JANUARY 2012
ACHE
JANU A R Y 2012
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note from ACHE
a letter by the editor-inchief of ACHE to readers of the magazine.
p ho to gr ap h y young and restless in nyc
a new column by three nyu students who happen to be brilliant photographers. jacqueline harriet, jessie roth, and sandy honig introduce themselves.
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camille richez
interview with camille richez, nineteen-yearold photographer from paris. camille’s pictures are filled with femininity and freshness.
rachel thalia fisher
meet new yorker rachel thalia fisher, nineteen years old.
emma anderson
emma anderson is from wellington, new zealand; her portraits show her understanding of light and solitude.
roni ahn
interview with our cover photographer, fifteenyear-old roni ahn. remarkably talented for her age, roni is currently attending high school in hong kong.
lindsay gray
lindsay is a photographer/writer from dallas, texas, and her pictures evoke cool nighttime dreams.
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fashion style icon: bethany struble
nineteen-year-old bethany struble tells ACHE about her carefree la style.
wallflower
an editorial by jenny woods, featuring rachel @ next in american apparel.
style icon: jessica tran
jessica tran is an eighteen-year-old girl from sydney, australia, with an unusual take on fashion.
music what we’re listening to: transitions
ACHE’s playlist for the changing months, as we transition into a new year and a new season.
what we’re listening to: sunday morning a playlist for sleepy sunday mornings with potential.
writing hang me up to dry
a short story by a twenty-year-old from the united kingdom.
two plus two equals five
a short story by a twenty-year-old from the united kingdom.
typewriting
a collection of writings by lindsay gray, eighteen-year-old from dallas, texas.
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CREDIT S jackie luo, editor-in-chief jackie f u, editor cover by roni ahn, featur ing model de von @ ford model s “v ie w on the catskill—early autmn” (p.001-002) by thomas cole “a gorge in the mountains (kauterskill clove)” (p. 003-004) by s anford r. g ifford “paranoid” font by ke v in y uen kit lo special thanks to e ver yone who contr ib uted work to the magazine!
wel come to issu e # 5 of AC H E mag a z i ne ! to b ot h ou r re ade rs and ou r cont r ibutors: we are incre dibly s or r y for t he l ate ne ss of t h is issue ! t he maga zine shou ld have b e en rele as e d ne arly a mont h ago, but a numb er of circ umst ances pre vente d us f rom putt ing it out on t ime. howe ver, we’ve put our b est ef for t into ma k i ng t h is issue as bre at ht a k ing as t he ot hers. a ls o, i’d li ke to int rodu c e a ne w fe atu re of t he maga zine, a colum n by j a cqueline har r iet, j e ss i e rot h , and s andy hon ig ab out t heir lives as ny u students. in t his issu e, you’ l l f ind t he ir int ro duc t ions, as wel l as fas cinat ing p e eks into t he ir world t hroug h photog raphy. as a lways, AC HE is lo ok ing for subm issions f rom ar t ists, desig ners, photo g raphe rs, w r ite rs, blog gers, musici ans, and more. we’re op en to a d d i ng w r ite rs, photog raphers, and e ditors to our st af f, s o let us s e e s amples of your work! to submit , s e nd us your f u l l name, age, cit y and st ate/ count r y, and any ot he r in for mat ion we m ig ht ne e d, a long w it h your work.
we are a c h emag azin e @ g mai l. c om ke e p liv ing you ng , ke e p ma k ing ar t, and ke ep re a ding ACHE .
love,
jacki e lu o e ditor-i n-ch i e f
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introducing...
YOUNG AND RESTLESS IN NYC ACH E p r e s e n t s a new column by jacqueline harr ie t , je s s ie r o t h , and sandy honig, three brilliant yo un g p h o t o gr a p hers who attend nyu. we bring yo u t h e ir ex p e r ie nces, thoughts, and pictures rec o rding their lives.
JACQ U EL IN E H A RRIE T
JES S IE ROTH
S A NDY H O NIG
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JACQUELINE HARRIET My name is Jacqueline Harriet, and I live my life with my eyes as my constant full-frame viewfinder. I like rewarding myself with honeydew-flavored bubble tea and walking from gallery to gallery in Chelsea. I like the nostalgia of velvet material. I dislike forgetting my umbrella on rainy days and when my MetroCard has insufficient fare. Though my roots in Northern California have shaped my life so far, I find that New York City has truly made me a work in progress. The prospect of living in New York City always seemed like a fanciful dream. It’s almost surreal to realize how far I’ve come in the last several months: three thousand miles as a passenger, but light years as a photographer, and as an individual. In my photographs, I endeavor to continually recapture my innocent, first look at the city; I want to document the transformation of my perspective from that of a tourist to a local. Location affects a person so much, and I’m interested to see how the East Coast and the city, respectively, change the way that I look at and experience the world around me. I currently attend NYU as a freshman in the Media, Culture, and Communications program and am taking classes in media, photography, and art history.
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6 1. Exploring the East Village on a rainy afternoon 2. Double exposures from a model test shoot in Soho 3. Florence + The Machine in concert for The Creators Project in DUMBO 4. Jessie strolling through the Washington Mews 5. Ground Zero Lights as seen on the evening of September 10 6. “Occupie� Baby at Occupy Wall Street in Zuccotti Park 7. A loving father and daughter looking out at the East River from DUMBO in Brooklyn 8. Walking around Chelsea 9. Double exposures from a model test shoot in Soho
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j es s i e ro t h My name is Jessie, and I am a collection of paradoxes. I am indecisive with a mind made up, idealistic but also realistic; I find comfort in knowing where I am, but I love feeling lost. I like the way my sheets smell at night, food shopping by myself, and conversing with strangers on the street. I dislike the taste of olives and when people overuse the word “awkward.” Unconquered regret and unrequited love make me sad, and their respective contrapositives make me happy. I don’t know where I’m going, but I know where I am: attending college, passionate about taking pictures and writing, and living in New York City. My major remains undeclared, but now as a freshman at NYU, I take foundation courses in literature, philosophy, art history, and writing. When a clear life path emerges, I intend to follow it, but until then, I enjoy not knowing, but learning. In so many words, I am where I belong. I love New York for all that it is: a crux of creativity, a place ridden with all forms of art and expression, and the city that enables all people to come together. I am as alone or among others as I wish to be, moving as quickly or slowly as I desire. I treat my pictures like a diary, so consider this a look at New York through my eyes.
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7 1. One of the first things I did upon moving into my dorm was make the space mine! The wall beside my bed had this convenient alcove, so I covered it with all things characteristically “me.” 2. My favorite subject in New York City is probably the city itself. I love the buildings, the lights, the architecture. It’s probably what I photograph the most. This is the view from my dorm room. 3. Once again, New York’s splendor does not disappoint. I snapped this shot of a city sunrise after pulling an all-nighter during finals week. Staying up proved to have its perks! 4. I candidly snapped this shot of a couple I saw on the roof of the Met. They looked so perfect standing against the skyline, I couldn’t resist. 5. I experimented a lot with double exposures this year. This particular image was taken in Central Park. I accompanied a friend uptown to assist her with a film project and ended up taking advantage of the beautiful scenery myself.
6. This is a simple self portrait that depicts me in my element: lounging on my bed with my computer. My dorm is home. 7. There is never a dull moment. On any given day, some sort of protest, demonstration, or rally is going on. Here, a group of people took part in the “slut walk.” 8. Thanks to my early involvement in NYU’s student newspaper, I had the amazing opportunity to photograph at New York Fashion Week! This show was for “A Détacher.”
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SANDY HONIG 1
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Hello. My name is Sandy, like the beach, Robin like the bird, and Honig, like the German word for honey. I like the smell of laundry detergent, braiding my hair in a million tiny braids and then taking them out, and losing rolls of film, only to discover them months later. I dislike cold fingers and toes, shirts that are too tight, and loud electronic music. About six months ago, I went to New York City for what I thought was a temporary stay. I decided to transfer to a school in the city to study photography and live in this bustling place. Everything here inspires me; the three a.m. light through the windowshades, a gaze from a child on the subway, lovers who travel arm-in-arm, exploring together. I am a collector of people and places, and I want to share my collection with you.
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1. A man had set up two telescopes on Third Avenue in the East Village. One pointed at Jupiter, the other at the moon. The line lengthened as the crowd grew larger; I was lucky to be one of the first to look through. 2. My two best friends on my rooftop over the summer 3. Kenneth Edwards, Derek Murdock, Jordan Tiberio, Jessie Roth, Logan Jackson, and Suzy Wimbourne on the High Line. So much talent in one picture! 4. Natalie on the Williamsburg Waterfront. We walked home over the Brooklyn Bridge and visited Chinatown and Little Italy. 5. Lazy lounging in Central Park 6. Dusty, dirty stairs on dusty, dirty film 7. Occupy Wall Street moves to Times Square 8. Natalie Kucken shooting in the dark halls of my apartment. 9. On Coney Island, this man showed me a folder of very old pictures. They were of him and his friends in the 1930s and 40s, all taken in the same place he was sitting that day. 10. Siblings at a flea market on the Williamsburg Waterfront 11. First photo shoot in the city
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CAMILLE RICHE Z me et camille riche z , nin eteen- y ea r - old ph otogr a ph er f r om pa r is, france. camille was b orn in a sm a ll city nea r pa r is a nd discov er ed photography at the age of six teen. f ou r y ea r s la ter , h er e sh e is.
ACHE Magazine: What do you try to convey through your work? Why do you photograph?
AM: How would you describe yourself as a person and as a photographer?
Camille Richez: When I started, I didn’t know a lot about where to go with my photography. It was more about photographing people, seeing how the camera works. Like every photographer, I had a start. But a year from now, I think that what I want to convey through my work is not something to fight for or a noble cause; I just want to express what I feel, especially what I feel toward women. I mean, a woman is so beautiful. She’s delicate, she’s like a flower, and I want to create stories around that because I want to photograph the beauty that every woman carries inside her. AM: How long have you been shooting? How has your photography changed since you started?
CR: As a person, I’m very shy. I don’t really like to talk to people I don’t know or to force myself to talk with someone I don’t like. Apart from that, I am five-year-old in my head, really, and I have friends who are the same, so I don’t feel alone. And I like pink very much. As a photographer... it would be better to ask this question to models, but one day a friend told me that I was very, very serious when I took pictures, very concentrated. So I tried to change that, and I’m now more open with models. We laugh together. Moreover, I would say that I am ambitious. I really enjoy photography, and I really want to make it my job later, so I would do anything to make it happen.
CR: I have been shooting for about four years, I started when I was in high school. As I said before, my photography has changed because of how I see the world, and my vision has changed since I started. I would say that now I want to research something to photograph, not just photograph because something is here. I want to create stories, to put a special character in a special place that I choose, and to play with everything, to create my own world.
CR: Oh, such an hard question. So many things inspire me, but I would first say the most talented young photographers I know and whose work I follow. There are so many on the internet, and I’ve fallen in love with so many people’s works! I’m also very inspired by music; a lot of my ideas come when I listen to music. That’s maybe why I would love to make video clips later, or at least to try when I have a job.
AM: Who or what inspires you?
MODEL camille r ichez
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AM: Digital or film? Why? CR: Hum... both. Digital because I’m in love with my camera and because now, if you want to succeed in the fashion industry, you better have a pretty good digital camera, with all the edits they do. I doubt that they’d appreciate someone who works on film, so I’d take no risk. And film, simply because I started with it and because I’m so in love with its magic! I really like to develop and print my photos, but I must say that color film is, for me, the best thing that has happened. AM: Who is your favorite photographer, and how have you been influenced by his/her work? CR: I have more that one favorite photographer, but I would say that, at the moment, it’s Tim Walker. I am so impressed by the work done when I look at his pictures. Everything he does is such enormous! The landscapes he chooses, the stage with all the accessories, really push me up because I want to do something like that one day. I don’t know if I’m really influenced by him because we don’t do exactly the same type of photography, but his work is definitely the only thing I could stare at forever. AM: In your opinion, what is art? CR: Wow, such a big question in so little space! I’m studying the question at the moment, and I can tell you that it’s very complicated. But, in my opinion, art is created at the point that you (the artist) decided to create it. If someone decided to paint, let’s imagine, a
red circle on a wall, if he describes himself as an artist, then the pieces he made would be art. In a word, if you want to [create art], it’s art. I’m thinking in terms of Duchamp and Dada. AM: How does fashion play into your work? CR: Fashion plays a big role in my work because every time I put a shoot up, I need the styling to be perfect. It’s a part of my photos. I could do the same pictures with different clothes. I’m with ones who think that fashion and clothes and what the model is wearing is important in a photo. Some say that it’s the emotion that’s the most important, and I agree with that, too, but it really depends of the type of photos you’re doing, and in my case, it’s really, really important. AM: How do you work with your models? CR: Before, when I started, I was very serious and concentrated, even when I worked with my friends, but someone told me, and now I try to relax more. It’s always the first time I see my models when I work with them (generally), so first we speak about everything and nothing, just to make the model feel comfortable and not like she’s shooting with an unknown person. I then explain to the model what I want as far as emotion, feelings, and atmosphere, and I let them take control of the place. Some gorgeous things can happen in the moment!
MODEL camille r ichez
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MODEL camille r ichez
MODEL fanny latour- lamber t
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MODEL kimberly @ slides model s ST YLING annali s a arcando MAKEUP beatr ice eni
MODEL kimberly @ slides model s ST YLING annali s a arcando MAKEUP beatr ice eni
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MODEL laura batten ST YLING kel s e y genna
MODEL camille r ichez
VIEW CAMILLE’ S BLO G AT AWANDERINGBIRD.BLO GSPOT.C OM
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STYL E IC O N
SWEATER p acsun DRESS urb an out f itters SHOES ste ve madden
B ETH ANY S T R UBL E b et h any i s a ni net een-ye ar-old g irl living in los ang e le s, the qu i nt essent i al c ali fornia g irl. she is a fashion blog g e r, te e n mot her, si nger/songwrite r, photog raphe r, and whate ve r e lse she w ants to be .
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ACHE Magazine: Describe your personal style.
AM: Pick your favorite runway shows of all time (i.e., Alexander McQueen S/S 2010).
Bethany Struble: My personal style is very simple, but can be very random. I love trying new styles. I’m LA and European style combined.
BS: Goodness. I honestly just recently started keeping up with fashion shows, though my favorite one that I’ve come across is Chanel Cruise 2009/2010.
AM: Who has influenced your style the most? How?
AM: Which decade would you like to live in, and why?
BS: I think my cousin has probably influenced my style the most. We grew up playing dress-up together.
BS: I would love to live in the 50s! I love the dancing and the music and the clothes!
AM: What is your favorite magazine? Why? BS: Vogue will always be my favorite because it’s Vogue. But Nylon is another favorite. AM: If you had to choose ONE must-have accessory to keep forever, what would it be, and why? BS: I would choose a hat to keep forever. I love hats. I wish I had more. AM: What do you hope to achieve in fashion? BS: I would love to style and photograph my own shoots for magazines. That is one of my dreams that involves fashion.
AM: What is your favorite thing about the place in which you live? How has it affected you? BS: I love living so close to the city. It’s opened up so many opportunities with acting, modeling, music, and fashion that I wouldn’t have had otherwise. AM: Where do you see life taking you? BS: I’d love to travel the world, and I think I will. I hope someday I’ll have a job that will fly me to different parts of the world, but I’d love to settle down and get married and run a coffee shop. I’d be satisfied with either.
BETHANY STRUBLE'S
TOP LISTS B ES T S TREET S H OPS
BEST ON LIN E SHOPS
h&m
topshop
brandy melville
zara
forever 21
asos
zara
shop it to me
buffalo exchange
amazon
TOP TRE N DS midi skirts high-low skirts and dresses colored jeans oversized clutch bags chunky heels
FAVORITE MOV IE S & TV SHOWS
ATONEMENT 2007
ST. TRINIAN’S 2007 THE PRINCESS BRIDE 1987
HOW I MET YOUR MOTHER 2005 to present CRUEL INTENTIONS 1999
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BL AZER chic w ish T OP h&m SHORT S diy v int age SHOES romwe SUNGL ASSES 80s pur ple
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DRESS plndr CLUT CH chic w ish SUNGL ASSES 80s pur ple SHOES ste ve madden
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KIMONO v int age T OP v int age SHORT S h&m SHOES a ldo VIEW BETHANY ’ S BLO G AT OUT OFABO OK.BLO GSPOT.C OM
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HANG ME UP TO DRY Anony mou s, 20 (United Kingd om) It was late November; everything was shades of brown, red, and orange under the darkness that now enveloped us. I loved the way it smelled that time of year, that crisp, damp scent, and the way your breath traced patterns into the air with every utterance. The atmosphere was filled with drunken shouting and sirens, punctuated ever so often with the sound of a girl across the road throwing up onto the pavement. The four of us sat on the curb waiting for a taxi; John and I had wanted to walk home, but the girls in their minimalist clothing and impractical shoes had refused and insisted upon getting a taxi. We were wasting time by passing around a digital camera, looking at the photos and laughing occasionally at the unfortunate angles and snapshots of strangers kissing. The street was peppered with artificial light, takeaways and bars illuminating the heavily intoxicated—all skin and no shame. I felt the weight of responsibility lift off my shoulders. The winter air washed over me, and I’m not sure if it was the alcohol, or if I was simply delirious from the icy cold, but I felt brilliant, almost euphoric. I leant over to Elizabeth, who was scratching at the pavement with a pebble angrily, glancing across her lap at the other two; Alice was laughing manically and pathetically punching John in the arm whilst he held the camera high above her head, taunting her. “Don’t you think those two should just get together?” “Yeah,” Elizabeth said, not looking up. She wore a sarcastic look that wasn’t unfamiliar to me. I had known Elizabeth since she was seven: a brash, mouthy redhead, even back then. She was one of those girls who wasn’t afraid of anything, and she wasn’t afraid of telling you as much. She had this intense way of talking, all heavy eye contact and deliberately brushing up against you when you least expected it. We’d slept together once, and afterwards she’d collapsed onto the mattress and wrapped her legs
around mine; it wasn’t passionate as much as it was a desperate escape from reality, her evasive eyes squeezed shut as though she couldn’t even bear to look at me. There was no mention of it afterwards; she left silently and uncomfortably the next morning, and even now I still wonder if it ever even happened. Nothing really changed between us, but there were still those rare awkward silences, when someone would leave the room unexpectedly and we would be left alone in temporary stillness, avoiding eye contact, before one of us would conjure up some frivolous topic of conversation and normality would once again resume. Earlier, in some dodgy bar, with even dodgier drinks, she had clutched my hand on the dance floor, slid her thigh between mine, and for a moment my mind had wandered into a drunken haze of potential situations, dark rooms, and heavy breathing, until I stopped myself. She’s your best friend. I had muttered something incoherent about going to the toilet and spent the rest of the night avoiding her and making obvious eye contact with blondes. The taxi ride home is horrendous: the alcohol I have consumed suddenly hits me like a train, and I lose all control of my body, sliding around the back of the hot car. I glance out of the window and the concrete buildings are no longer shapes but outlines filled with a kaleidoscope of unusual colors. My eyes are rolling back into my head, which is spinning like a carousel, my tongue lolling like some sort of dehydrated dog. John is thrusting an empty takeaway box under my chin at any sign of heaving and moaning about the prospect of having to pay a fine for my incapacitation. Alice is humming to herself whilst tracing rude messages on the window in the condensation, and the driver is sighing loudly and muttering something about students being incontrollable drunks, and how a girl the other week wet herself in his car without even realizing. Elizabeth is sitting in an unusual
silence, eyes glazed, her mind clearly elsewhere. The tiredness, a result of many recent sleepless nights, is starting to show in her face, and dark lines are beginning to creep up under her eyes, heavy shadows juxtaposing the brilliant green above. I force myself to look away and concentrate on not being sick. We arrive back at the flat, and after John halfdrags, half-carries me up the stairs, I collapse onto the bed with shaky legs and a heavy heart, not even making it under the sheets, which twist and tangle beneath me. I have a sudden urge to vomit; my stomach lurches, and I stumble to the bathroom, falling to my knees before the toilet, willing for the violent clench that would release some of the poison from my stomach; but nothing comes, I just cough and splutter, my throat already sore from excessive alcohol consumption. The nausea finally washes over me, and I return to bed, head still spinning. Sleep won’t come, so instead I lie half-paralyzed and fully clothed, the patterns on the ceiling hypnotizing me into a tumult of memories; all of a sudden, it’s July, the month before the death of a princess and a month after I learned how to drive. I’m burning sausages on Elizabeth’s barbeque and berating her for being so unhelpful while she’s laid out on her front on the lawn, legs curled up behind her, reading some pretentious, highbrow novel, something by James Joyce, I seem to remember. Her parents are well on their way to divorce, not that they quite know it yet, but the arguing is evidence enough. I am here for moral support and distraction, or so I keep telling myself. As much as I tried to be sympathetic, the whole concept of marriage had always bewildered me; I’ve never understood why people get so attached to each other in the first place. I mean, everyone is capable of looking after themselves. Why do we all feel a need to cohabit and marry and suck the life out of each other, all in the name of love? It’s always seemed so ridiculous to me, how we’re all supposed to commit to one person. How do you know if someone’s right for you if you’ve never met every single potential partner in the world and vetted them all through your own set of personal likes and dislikes to verify your “compatibility”?
Everyone has this paranoia about dying alone, but don’t they realize that everyone dies alone, and in finding someone you’re only going to either be left or end up leaving someone else behind? What a selfish life to lead. I told this to Elizabeth, but she just laughed at me and said I’d change my mind when I found the right person and to stop being so melodramatic, then promptly slid her sunglasses back up her nose and stuck her head back into her book. “What about your parents though?” I had ventured. I’d given up turning the sausages and thrown myself down next to her on the grass, pulling at a thread on my jeans and desperately trying to ignore the fact our knees were now touching. “Surely they thought they were meant for each other, and look at them now. They can’t even bear to be in the same room together.” Elizabeth scowled and hurled her book at my head. “Edward, why do you always have to be so insensitive?” I’d said too much; I always thought I never said enough. I think about that day for what feels like hours, how we’d spent the rest of the afternoon sitting and eating burnt sausages and swigging white wine from the bottle like we were fourteen all over again, until my eyes eventually feel heavy and I drift into a deep sleep. I dream of the sea, roaring and shrieking as it crashes against the shore, angrily spitting foam into the sky as it hits the rocks, the waves tugging at my ankles, voices calling, urging me to sink or swim. I wade out further and further, my legs unusually powerful against the current. I feel absolute and invincible, but it’s not long before I’m drowning; the voices turn to laughter, and I’m out of my depth, the heavy weight pressing down on my forehead and dragging me beneath the surface. I gasp for air, but I can no longer keep my head above water; my mouth is filled; salty condemnation. I collapse, weightless and tattered, ready to be enveloped in a deathly blanket, but the sea has gone, and there’s nothing left but my four bedroom walls, sighing ominously with darkness and foreboding.
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TW O P L U S T W O EQ U AL S FI VE Anony mou s, 20 (United Kingd om) I remember when we first met—it was September, the beginning of term, and we were just starting our ninth year of school. We’d been put in the same math class, and I didn’t know anyone. I had always loathed math. I hated numbers and their logic, how everything was right or wrong, how every problem could be solved and then cast away and forgotten, no longer needed. You always said it was mind-blowing. I remember snorting into my textbook the first time you declared that to our teacher, and you kicked me under the table fiercely, causing me to bite my tongue so hard that I couldn’t eat properly for days and wouldn’t talk to you for weeks. I had sat down right at the back and kept my eyes down in my usual introverted way, and you had turned around in your seat and introduced yourself, shaking my hand firmly. I remember thinking it was incredibly old-fashioned, but I was simultaneously impressed by your selfassurance; you were everything I’d spent years wanting to be. You had this constant smirk plastered on your face, like everything that happened was a joke to you. Sometimes I think it was. You always said the first thing you remembered about me was that I had a bow in my hair. You teased me about it chronically until I cried and burnt it with your lighter out on the school field; the caramel smell rose up and burned my already sore eyes while you laughed in hysterics and tore chunks of grass out with your hand until you started wheezing and needed your inhaler. We used to sit out on that field for hours, skiving lessons and painting each others’ nails, planning out the rest of our lives, how we were going to give up on men once and for all and live together in the country in some vacant yet overly pretentious mansion with a swimming pool. I was allergic to chlorine and hated the country, but I didn’t care; I just liked the idea of having a future ahead of algebra and hockey matches. I didn’t know then that you’d want nothing to do with me in a few years, only to drunkenly call me ever so often in the early hours of the morning to moan about your
cheating boyfriend and tell me how much you missed me, that it wasn’t you that started the nasty rumors or pushed me into the shower curtains in the girls’ changing rooms after netball practice; no, that was the other girls, and you begged them not to do it, but they wouldn’t listen. This becomes more and more frequent until you turn up at my house one afternoon in your car, demanding that I get in, and of course I comply without hesitation. You’re driving a good thirty miles over the speed limit, but I don’t care; my mother’s not here to see this, and our only witnesses are the sprawling fields and winding roads that lay ahead. Waves of rebellion wash over me, like the time we smoked cigarette after cigarette in the cornfield behind your house, just to see what it was like, or the lunchtime when we wrote our names on the walls in the girls’ toilets at school, permanent marker squeaking with every letter. I reach over and turn on the radio to drown out the silence that has since made us strangers; you never were one for tedious small talk. You’re angry, I can tell, jaw clenched, knuckles burning white on the steering wheel. You pull over onto the side of the road. I open my mouth to break the silence, but I’m ambushed, your lips on mine, polite at first, but then forceful and bruising, almost desperate. I draw away awkwardly. You stare at your hands, and I sit in an arduous silence, mouth still slightly open, breathing heavily. “Thomas Kruger asked me out on a date. I think I’m going to say yes. What do you think?” A lump in my throat grows. I don’t know what any of this means; my mind is now pulsating with doubt. I don’t even want to articulate that seven-letter word that would mean I had enjoyed it. I wipe my mouth with my hand. Thomas Kruger looks like the back end of a bus. What you really mean is this will never happen again, we will never mention this again. I nod slowly. “He’s really good-looking. You should definitely go for it.” And that was how it first happened.
WALLFLOWER phot ographe d by je nny woods model i s rac h e l at ne xt mode l manag e me nt makeu p and hair by danie lle he lms c l ot hi ng by ame rican appare l
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R A CHE L THAL I A F ISHER in this issue of ACHE, we’d like to introduce rachel thalia fisher, nineteen-year-old photographer from new york city. she believes in pictures that tell stories. also, she finds inspiration in simplicity—the shapes and shadows of morning light creeping through the blinds, a half-remembered reflection, or a shiver of some forgotten place—and tends to create images of a world of which she can only dream.
MODEL alec ta hill @ img model s nyc ST YLING rachel thalia f i sher and natalie kucken MAKEUP gayle carbajal
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MODEL alec ta hill @ img model s nyc ST YLING rachel thalia f i sher and natalie kucken MAKEUP gayle carbajal
ACHE Magazine: What do you try to convey through your work? Why do you photograph? Rachel Fisher: I photograph because I have to. It’s the way that I live and the way that I see things instinctively. I have tons of images floating around in my head all of the time, and they just naturally flow out of me. Photography is an opportunity for me to create another reality based on things I draw upon from my own dreams and desires. AM: How long have you been shooting? How has your photography changed since you started? RF: I have loved photography since around the sixth grade, when I used to carry around a small pointand-shoot camera to capture things that I thought were beautiful. In that sense, my photography hasn’t changed much. I still shoot for the love of it, and I shoot things that I think are beautiful, even though the subject matter of my work has changed. I’m still infinitely intrigued by the small details of everyday life, such as reflections or patterns of light, different textures of fabric or flesh…and it’s these small things that have always, and will always, drive my photography. AM: How would you describe yourself as a person and as a photographer? RF: I’m a daydreamer. I tend to look out a lot of windows and get lost inside my own world. That’s definitely something that affects how I am as a photographer as well. When I’m shooting, I get so involved with the shot that I want, and nothing else seems to exist. AM: Who or what inspires you? RF: I’m inspired by the world around me; hands, toes, morning light, reflections, patterns, wrinkles, tree branches, bark, folds of clothing, shadows, light, and darkness. I’m also inspired by the delicacy of the human form; veins and birthmarks and bony wrists. I just think all of it is so achingly beautiful. AM: How did you get into photography? RF: Well, I grew up surrounded by a family of artists, so I think that my love of art was sort of in my genes. I’ve always loved to draw and paint and take pictures, but my hobby of snapping pictures for fun turned into something different when I joined a photography club in high school. I became increasingly involved and ultimately ended up teaching darkroom processes to freshmen in my senior year. It became an integral part of my identity at a really young age, and I started to realize that it was something that would never really change.
AM: Digital or film? Why? RF: I mostly use digital now, but I would never be where I am today without film. Working with film and in a darkroom gave me the chance to actually create photos with my hands and get involved in the process at a different level. Throughout my high school experience, the darkroom became my oasis; a beautiful place of solitude that I cherished and the place where I could be at peace. There are certain things that digital photography will never be able to do for me, but with the fast-paced industry that I’m attempting to be a part of, it is definitely more practical. AM: Who is your favorite photographer, and how have you been influenced by his/her work? RF: I have so many! For instance, Sally Mann, Tim Walker, Annie Leibovitz, Mel Bles, Steven Meisel, Ryan McGinley, Corinne Day, and others. I spend a huge amount of time looking at other photographers’ work and hoping that one day I’ll be as wonderful and inspiring as they are. AM: In your opinion, what is art? RF: In my opinion, art is something that challenges certain societal norms or evokes a discussion. In a physical form, art can be anything. Art can be a pissedon roll of toilet paper found in a subway station and put on a pedestal in a gallery somewhere because it challenges the idea of what art should be. I think that art has made the progressive change from solely being something physical, like a painting or a sculpture as it has been in the past, to being centered around ideas and perspective. AM: How does fashion play into your work? RF: I tend to style my own shoots because I have very specific ideas of what I want. But contrary to popular belief, the clothes aren’t the main part of fashion! There are many other important factors that make up fashion photography, such as the poses and a slight (or not so slight) seductiveness. Unlike other forms of photography, fashion photography is meant to seduce you and make you want to be a part of the world that the photograph creates. AM: How do you work with your models? RF: I always send my models a PDF of inspiring photographs and details of the shoot beforehand so that we can work together to make my vision come to life.
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VIEW R ACHEL’ S PORTFOLIO AT CARGO C OLLECTIVE.C OM/R ACHELTHALIA
WHAT WE’ R E LI ST E N I NG T O :
TRANSITIONS transitions can be beautiful or ugly, easy or difficult, short or long. ACHE’s playlist of twelve songs will help you transition into a new season and a new year, starting softly and building up to a bang!
THE SUN Aidan Knight VENICE Beirut LOVERS’ CARVINGS Bibio MINNESOTA, WI Bon Iver TWICE Little Dragon PHARAOHS (feat. roses gabor) SBTRKT NEXT The Weeknd WORKING ON A DREAM Wintercoats EYESDOWN (feat. andreya triana) Bonobo BREAK (aotl) Childish Gambino NUMB Clams Casino HEARTS ON FIRE Cut Copy
CHECK OUT ACHE’S PLAYLISTS ONLINE AT PLAYLIST.COM/ACHEMAGAZINE!
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L I ND S AY G R AY, 18 (D all a s, T X)
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EMMA ANDERSON emm a is a twenty-fou r-year- old ph otogr a ph er w h o liv es in w ellington, n ew z e aland . she re ce ntly com pleted h er b a ch elor of ph otogr a ph ic de s i gn with first class honors. a t th e m om ent, sh e is j u ggling a f ew j ob s, p hotographing people , and pla y ing w ith new w or k in th e da r kr oom . em ma is he ad ing to ame ri ca th is y ea r a nd w a nts to spend h er tim e making work and lea r ning f r om a r tists sh e a dm ir es. ACHE Magazine: What do you try to convey through your work? Why do you photograph?
AM: How would you describe yourself as a person and as a photographer?
Emma Anderson: I take photographs to question my surroundings or to develop an idea I have. There are many ways to photograph one thing, one person, or one place, and I try to create a photograph that captures the subject in a way that creates a wider discussion, an image that transgresses the medium’s boundaries. That’s what I want to do, to create an artwork that is more than a pretty picture.
EA: I guess I’m a bit of a perfectionist, really inquisitive and somewhat indecisive. This comes through in how I photograph. I never take one digital shot and walk away, I take ten, and then I take a few more in color and black-and-white film. I guess I’m trying to find what I love and then find a lot of ways to photograph it, to push it artistically.
AM: How long have you been shooting? How has your photography changed since you started?
EA: Other photographers inspire me, artists who have an obsession and confidence in their work. It could be a simple, striking portrait with perfect lighting, or a cinematic and dark work by Bill Henson, as long as it is an image that has artistic integrity. But inspiration can be found in a lot of ways. Music and cinema play a part in how I look at the subject I am photographing, as I’m sure there are lot of outside influences that change how a person acts in front of my lens.
EA: I guess I’ve been actively photographing since I was 17. I thought I was going to be a scientist, and I was originally drawn to photography through the science in the darkroom. I have always photographed people; a well-crafted portrait can be a timeless thing. My photography has changed a lot as I’ve learnt to appreciate and obsess over light, film formats, and how to approach the medium with an artistic eye. I would like to think that I have developed more specific ways in which I shoot and subjects that I like to investigate, that I have refined my skills a little more than when I began.
AM: Who or what inspires you?
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AM: Digital or film? Why?
AM: In your opinion, what is art?
EA: I use both, and I like both for different reasons. I find that I shoot better with film, and that doesn’t mean that film looks better than digital. I tend to take more time with each shot, and I slow down a little more when shooting on film. I have a slight obsession with well-crafted film cameras, and I have a greater understanding of the behavior of light when I use a vintage camera and specific film. I like to develop my own film, and I like to have a physical negative. I appreciate the science of the medium. However, digital is a wonderful thing, and you can take a beautiful image with both. I don’t think one has more artistic integrity or anything like that. I think its more about the “how, what, and why” you are photographing and whether it is of any real significance if you choose to shoot on film or digital.
EA: Art, to me, is a piece of work that goes beyond itself to create a wider discourse. Art creates a discussion, and whether it is the intended discussion can sometimes be irrelevant.
AM: Who is your favorite photographer, and how have you been influenced by his/her work? EA: This is hard. I have a huge list of people who I’ve always looked at, like Sally Mann, Francesca Woodman, Bill Henson, Alec Soth, Man Ray, and Robert Mapplethorpe, or people you stumble upon like Adam Custins, Chadwick Tyler, and Ryan Mcginley. Photographers have their own strengths and skills that I look at for different reasons; sometimes it’s the use and understanding of light that I take on board or the way that the artist approaches their subjects. I think it’s important to always look around at other artists and to ask by whom those artists are inspired, to continuously look to improve your own practice.
AM: How does fashion play into your work? EA: Unless my subject is nude, what they are wearing will always come to affect the image somehow. What someone wears in an image can come to represent them or influence our perception of them. If I am working with a stylist, we can create a character through clothing, or if I am taking portraits and working personally with my subject, then they can create their own character for the camera. AM: How do you work with your models? EA: I try to approach all people that I photograph in the same way, whether they are a professional model or a stranger I approach and ask to take their portrait. I need to know that my subject feels comfortable; the work we make is a collaborative project, a chance for them to play up a character, just as much as it is a chance for me to question an idea or experiment with a technique.
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MODEL amy penning ton @ red11 model s MAKEUP caitlin lomas for mac
MODEL amy penning ton @ red11 model s MAKEUP caitlin loma s for mac
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VIEW EMMA’ S PORTFOLIO AT EMMAANDERSON.C O.NZ
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STYL E IC O N
meet jessica tran, eighteen-year-old fashion blogger (see: jess loves fred) from sydney, australia. she’s colorful, glamorous, and unafaid to be different, a girl who’s determined to be in the fashion industry, one way or another.
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(l e f t) ROBE v int age BUSTIER v int age SKIRT kastor & p ol lux BAG v int age ACHE Magazine: We read on your blog that several people were openly ridiculing your outfit. How do you cope with people who don’t understand your style? Jessica Tran: A lot of people in the area I live in don’t really understand my style or my haircut. There are a lot of people at my university who don’t understand why I dress up so much to go to class, either. I usually shrug it off because I don’t dress for the validation of other people; I dress the way I do because it gives me confidence, and I feel comfortable and enjoy experimenting and dressing up. It makes it easier to stay awake during my lectures if I’m wearing a crazy-ass print on my dress—sort of like caffeine for my eyes. AM: Do you believe that the so-called “rules of fashion” were meant to be broken? Why or why not? JT: I think that the “rules” of fashion have long gone out of practice—I don’t think anyone obeys any rules anymore. Things come back in style and go out of style. Fashion is ever-changing and evolving, and you can’t pin it down to a specific set of rules. You have more fun when you’re not obeying rules, too. AM: What are your favorite pieces from your wardrobe? JT: Probably a tartan red-and-blue cape I thrifted for ten dollars, my snakeprint Zara blazer, my Zara court shoes, and my small but growing collection of Black Milk leggings. AM: Who, what, or where inspires your style the most? Are you ever inspired by a certain time period? JT: This summer, I expect the fifties to inspire me a whole lot—I’m thinking really full skirts and beautiful sundresses and halter necks. The only thing stopping me from getting some fifties-style waves and pulling out the red lipstick is that I’m far too lazy. Other than that, streetstyle blogs inspire me, as well as other bloggers and the things I find in thrift stores. AM: What is one thing that will always remain in your closet? JT: Probably my vintage scarves. I don’t wear them at all, but I’ve been collecting them for four-odd years now, and I would probably sooner be submerged in a pool of lava than part with them. AM: What is one fashion trend you’d like to see in the future? JT: I’d love to see people running around in denim overalls. Cowboy boots and headscarves are pretty rad, too. AM: Favorite designers at the moment? JT: I really loved Emmanuel Ungaro’s latest runway offering—the prints and textures, ugh. So great. AM: Where do you find the confidence to pull off some of your outfits? JT: I think I’ve just built up a thick skin over the years and have gradually cared less and less about what people think. Now it’s sort of amusing for me to sit on the train and watch as bewildered children and cautious elderly women try and take in what I’m wearing. You just have to remember at the end of the day that you’re dressing for yourself.
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RONI AHN
veronica ahn is a fifteen-year-old photographer with an extraordinary eye for beauty. she calls herself a wanderluster. roni was born in korea and now attends high school in hong kong. though she’s only been photographing for a year, she’s developed a portfolio that says otherwise.
ACHE Magazine: What do you try to convey through your work? Why do you photograph?
AM: Who is your favorite photographer, and how have you been influenced by his/her work?
Roni Ahn: I try to convey what I want to see. Photography has been a way for me to express myself, no matter what, and it is a means of freedom as I see it.
RA: Tim Walker, by far. His work is just breathtaking, and I can’t even describe it. Of course, I don’t have the settings or wardrobe he has, but I love the color and atmosphere he creates, and I am extremely inspired by his wonderful compositions.
AM: How long have you been shooting? How has your photography changed since you started? RA: I’ve only been shooting for a year now, and I honestly think my photography has improved a great deal since I started a year ago. I started photography by shooting my close friend, and since then, I have gotten in contact with models and agencies, and I am still building my portfolio to become a better photographer. AM: How would you describe yourself as a person and as a photographer? RA: As a person, I am quite shy, and I am not very outgoing. However, behind my lens, I am free to be whomever I want to be, and I think I am a completely different person as a photographer. AM: Who or what inspires you? RA: There are so many great photographers who inspire my work, and I love to look through fashion blogs as well to get some inspiration for my shoots. AM: Digital or film? Why? RA: Right now, I’m using digital because that’s what I have started with, but I would love to try using film when I get the chance!
AM: In your opinion, what is art? RA: Art has no definition. There is no right or wrong answer, and, through art, I am able to portray what I want to see. AM: How does fashion play into your work? RA: I have styled most of my shoots, and it’s honestly really fun doing so. Of course, it is easier to get a wardrobe stylist, but when I have time, I think styling my own shoots can be more effective, as I know exactly how I want the styling. AM: How do you work with your models? RA: My models have all been very kind, and they were all pleasures to work with. With agency models, they mostly know what they should do in particular themes, but I do give one or two pieces of advice regarding different angles that look better on them and how they should move to make their body shapes look better. But honestly, I don’t see much point in forcing models to pose in a certain way. Through my photos, the models are able to portray what they want to portray, and it is more natural for them to pose on their own than for me to order them to do this and that.
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LINDSAY GRAY following her father’s medium in a drastically different way, eighteen-year-old photographer lindsay gray’s work reflects fictional moments created to portray light and whimsical stories that have never been writeen. currently majoring in creative writing (see: lindsay’s writing feature earlier in this issue), lindsay brings to life the little flecks of plot that she cannot correctly put into words. her photographs are more than just mere portraits.
ACHE Magazine: What do you try to convey through your work? Why do you photograph?
AM: Who is your favorite photographer, and how have you been influenced by his/her work?
Lindsay Gray: I always make up little plots for each of my photo shoots to try to convey throughout it, but the main motif of my work is probably that of innocence, with an underlying sense of madness. It’s a bit of conflict that I’ve felt for as long as I can remember, so photography is an outlet for that, and it’s much more instant that any other medium that I’ve tried, so I guess it’s somewhat more relieving that way.
LG: I go through phases where I’m obsessed with one or two photographers at a time, and then I sort of move on to the next, so I don’t know that I can say that I have a favorite. As for influence, I honestly think that I’ve been most influenced by the internet community of young photographers, just because I’ve been able to see their incredible growth over the years, and I’ve been able to interact with a lot of the people whose work I admire. I think that working with people and getting to know people can influence you a lot more than just looking at a photograph taken by someone rich and famous to whom you’ll never speak.
AM: How long have you been shooting? How has your photography changed since you started? LG: I got my first nice camera at fifteen, but I didn’t get serious about it until I was well into sixteen. AM: How would you describe yourself as a person and as a photographer? LG: I’m a very quiet and reserved person, for the most part, which is one of the reasons that I really like being a photographer. It’s a way for people to know who I am without me having to reveal anything about myself, in a way. AM: Who or what inspires you? LG: It’s much more “who” than it is “what.” I don’t drive around looking at stop signs and itching to capture their beauty. I guess I don’t really see much around me in the world that I find inspiring, so I turn to people, mainly photographers and filmmakers. I’m subscribed to a few fashion magazines, so if I see a photograph that inspires me, I’ll tear it out, and I keep a notebook with photographs or pages from books or certain qualities that I find appealing so that I can come back when I need it. AM: Digital or film? Why? LG: If film were more practical, I would be glad to never again use digital, but I have limited time and money, so it’s a lot easier to take a hundred pictures with a digital camera than it is to buy a roll of film, get two dozen shots, develop them (or pay to have them developed), print them in the darkroom, and so on. With film, I always have to count off for the model, to make sure that they don’t blink and such, so there’s always a bit of tension, I feel, because they know exactly when you’re taking the picture. But film definitely has a more nostalgic and magical feel to it, and I will never stop loving it for that.
AM: In your opinion, what is art? LG: I think that art is anything that you do not do because you want to, necessarily, but because you don’t know what you would do otherwise. I’ve tried to take small breaks from photography, but I always cave in and plan some sort of small shoot to keep me sane. I don’t consider anything that’s only a hobby to be art. AM: How does fashion play into your work? LG: I’m really hesitant to take a picture of anyone that I haven’t styled myself. I have no interest in photographing people wearing jeans and t-shirts. Even if the clothes or fashions don’t play a large role in the story or whatnot, the clothes really do change the model’s approach to the whole shoot. If you dress someone in all black, they aren’t going to give you soft, charming looks. Even if on a subconscious level, the fashion will always influence the outcome. AM: How do you work with your models? LG: It’s different from model to model and shoot to shoot. If a model needs more coaching, I’ll direct them a lot more. Some models need to be told what to do, and some just need to understand the story and the mood, and they can just go off of that and do wonderfully. I like to give them quite a bit of freedom because they’ll come up with things and do things that I never would have thought to tell them a lot of the time. I don’t think I’ve ever had a really negative experience with any of my models.
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VIEW LINDSAY ’ S PORTFOLIO AT LINDSAY-GR AY.C OM
WHAT WE’ R E LI ST E N I NG T O :
S UN D AY MOR NI NG sunday morning, praise the dawning. it’s just a restless feeling by my side. early dawning, sunday morning. it’s just the wasted years so close behind. watch out, the world’s behind you. there’s always someone around you who will call, it’s nothing at all. sunday morning, and i’m falling. i’ve got a feeling i don’t want to know. early dawning, sunday morning, it’s all the streets you crossed, not so long ago. (“sunday morning” by the velvet underground)
SUNRISE Childish Gambino MISS YOU SO Frank Ocean BLOODSTREAM Stateless I CAN’T MAKE YOU LOVE ME Bon Iver ATLAS HANDS Benjamin Francis Leftwich I LOVES YOU, PORGY Bill Evans Trio TWO COUSINS Slow Club ORIGINS Tennis YOU ALREADY KNOW Bombay Bicycle Club IRIS Goo Goo Dolls HIGHER LOVE James Vincent McMorrow MARVIN’S ROOM Drake
CHECK OUT ACHE’S PLAYLISTS ONLINE AT PLAYLIST.COM/ACHEMAGAZINE!
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