205dpi Issue July’14
Anya Jackson Illustrator www.anjakillustration.tumblr.com
This issue July’14
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 lives.
What’ve we been doing? Summer, summer, summer! Festivals, sunshine, beaches! Bicycle races, taxidermy birds and abandoned clay buildings?! More from our issue stars. Enjoy!
p.s. keep updated: 4.
6 Feature Story Emma Griffin Fashion photographer Emma explains the alternative steps she’s taken into the industry.
26 3. Emma Jones
Explains her journeys in and around Falmouth harbor, whilst her photographic experiences grow.
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1. Dominic
2. Florence
Captured the incredible journey of Swiss father/ daughter duo as they cycled across America.
Shares her story behind this colourful taxidermy series, representing a mixture of death and beauty.
Steinman
Beasley
32 4. Anonymous An ‘Anonymous’ photographer walks us through an abandoned clay drying facility in Par, Cornwall.
38 5. Issy
Mendoza
Issy experiments with gore and fashion in her dark humoured series: ‘Crime Scene Couture.’
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Real talk with Emma Griffin
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Feature - Real Talk with Emma Griffin
“It’s more about creating a ‘story’ for a client that really has my passion.” This month we have a very down-to-earth interview with a growing fashion & commercial star. Emma’s work covers many realms from weddings to interiors. Here she explains her journey in getting to where she is today.
Hi Emma Can you explain to us a little bit about yourself and the journey you’ve been on to where you are now? I started my career as a fashion designer and worked for a number of global brands, one being Hugo Boss. I moved into fine art after doing a BA Hons Fine Art degree at Falmouth. The camera was always a tool for me throughout my early career; I felt it was a much faster way to create images, instead of painting, so moved into photography.
Feature - Real Talk with Emma Griffin
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Feature - Real Talk with Emma Griffin
Part of my job now goes back to my fashion experience so I feel I have gone full circle but now use the tools I have learnt along the way. How did you start to develop your client base, and what would you recommend as good steps to follow to achieve this? I started by contacting the people I wanted to create images for. Regarding magazines, I looked at the ones that I thought my images would suit - as there’s no point in submitting if you really do not suit the look of that magazine. Then, in the last two years, it has mainly been word of mouth. People have heard of me and now want me to create images for them. Do you have a preferred genre or job to shoot? (i.e fashion, commercial, wedding etc.) I love all of the areas that I cover, but I must say it’s more about creating a ‘story’ for a client that really has my passion. My fashion and bridal work really lets me illustrate and expand the story, which tells more than the other areas I work in. In comparison to your other areas of photography, how competitive do you find fashion? As a fashion photographer you are up against thousands of creative people. Your work needs to stand out and be unique. I have found that having knowledge of fashion trends really helps and your images are always bang on trend – which is what the magazines & blogs want. Also you have to work fast as seasons change and other photographers like to copy what you are doing. So you need to come up with fresh ideas, new teams, models and locations. Also you mainly shoot for magazines in seasons that are mixed up to how we are, like in summer on hot sunny days you are asked to shoot autumn winter!
Feature - Real Talk with Emma Griffin
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Could you advise working photographers on how to get your work out there to be seen by new people? I believe social media is the best tool for any photographer. I do not know where I would be without it! Keep creating images and get your shoots off to websites, blogs and magazine both print and digital. Have your own business facebook page and link this to Twitter, and tell the world what you are doing! One of the aesthetics that are consistent within your work is quite a warm-tone; do you use this as your ‘calling card’ or ‘staple’? Thank you, I rarely shoot black and white because I love colour and I love vintage looking images. I am inspired so much by stories and films that I like my images to almost look like movie stills. The colours I use to edit in are vintage inspired , which I guess is a calling card! Some consider fashion photography to be one of the hardest areas to break into. What do you suggest to those starting out? Yes it is a very tough business as, and as a fashion photographer you do not get paid much money for your shoots. When starting up I would suggest highly doing as many shoots as you can to build up your own ‘look’, your own portfolio. Try not to copy anyone too, it’s great to be inspired by an artist but don’t copy, be unique. Once you have a portfolio you can then contact magazines and show them your work. At the start you do work for free in order to get your shoots published and then the more times you are published you will then get paid for creating shoots for certain magazines. Now I have magazines that commission me to create fashion shoots for them.
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What has been your most interesting fashion shoot? Recently I was lucky enough to create a huge fashion shoot for Shell Belle Couture. To date this has been my biggest fashion shoot that I have done. We had 18 different sets and it ran beautifully as a story. Normally when I have finished a shoot I look thought and can pick my personal favorites for my website, with this shoot titled ‘ The Cocktail Party’ I can’t pick as each shot is a winner. I love my job and I get excited on each shoot that I do, but this one was perfect in every way, I was even proud of myself ! How has photography helped you to develop personally? Good question! I am a very creative person anyway but my camera helps my think and look in a different way. I think since I started Griffin Photography I am more excited about creativity and story telling than ever before. It’s also made me connect with so many people, so without my passion, my job would be different and I wouldn’t know so many amazing and talented people who I admire! I’m very thankful! Thanks Emma. Words: Lois Golding
Feature - Real Talk with Emma Griffin
Feature - Real Talk with Emma Griffin
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Race Across America with Beny and Corinne Furrer Dominic Steinman followed a Swiss father-and-daughter cyclist DUO as they raced the length of America.
June this year, single-armed Swiss extreme sports enthusiast Beny Furrer (age 58) and his daughter Corinne (age 30) tackled the longest and hardest bicycle race in the world. In 1986, Beny Furrer had a motorbike accident resulting in 17 broken bones, 64 hours of surgery, 7 weeks comatose and the loss of his left arm. Sport was always an important part of his life, but after the accident he developed frequent heavy phantom pain in his amputated arm. Beny tried different endurance sports to distract him from the pain, but it was not enough. Beny then moved onto cycling, which was when it all changed. “If I sit on my bicycle, I forget about my phantom pain for hours” says Beny, “which is always a good feeling for me!” The Race Across America (RAAM) starts on the West Coast in Oceanside, California. The route is a 3000-mile cycle across North America to Annapolis, Maryland and the East Coast of the States. Beny had completed RAAM 4 time’s prior as a solo cyclist. But it was this year that Corinne suggested they tackle the race as a duo. This being Corinnes first time, Beny tried to talk her out of it, explaining that the race was “tougher than life itself ”. But Corinne got her way, and minutes before the race began, Beny was pleased that she persisted and looked forward to the start. 6 days into the race, and at a time testing the strength of both cyclists, Corinne was hit off her bike by the follow-car. The whole team – two racers and nine crewmembers – where forced to stop for eight hours to tend to her injuries and the damage. It was a shock for Corinne as she confessed, “In my mind, I’d already given up the race.” She had several serious abrasions on her thigh and injuries on her elbow and knees. For her father and racepartner Beny, knew he must finish the race by himself.
For the first seven hours after the accident Beny was racing alone. But due to his increasing tiredness, he clamped his wheel in a manhole cover, which flew him off his bike too. In that moment, is was clear for Corinne that she had to continue cycling. The duo got back on their bikes, and fought their pains together through the final day. After 8 days, 5 hours and 6 minutes, the father-daughter team reached the 3000 mile finish on Sunday the 22nd June in Annapolis, Maryland. Beny says, “I was not sure at all if we would finish, after everything that happened; so I’m very happy with the result.” Corinne was also overjoyed for finishing the race.
Despite this 8-days lasting stress and a lack of sleep, Beny was not able to sleep well the first night after finishing: “The hotel seemed to move like on a swinging ship”. The total recovery after such an ordeal lasts months. Beny is already sure, that he will never participate again for the RAAM, as, he says, “I’m an old man!” When Corinne was asked if she would ever participate solo for the RAAM she denies it, but only in front of her dad Beny… The father/daughter team, Beny and Corinne Furrer, where awarded by the organisation committee with a special trophy for their extraordinary strength, skills and stamina, and achieving the seemingly impossible finish, despite their accidents.
Bird Fashion Florence Beasley explains her inspiration and process behind her colourful taxidermy series.
This is a body of work I photographed aiming to show the beautiful side of taxidermy. I got the idea after looking for road-kill photography after seeing Jane Hilton’s outtakes for ‘Dead Eagle Trail’. I decided that after shooting an abattoir earlier this year I wanted to carry on the theme of death, but in a more peaceful way. Whilst I was looking for inspiration, I came acorss Emma Kiseil & Kimberly Witham’s work. I thought they had a perfect balance of death and beauty; which is exactly what I was after. From the moment I saw their images, I wanted to create and capture something just as obscure and strange, that people wouldn’t be able to ignore it. I continued my research, trying to find a way to put my inspirations to practice. I forked through the taxidermy industry, and was eventually put in touch with Jonathan via contacting the head of The
22. Florence Beasley
British Historical Taxidermy Society. Jonathan is a taxidermy collector in Bugle, Cornwall, who takes pride in having one of the largest collections in South England. I chose to shoot the collection of birds in the studio so I could control the lighting. The idea of multi-coloured backgrounds served as a paradox to the birds because death is supposed to be gruesome and dark. I wanted the series to be more ‘Bird Fashion’ than taxidermy of birds or death. You can see Emma & Kimberly’s work at: www.kimberlywitham.com/kimberly_witham/ Domestic_Arrangements.html#0 www.emmakisiel.com/work/#/at-rest/
“It is the photographer, not the camera, that is the instrument.�
- Eve Arnold
Ready About Emma documents her evolution of photography on prize-winning yauchts.
Last summer, I sailed out of Falmouth Harbour on a breathtaking 150ft classic yacht bound for Morocco. With my small disposable camera clutched in hand, I would never have imaged a year later I would be jetting off to the Mediterranean to photograph some of the top racing schooners in its class. Stories of yachties quite often fall into the category of being in the right place at the right time. Perhaps you were in a bar and unknowingly get talking to the Captain of a boat, next thing you know your ditching your job as Pie Delivery boy to sail the world… (true story).
I spent my summer sailing from Falmouth to Sark, Cherbourg, La Coruna and Baiona where my trip was cut short, as I had to leave Zaca to return to University. Luckily my adventures didn’t end there. Throughout term time, I worked on a number of other Super Yachts, meeting incredible people with stories to tell of places they’d been whilst sailing the high seas. A whole new world had opened up to me, and it was one I wanted to be a part of. Working aboard Windrose of Amsterdam, I began spending my
28. Emma Jones
watch keeping hours exploring the boat photographically, studying her charter brochure and sailing photographs, and trying to find ways of improvement through my own work. Through my work on Windrose, and general presence in the Pendennis Marina I became aware of a two year restoration project in Gweek Boatyard. It was of a 1929 Schooner named Kelpie, so I began going to the boatyard to document the final stages of her transformation and launching party. With the help of the supportive
friends and work colleagues, I was able to get out to photograph the Pendennis Cup onboard the huge three masted schooner Adix, Herreshoff schooner Mariette and the Pendennis rib. I finally got to see Kelpie the ‘Fastest Schooner in the West’ back on the water, and looking fantastic. After photographing my first regatta, more doors opened up as my work of Kelpie and the winning boat Valecarina was published in Classic Boat, Yachting World and The Superyacht Report. I then traveled to Barcelona to photograph with another 150ft schooner Eleonora - a
replica of the classic boat Westward as they raced in the Puig Vela Classica Regatta. For the time being, I’m back in Falmouth but later this summer I am planning to get back out on the water to photograph Mahon XI Copa Del Rey De Barcos De Epoca, the Falmouth Tallships Regatta, Vele D’epoca Di Imperia and Cannes Regates Royales!
Emma Jones
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Imerys An ‘Anonymous’ photographer leads us through an empty Clay Drying facility.
34. Anonymous
Back in 2006, multi national company Imerys closed down two thirds of their Par Clay drying facilities, leaving nearly 800 people jobless. The French company specializes in the production and processing of industrial minerals. Upon visiting one of the now empty establishments, my discoveries were enchanting. Starting at the pathway leading to the facility, you could see just how much of nature had taken back its place. Following this comes a realization of the size of the operation that once was. There were huge vats, both for storage and processing of the clay, and the giant silo’s really loomed ahead. The silo’s themselves had leading gangways up to the top, giving you a view of their contents. At the time, they held an odd green liquid, then surrounded by the many types of machinery, which were used to agitate the clay. The site also included an office block, which backed onto the docks. Inside, there were many left belongings, and stairs that lead into a storage room for all remaining clothes and equipment. The whole facility was clearly slowly rotting away, and goes to show what is really left of a forgotten industry.
Anonymous
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Crime Scene Couture Issy Mendoza explains the ultimate combination of her passions; photography, fashion & gore.
It’s simple. I wanted to mix fashion and gore. The idea is that the models are completley oblivious to their mutilations because they’re far too busy trying to look glamorous.
“She was young and very beautiful, but pale, like the grey pallor of death.” - Bram Stoker, The Lady of the Shroud I watch a lot of strange films and have a dark sense of humour, alongside having a skill in special FX makeup. The combination of all these factors creates Crime Scene Couture, a twisted, morbid take on beauty and fashion.
40. Issy Mendoza
This issue’s stars 1. 2. 3. 4. 5.
Dominic Steinman
‘Race Across America’ +4178 611 24 36 dominic.steinmann@gmail.com
Florence Beasley
‘Bird Fashion’ 07512 685808 www.florencebeasley.tumblr.com www.florencebeasley.com
Emma Jones
‘Ready About’ 07551 939849 elwjphotography@gmail.com www.elwjphotography.com
Anonymous ‘Imerys’
Issy Mendoza
‘Crime Scene Couture’ 07741 304901 isabelmendoza@hotmail.co.uk
isabelmendozaphotography.4ormat.com
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With thanks to.. Lois Golding
Editor-in-chief www.loisgolding.carbonmade.com
Production team Tom Sandberg
Manager www.tomsandbergphotography.wordpress.com
Carys Barriball
Writer carysbarriball@hotmail.com
Sophie Sear, Ella Nicholas-French,
Harvey Williams-Fairley & Nathan Still Assistants
Matt Cox
Logo designer & sign writing god Instagram - mattcox904
Emma Griffin
Special feature interview & photographer www.griffin-photography.co.uk
Heather Golding Toby Ellis
Proofing, support & assistance.
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Anya Jackson Illustrator www.anjakillustration.tumblr.com
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. 2014 Š 205dpi