205dpi Issue Sept’14
Daniel Jones Artist djones.illustrator@gmail.com
This issue Sept’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? It’s our birthday! It’s been a whole year of 205DPI, and we’ve got twelve fantastic issues to show of it! In celebration, we’ve made a few changes. We now feature four full photography spreads, as well as two chosen stand-alone images of the month. We hope you like it, happy birthday to us!
p.s. keep updated: 4.
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36 Feature Story with Gretchen Interesting conversation with Gretchen Viehmann, head of Press & Editorial Photography, Falmouth.
18 2. Dani
Mozeson
Has an alternative view on tourist-ridden city New York, and explores the homeless culture within.
Monthly Single Images: Lois Golding Dominic Evans
26 3. Kate
Alexand
Explains her elegant and touching technique to photographing models in a beautiful light.
1. Roberto Payne
Travels a journey of discovery around his parents divorce and it’s effects on the family.
32 4. David
Burnard
Documents the underground street drifting scene in a disclosed area of the UK.
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Real talk with Gretchen Viehmann
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Feature - Real Talk with Gretchen Viehmann
“The old rules are out the window, the barriers are down there are no limits to getting your stuff out there.” This month we take a turn towards something a little different. May we introduce Gretchen Viehmann, head of Press & Editorial Photography at Falmouth University. Gretchen has worked for Newspapers across the globe including The New York Daily News as Picture Editor. Here, she explains the in’s and outs of life in a Newspaper, and how her career is re-shaping today. Photography by John Liot
Hey Gretch! Could you tell us a little about your role working for a Newspaper and what it’s really like behind the scenes? The Daily News (New York) was the most recent publication I worked for. I was the director of photography, and it had one of the largest photo collections in the country. We were a family newspaper, not post-ie people – more of a ‘working mans’ paper. The reason I took the job is because it really respected photographers, and my role was to mainly oversee 25 staff photographers. The day started off with a morning meeting; going over the big stories, as we knew them. We then would work with the news desk and send photographer/ reporter teams out to make sure everything was covered. We would then meet at around 3pm, at which point I would have found the best pictures of the day up to that point and printed them out and pinned them all over the room. As much as you think the photography world
is just digital, you still print out a lot of big colour prints! In New York, you can monitor police radios. We had a bank of radios in the newsroom that we tuned into the cops, fire service, the airports - everything. Everything you see in the movies was actually happening in the Newsroom. It was very competitive, very ‘tabloid-war’. We had one guy who was like Weegee, he had every possible radio wired up in his car so he could be the first on the scene. A lot of the time he would show up and people would think he was a cop! We used to do a lot of crime stuff but that grew less and less due to changing editors. We also covered a lot of spot news, which made for some really exciting photography, you know, the adrenaline stuff! The other side of us was celebrity based, as every tabloid is celebrity heavy. This was a bit of headache as it would mean we were monitoring tens of thousands of celebrity
Feature - Real Talk with Gretchen Viehmann
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pictures coming through onto a grid. I had a team of editors that did nothing but filter through celebrity pictures all day. As a picture editor, what do you think makes a defying image? It depends on the story. My biggest challenge in recent memory was in 2011, the tenth anniversary of 9/11. It was full of massive media coverage. The access was limited, meaning one photographer was assigned one area to capture. What this meant was the same ten thousand pictures came in to each photo editors desk across all publications, and then it was up to their choice. It then became not just my opinion, but what the New York Times would be and what every newspaper in the country’s opinion would be. In the end, every newspaper in the world bar one or two used the same exact picture although we all came to that decision independently. It was taken by Justin Lane from EPA, of a father kneeling and touching the monument and his body was just composed beautifully. It was that one out of thousands and thousands, we kept spreading them out over tables and narrowing them down until it became that one picture. The terror came later that night when waking up and finding what everyone used. No one wanted to be the one photoeditor who picked a different picture or the wrong picture! What was in the instigated your career change? I wouldn’t say I had become disillusioned with the industry because I love it, but more with the direction my newspaper was going. I have been involved with Press & Editorial Photography at Falmouth University since its first crop came through in 2008. As the industry changes, it’s the students and the young people that are going into the industry and making it their own, which is
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where my interest lies. So I guess that’s where my interest lies now. The status quo at the big publishing houses and the newspapers is very much a dinosaur model. It’s evolving quickly but I want to be part of helping a new generation of photographers go out there and make the changes happen more quickly. Where do you see you career going next? I honestly see myself here, as long as I possibly can see myself doing anything at all! One of the greatest things about Falmouth to me is that it’s not just a job, it’s the evolution and watching students grow. Seeing all the new work is so exciting. I couldn’t imagine doing anything else right now. What advice could you give to advancing into a career in photography? The biggest thing I would say across the board is master your craft. You hear everyone’s a photographer. There are a lot of people that are photographers because they own a piece of equipment that can take a picture (shakes iPhone), but very few people are good photographers. As daunting and terrifying as the industry feels and how many shut doors there are out there, you would be surprised about the need for quality work. Whatever your passion is, you have to immerse yourself. There is so much photography out there; the old rules are out the window, the barriers are down there are no limits to getting your stuff out there. The only other word of advice I can give is dammit make sure your captions are good!! (Laughs) but that’s only a partial joke… Never say no to work, even if it’s paid badly. Just try to keep working because it will always pay off. Thanks Gretch!
Words: Tom Sandberg Photos: John Liot
Feature - Real Talk with Gretchen Viehmann
Lois Golding Monthly single image www.loisgolding.carbonmade.com
An Album for
My Family Roberto Payne records the ever changing aspects of his family relationships, at the cost of his parents divorce.
Nine years old and I was a spectator to the utter destruction that was my parent’s marriage. I cried and wailed in an attempt to stop it, but to no avail, they argued and argued until my mother said; “well I suppose you’d better pack your bags then.” After all that I cannot remember anything, it is merely a nightmare. ‘An Album for My Family’ looks at the places that different members of my family now live in. It shows how different the lifestyles were between my divorced mother and father’s side of the family. I sometimes feel my personality needs to alter when I move to each of these places, how I do not really fit in with the family in terms of their differing behaviors due to their backgrounds, how I am different. My mother, for example, is an avid gardener. I do not enjoy gardening. These people, my family, mean the most to me. I wanted to photograph my family, who they are, where they live. I wanted to give people
16. Roberto Payne
a view into the variety of environments that are associated with them - a brief snapshot of their lives. I wanted to make it all about them. Photographing my family has helped me come to terms with divorce. Divorce destroys families and affects many more people than the primary members. It affects distant families, close relatives and even friends. Through photographic practice, I have been able to come to terms with divorce better than ever before, it is a release for me. Photographing my family allows me to spend more time with them all equally; it helps me understand that whoever I am, I am still their son and grandson. Whether it is my mother’s love for gardening, my father’s unending sports car club event attendances, or my grandparent’s cosy retired life by the canal, I’m part of their lives, and they are a big part of mine. Above all, I wanted to photograph my family because they are some of the most important people in my life. And even divided, they are still by my side forever.
We Live Here Too
Dani Reyes Mozeson discusses the growing population of homelessness in tourist loving New York City.
A range of studies indicates that NYC’s homeless population,
close to 64,000 people, is the highest it has been since the Great Depression. While biking through New York City streets searching for street art, I uncover something else: the large number of souls who have made a home here. This is not the New York City that the 50 million tourists who visit yearly are supposed to see - but it is my New York City. Having grown up in Greenwich Village, I am no stranger to the vagrants and ‘down-and-out’ folks who find refuge on the streets of the city. I witnessed them when I was younger. But I have never seen as many lost souls sleeping on the streets as I see now while biking through Manhattan. ‘We Live Here Too’ is my attempt to draw attention to NYC’s social landscape, as well as its visual one.
20. Dani Reyes Mozeson
“Smile a lot. Be a good listener. Don’t be afraid to go after what you want - in the photos and the business.. ..and get a great accountant.”
- Daniel and Lindsay Stark
Finding the Beauty in Photography
Kate explains the secrets in unlocking a true connection with your model.
Three years ago my father gave me his old Zenit camera and since then I have been constantly shooting the same portraits, with only the models changing. My photos are beautiful yet plain, just as my attitude was towards them. Time has passed and recently I have started to understand that beauty is quickly forgotten, which looses my interest. We all see photographs amongst different types of media, yet we only remember the few that evoke feelings inside us. This fact puzzles me, and leaves me thinking about what I should be doing to make people see not only the beauty
28. Kate Alexand
in my photos, but what I should also be doing to engage them. So I decided I must change my attitude towards shooting my photography. Ironically, I find that the picture doesn’t play the most important part of the photograph, but instead the process of shooting the subject instead. At present I try not to pay attention to the proportions and horizons but instead the people. I think the main secret of a good and soulful portrait is to remember that you are not just shooting a beautiful girl but you are shooting a personality, people, who has their own dreams and beliefs. When you show your
30. Kate Alexand
model that you see her specialty (which maybe even she does not see in herself) your photos will become truthful and hold power. This time I was lucky enough as the people I shot were mostly my friends. It is easier to capture a piece of your friend’s soul because there is already proximity between you both. However shooting an unknown person is
always a challenge; it is wonderful at the same time because only at the first meeting you can capture a person just as they are. All your further photos will guide you to your spiritual closeness.
Kate Alexand
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Street Drifters David Burnard documented an underground nighttime convoy and had an insight into their illegal pass-time.
“...keep one or two cars on watch so that they can be warned that the police are on their way.”
34. David Burnard
During the early hours of the morning groups of car enthusiasts meet in large car parks where they begin the night by admiring each others cars. A range of different cars arrive such as Volkswagen, Honda, Mazda and the most popular choose for street drifters, BMW. The lads then drive their cars in a convoy to an industrial estate so that they’re off the main streets and out of the way from pedestrians and police. Although they initially go to these quiet industrial estates they still keep one or two cars on watch so that they can be warned that the police are on their way.
Dominic Evans Monthly single image www.evansshoots.co.uk
This issue’s stars 1. 2. 3. 4. 5. 6. 38.
Lois Golding
www.loisgolding.carbonmade.com
Roberto Payne
‘An Album for My Family’ 07845 157814
Dani Mozeson
‘We Live Here, Too’ throughdanislens@gmail.com www.throughdanislens.com
Kate Alexand
‘Finding The Beauty In Photography’ www.flickr.com/photos/kate_alexand
David Burnard
‘Street Drifters’ 07722 299288 daveburnard@hotmail.co.uk www.daveburnardphotography.tumblr.com
Dominic Evans
www.evansshoots.co.uk
With thanks to.. Lois Golding
Editor-in-chief www.loisgolding.carbonmade.com
Production team Tom Sandberg Manager
Paige Harrison Editor
Sophie Sear, Ella Nicholas-French,
Harvey Williams-Fairley, Tristan Potter, Dave Blanks & Nathan Still Assistants
Matt Cox
Logo designer & sign writing god Instagram - mattcox904
Gretchen Viehmann
Special feature interview
Heather Golding Toby Ellis John Liot
Proofing, support & assistance.
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Daniel Jones Artist djones.illustrator@gmail.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