivating. Sometimes our stories may seem strange or unusual, but we are the eye behind it all; and that’s what this magazine is all about. From cakes to paralympics, graffiti to kickboxing, our editorial documentary style takes us around Cornwall, the UK and the rest of the world. Follow us and our collective of photographers as we capture our adventures, our remarkable stories and our everyday
What’ve we been doing? Oh we do love noting the changing seasons. Spring is finally upon us here in South West England, so there’s no excuses now for getting outside with your cameras! We’ve got plenty of insightful stories this month, we hope you enjoy.
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36 Feature Story Eva Cooney Eva is a well practiced landscape and travel photographer, and explains her interesting journey.
22 2. Nathan Still
Reports his insightful documentary around a Cornish based family run pasty business.
Monthly Single Images: Miri Stevens John Liot
30 3. Sarathy
Selvamani
Shares with us his view on his native country of India, exploring the culture and it’s traditions.
1. Francis
Hawkins
Opens our minds to the world of gambling, with his chilling landscapes and quotes.
36 4. Tristan Potter
Photographed a deadly Australian road and explains the shocking reasons behind it’s reputation.
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Real talk with Eva Cooney
“Things are organised in my pictures, very often they are symmetrical, and I put things in the middle. My thinking reflects my personality.” This month we have a photographer who is close to us Editors hearts! Eva Cooney is an inspiring photographer and lecturer at Falmouth University. She is well travelled and experienced in both portraiture and landscapes, and in this interview she explains how she’s evolved into a style that can only be desribed as her own.
Hi Eva!
documentation of my experience.
You recently did a project in Iceland. What were your reasons behind this?
The project has a storyline as I followed the river; the river became a symbol for how Iceland treats nature and how capitalist structures really come into this and how they sell of their nature for profit. And how places like the United States use the environmental resources to produce products, which then are exported across the world.
I completed this project almost two years ago now. I’m really interested in environmental issues but I wanted to go away from the obvious way of photographing them (like photographing images of dead birds). I wanted to marry my interest in landscape photography and looking in how we perceive wilderness by looking at the importance of nature itself. I believe it’s important to think not just as human beings, but think about us and the animals that have a right to exist on this planet. We as human beings can use every resource for our benefit, we are the lucky ones. I wanted to explore whether nature or animals also have a right to the resources. The project also was about the personal experience; I did go off with a raft and a rucksack, as the whole project was part of an expedition I completed. It was very much about the experience and not just taking the pictures, the pictures are a
I found it to be a bit like what used to happen with the exploitation of Third World countries, such as Coal Mining in India, now happens in the first world that they are exploiting each others natural research. Iceland isn’t very big and it is extremely remote where we were but I had mobile reception the whole time as there were mobile phone masts dotted across the country. It is very hard getting away from it all now in our world as everything is so developed. Does wilderness still exist?
Feature - Real Talk with Eva Cooney
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You’ve done lots of travel photography in various countries as well as Iceland. Which places stand out the most? Most of my travel photography is all from one trip that I did just after University. I always have been intrigued about going places, I never really felt at home where I grew up in Germany, and I’m not sure I have ever settled anywhere properly; the sense of belonging has never really fulfilled itself for me yet. Places that really stand out for me are often empty vast spaces, I love the desert. I wouldn’t be able to put it down to a specific country. I would put it more into categories if you asked me which places enticed me most it could either be cultural or environmental. Places that enticed me environmentally were South America, the Andes and the Australian
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outback. But probably the place that stuck with me the most all round was Nepal. I was there for two months trekking in the Himalayas and when you stay in an area for a longer time you get really lost in the culture. I’m not religious and I don’t subscribe to any philosophy but the people there are different. They are influenced by their religion and I found the people were amazing. Nepal really calmed me down which was amazing as I find it very difficult to switch off. Being in the high mountains was very overpowering, when the air is thinner and it’s much harder to walk. It demands a great respect of nature and you feel like you shouldn’t really be there. I also loved the people of Argentina, their humour and food.. I love the Food! How would your describe your photographic style?
Feature - Real Talk with Eva Cooney
My photographic style reflects my personality! I LIKE things organised, I need to have order in my life to function and I think that is reflected in my imagery. I look for very clean, graphic environments. Things are organised in my pictures, very often they are symmetrical, and I put things in the middle. My thinking reflects my personality. What I find interesting that people often find my images calming and serene. Those who know me say that it doesn’t fit my personality as I’m very lively, very bubbly so they would expect me to photograph that way. But personally I feel I do have that more completive style. I am a real junkie for colour; I couldn’t go back to black and white photography anymore. Colours are really important to me.
It’s clear that you have quite a visual direction when you shoot. What inspires you in your projects? I’m not really political but I’m interested in the environment and how it relates back to our human interaction with the land and what says about our society. As a student I took a lot more pictures of people but I don’t do that as much anymore. Just because I don’t put people in my pictures doesn’t mean I am not talking about humans, I do it a lot but I’m trying to be more subtle. I get inspired by ideas that aren’t as obvious. Who inspires you in the photographic world? It’s a mix of all photographers, I could never tell you one specific name that really influences me. I’m influenced by paintings and always have been, my feelings for colour
Feature - Real Talk with Eva Cooney 11.
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Feature - Real Talk with Eva Cooney
and aesthetics comes more from paintings rather than photography. Photography has influenced my story making; I look at photography and am much more interested in the story behind the images. Obviously I have been influenced by a lot of people but I could never single anyone out, there are so many great users of colour and great storytellers! Do you have any technical tips for landscape photographers? I think people get too caught up in the technicality of things. When I do landscapes I don’t have to move fast as the landscape isn’t moving and that’s why many photographers use 5 x 4. You need to be dressed appropriately and sometimes that’s even more important than the kit you’re using! You are also lecture at Falmouth University, how do you balance photography and teaching? It is difficult as it’s such a different space to creating images, but it’s important to shoot as you need to stay fresh. How can you tell students to be inspired if I go stale and don’t do anything in my own time? The great thing though about teaching is you learn so much from the students and they inspire you to challenge yourself also. Is there any story in particular that has stood out to you in your own career?
When I was student I did a project in Romania, about young people who lived in social housing. One of the reasons I do landscape photography now is possibly because I feel I became to close to people and I don’t distance myself enough. The project in Romania was really interesting and really important, it made me aware of the ideas of ethics, how close do you get to people and how do you photograph them. Are you exploiting them if you’re taking certain pictures? What is okay and what is not okay? That made a big impression on me and it was one of the reasons why I got more into landscape photography. Its not that I can’t do it, I just find it difficult to keep the distance that is needed. Maybe if I picked it up now I would be better as I am older. Who knows, I may do a project about people in the future. What tips do you have for aspiring photographers? It takes a lot of maturity and self-belief. You constantly will doubt yourself but you need to be really sure about what you want to get out of photography. You can only do things you really believe in. If you try and do projects that you’re not interested in you wont be good at it and it will frustrate you. Be true to yourself, it’s a tough environment but don’t shy away from aiming for the stars go for the best! Work for the people who interest you and that you believe have high quality. Interview: Tom Sandberg + Sophie Sear
Feature - Real Talk with Eva Cooney
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Miri Stevens Monthly single image www.miristevens.com
Gambling Francis Hawkins gives an insight into the world of gambling by sharing with us his images and quotes.
“Gambled my last 50p in the hope of getting something to eat today. It hasn’t worked out.”
“For me, fruit machines are just a breather on the way to the toilet. Just have a little spin.”
“I was pretty skint so I had to apply for a medical trial which evidently is selling my body to medical research for money, with the money from that I gambled to make more money.”
“Over all I have definitely lost. If I had all the money in one go that I have put in the slot machines in the years it would ten fold, probably hundred fold exceed the amount I have had out.“
Francis Hawkins
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Made in Cornwall Nathan Still documents the renowned pasty making family buisness JH&M Choak’s.
I wanted to develop an organic feel in my work, and focus on a traditional aspect of my Cornish town of Falmouth. My attention in particular falls on Charlie Choak. His company has a three-decade long life span under its belt, and specialises in its method of building and crimping pasties by hand, giving the pasties an authentic homemade quality. In 1948, three years after the conclusion of the Second World War, Joseph Henry and Magdalene Choak founded what has become the highly established JH&M Choak. The business and the tradition they created is now considered to be a cherished piece of Falmouth’s history. Their pasties soon gained them recognition, supplying the Woolworth’s snack bar during the 1950’s. Their Son, and heir to the throne, Charlie, baked his first pasty at a tender six years old. In 1960 the establishment and the family re-located to their current location on Killigrew Street and became the first bakery in Falmouth to use an open window to the passing public. Charlie Choak began needing pasties at only fourteen years old. Charlie is just as passionate about the crafting of his homemade, mouthwatering pasties today, and the fact that this family business has endured success for three-decades proves that the Choak tradition is just as firm and strong today.
24. Nathan Still
Nathan Still
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“Your first 10,000 photographs are your worst.”
- Henri Cartier-Bresson
IndIa
sarathy selvamani gives us a stunning visual tour of his enchanting home country.
I have always had a creative streak running through my family heritage. And I believe my inner exuberance is brought to life by living in such an anciently beautiful country – India. These images are a collection I have gathered over time, which I believe represents my country best. India is a country rich in cultures and diversified with complex stream of belief systems. These myriad variations can be endured only by travelling across its expanse. As you look at the images, I hope to take you back to the point of capture for each of them, to enjoy their beauty even more so. Nature worship has been carried out for centuries, and is still followed mainly at
32. Sarathy Selvamani
the riverbanks of Ganges river at Varanasi (pictured above). As night falls, the scenic view of the river bed town is a sight to cherish. While the villages still follow age-old rituals, the city also posses its fair share of culture and passion in its people too. As pictured (right page), a Gypsie mother had just purchased a goose for her family. Although the Romani Gypsie lives have changed dramatically over time, and their lives are often very challenge driven, the mother’s smile shine over whatever hardships she carries. I also photographed at the annual Transgender festival held every year at Koovathur. It is the one point of congregation
for Trans across the country. This festival features the customary ritual of marrying God in the form of ‘Aravan’ the previous night, then offering themselves to him who is due to die the next day. The Trans then turn into widows for the whole year ahead. This transformation of a married woman to a widow over night is their offering to God and thanking him for their stature. The Transgender photographed (following right page) was captured while dressing herself after the ritual next day, her toil between her aspirations of being a woman and gainsay of her physical condition.
a century old folk art form that consists of song and dance to depict scenes from Indian epics. The artists are dressedup in heavy costumes with very bright makeup to make them visible for the audience even at a distance. This picture was taken of an artist while make over. The degree of heterogeneity which India reflects upon amazes me and makes me want to travel more and keep discovering it’s heritage. I feel honoured to be such a part of it.
During my various travel assignments, I got the chance to cover the ‘Therukoothu’
Sarathy Selvamani
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“The Bruce� Tristan Potter reports from Australia about one of the worlds most unusualy deadly roads.
38. Tristan Potter
‘The Bruce’ Highway accounts for approximately seven per cent of the national highway network in Australia, but it accounts for 17 per cent of national road fatalities. Between 2008 and 2011, there were 170 deaths and 1,620 hospitalisations resulting from crashes on the Bruce Highway. The Royal Automobile Club of Queensland (RACQ) estimates that 60 per cent of road deaths in Queensland occur on the Bruce Highway. The RACQ also estimates that, without further action to upgrade the Highway, an additional 350 people will die and 5,000 will be injured on the Highway over the next decade. While travelling this road with my father in March I couldn’t help but feel those statistics circling around me. My first trip to Australia and I was going to be driving an unfamiliar large camper on a road, which is rated as one of the countries most dangerous. I felt a great responsibility not to be the next number on their ‘assessment program’, but understanding why this road was dangerous soon gave me a more relaxed feel. With a typically European mind I went there thinking its going to be really busy, loads of congestion, high speed and badly maintained, however I soon discovered I couldn’t have been further from
the truth. The road is one of the quietest roads I have driven barely anything on it for miles. This is where I feel the silent killer lies - Fatigue. “The Australian Road Assessment Program rated the stretch of Bruce Highway between Mackay and Sarina as the third most dangerous road in Australia. The section is only 25 kilometres, but it recorded 108 motorists injured and six killed between 2005 and 2009”. These roads are at maximum 110kmph, which equates too just under the 70mph we are used to here in the UK. The roads are incredibly straight and for the majority flat. I was almost stopping for a party every time there was a corner. But then this is where the shrines started to become apparent. In some cases the only corner for miles and there would be two right by each other with perhaps a decade between them. The sadness in all of this is that the majority of these could have been avoided. As one billboard I remember seeing said, “The driver wasn’t drunk, on drugs or speeding, just tired”, this over the picture of a horrific crash scene. Tiredness kills we see it everyday on our electronic safety boards on the motorways when do you think we may start to listen.
Tristan Potter
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John Liot Monthly single image www.johnliot.com
This issue’s stars 1.
Miri Stevens
www.miristevens.com
Francis Hawkins
2.
‘Gambling’ 07972 041010 francishawkins@live.co.uk www.francisrhawkinsphotography.com
Nathan Still
3. 4. 5. 6. 42.
‘Made in Cornwall’ 07765 514940 nathanstill94@hotmail.com www.stillimagery.tumblr.com
Sarathy Selvamani ‘India’
sarathy.hi@gmail.com www.flickr.com/photos/sarathy_selvamani
Tristan Potter
‘The Bruce’ 07530 686006 hello@tristanpotter.com www.tristanpotter.com
John Liot
www.johnliot.com
With thanks to.. Lois Golding
Editor-in-chief www.loisgolding.carbonmade.com
Production team Tom Sandberg Manager
Paige Harrison Editor & Writer
Sophie Sear
Assistant Manager Harvey Williams-Fairley Assistant
Matt Cox
Brand designer & sign writing god Instagram - mattcox904
Eva Cooney
Special feature photographer. www.evacooney.com
Toby Ellis Heather Golding
Support, advice and guidance.
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Marta Lewicka Illustrator www.martalewicka.co.uk
To contact for requests, questions or more information: team@205dpi.com All images and text published in 205dpi are the sole propertry of the featured authors and the subject copyright. 2015 Š 205dpi