afterpartymag
FRONT AND BACK cover and PAGE 4&5 photography: Ray James model: Dolly Daggerz of Tokyo Taboo Band hair & makeup: Liz Samways
WELCOME In the last pilot episode we set out to present a visual style of lo-fi, analogue fashion and style. I don’t think we really got there (not in any consistent kind of a way), so the plan for this issue was to invite a number of analogue photographers and artists to contribute (hence the “shooters” theme). I’m not convinced this issue has gelled together either as it’s so eclectic. The styles range from the clean, 1990’s slide film look of the cover to the worn, vintage feel of Stefanie Schneider’s work on expired Polaroids - and everything else in between. Despite that, we’re proud to showcase the work of such an awesome range of photographers and artists, both working professionals who’ve brought the lo-fi analogue aesthetic into their work and the pure analogue artists who base their work on that very look.
I’d like to finish by giving a shout out to Dolly Daggerz, front woman of London based, synth-rock band Tokyo Taboo (www. tokyotabooband.com) and also this issue’s cover girl. Also stratographic, who returns with two new instant sets and a piece about “Instant Infamy”.
afterparty MAGAZINE
We’re particular excited to showcase work by artist Nat Von Sky, who has produced a number of pieces exclusively for Afterparty Magazine. Her work combines Polaroids and digital manipulation in a chaotic, aggressive and almost subversive way to produce something very unique indeed. (Check out her other work: behance.net/natvonsky )
credits
NEXT PAGES & PAGE 24-25, 46-47 artwork: Nat Von Sky model: Jade Lyon
WORDS Ray James, Stratographic
PHOTOGRAPHY Ray James, Stratographic, Katie Soze, Julija Svetlova, Dee Elegia, Marta Huguet, Jon Sparkman, Stefanie Schneider
ARTWORK Nat Von Sky
LAYOUT Celine Carrell
MODELS Dolly, Jade, Rowan Verdite Nova, Kerri, Alex, Claudia, Lorena, Oryx, Heather....
Julia Adams, Liz Samways, Sarah Prowse, Stella Cecil....
afterparty MAGAZINE
STYLISTS
pool party people
photography: Stratographic model: Rowan Verdite Nova
11
afterparty MAGAZINE
12
afterparty MAGAZINE
13
afterparty MAGAZINE
14
afterparty MAGAZINE
15
afterparty MAGAZINE
instant infamy
photography & words: Stratographic model: Kerri o Raw
17
afterparty MAGAZINE
There’s a trend that seems to be taking off. It’s fun, interesting, curious, a little sexy and above all: financially rewarding. What is it? Well, it’s probably the only way anyone has ever paid for one of my pictures (albeit to the model not me) and the market seems to be growing. It’s selling instant pictures online. I first noticed this a year ago when a model I was working with discovered my collection of old Polaroid cameras and asked if she could have some pictures taken with them and (if I didn’t mind) give her a few to take away with her. Being excited that someone was asking for Polaroids (rather than me begging them to pose for my Pola), I obviously said yes.
afterparty MAGAZINE
A little later I asked what she was going to do with the pictures I gave her. “Sell them”, she said. I was a little taken aback, who was going to buy a couple of badly taken Polaroids? Well, I found out that actually, lots of people will.
18
It turns out that the market for a unique, signed, one of a kind pictures of your favourite model is actually pretty strong, and seems to be growing day by day. The appeal is that you can have a picture no one else has, it can be signed by the model, above all, it’s a level of intimacy and exclusivity that doesn’t exist when you just email a picture to someone.
19
afterparty MAGAZINE
Since then I’ve given away over 100 Polaroids and Fuji Instax pictures, models come to a shoot asking for them now. A number of models have even taken the plunge and decided to cut out the middle man (me, unfortunately) and buy their own Fuji Instax cameras so they can shoot at home and sell as many as they like. It’s the personal touch that goes a long way with a model’s fan base. In today’s world of digital pictures, all sitting on a hard drive and appearing on little phone screens, there’s actually a demand for something a bit more tangible, a picture you can hold in your hand and even signed just for you. Again, it’s that level of privacy and intimacy that Instant can create that is the appeal.
afterparty MAGAZINE
Your first thought might be that we’re talking private, naked pictures but here’s the amazing thing: most aren’t even nude. It turns out the most popular ones are mostly fully clothed (well, lingerie maybe). Sure, some are probably nude, but the majority aren’t. The models have set up Etsy shops or sell via twitter and facebook, some of them get requests to wear certain outfits (superhero costumes are popular) and others advertise in advance what the next picture sets will be.
20
Apart from the money to be made by selling Instant pictures, models become almost celebrities. There are back orders for people waiting to buy pictures, bidding wars start on some of them. People get really into this.
21
afterparty MAGAZINE
There is though something almost heartwarming about all this though. It shows that there is still value in a physical picture, that digital cannot compete with analog when it comes to the emotional attachment that actually owning a real photograph actually gives you. Those boxes of old family photos you have in the loft carry a nostalgia that is leaps and bounds ahead of simply flicking through some random snapshots on your phone. If nothing else, it keeps the popularity of instant photography alive (and all types of film, though it’s just more difficult to give models printed 35mm prints after a shoot, and besides, normal film isn’t unique in that way a Polaroid is). It’s not something everyone is going to want to do, and you do need to be careful with privacy if that’s a concern. It is a pretty interesting development and certainly a very different way of introducing a new generation to the fun of instant pictures.
afterparty MAGAZINE
- Stratographic
22
23
afterparty MAGAZINE
katie soze
photography: Katie Soze model: Alex @ J’adore styling: Sarah Prowse
Who are you and where are you from? Katie Soze, from Sheffield. How did you get started in the fashion industry? I am a trained fashion student, I used to work as a designer. But being a designer is not all it’s cracked up to be and I realised the thing I liked the most about it was drawing and looking at magazines. So now I draw and take photographs to go in magazines. Actual fashion design involves a lot of manual work and geometry, which I’m not a fan of.
afterparty MAGAZINE
What’s the appeal of shooting on analogue film and Polaroids? Is the the process or the results or something else entirely?
28
I with held from shooting analog because I thought it was a hipster fad. I bought a Polaroid and some film as I thought it would make an easy exhibition series. That initial project has been exhibited now but I’m still hooked. I’ve probably spent more on Polaroid film than I have on my SLR. I just love the noise, the way the models get excited about it, the way you have to wait for it to come out and the happy accidents. I started shooting 35mm because my Dad (a skip rat/ charity shop junky) bought me an ace mirrorless Mamiya camera from the 70’s. I’d seen a lot of work using expired or modified film on tumblr and thought it made stuff look cool without even having to try. Shooting 35mm maxed my technical ability as a photographer, you need to be super confident about your camera settings and understanding of light.
29
afterparty MAGAZINE
I really like waiting for them to develop too, the nerves are intense and it reminds me of being a kid waiting for my photos to come out in the super market. What’s your process for putting an editorial together? I have a concept that’s as ‘me’ as possible and I usually shoot to fit different aspects of that concept. I try and put myself, who I’m from, what I’m like, into my work. I like to work with stylists and make up artists who fit in with that style. I like models who have a rawness to them, there is a difference between beautiful and pretty. I chose locations more on colour than anything else. Living in Sheffield, I’m surrounded by old, dirty places peppered with wild flowers and graffiti. I’m not a fan of old dirty places or graffiti (I’m really not into the whole Sheffield Urbex/ Graffiti photography scene), but that’s my landscape and that’s who I am, so that’s what I shoot.
afterparty MAGAZINE
Do you have any photographic heroes or artists that you draw from for inspiration?
30
I really adore Petra Collins and the whole grimey Virgin Suicides type movement. I think I’m unconsciously inspired by David Hockney, the colours he uses look like they belong to him as they’re ever so slightly unusual and his composition is always clean and traditional. I don’t like to play around with composition (ex pattern cutter here) but I like using unusual colours, or ones that slightly clash. In this editorial, putting a bright gold dress in front of a beige or yellow back ground is very intentional. www.katiesoze.com
31
afterparty MAGAZINE
34
afterparty MAGAZINE
julija svetlova
photography: Julija Svetlova styling & wardrobe: Stella Cecil
Who are you and where are you from? My name is Julija (pronounced as Yuliya) Svetlova. I am originally from Lithuania, but now I am based in London. Before London I also lived in St Petersburg, Russia and Cape Town. I am a freelance photographer and currently a postgraduate student as well (History of art). How did you get into photography? I always wanted to have an SLR camera, but my family bought me some point and snap instead. When I was 20 I borrowed a Lomo camera from my neighbour without knowing what it was. When I turned 21 I finally got my first SLR- Zenith. The rest is history :) How did you get started shooting film and lomography?
afterparty MAGAZINE
I’ve been a lomographer for 14 years now.
38
One of my best friends in St. Petersburg was heavily involved with the Lomo folks from Vienna, so he told me lots of stories and gave me few cameras as a present. He later on helped me to buy my second SLR, a Canon Ae-1 and got me a job at the hermitage museum’s photo lab. I started to shoot like crazy and set up my lomohome. There was no turning back.
When you’re not shooting film, what else do you do? I shoot variety of things. I used to work for couple of companies shooting still life for catalogues and websites. Now I do a mixture of gallery openings, wine tastings, wine fairs, birthdays, still life, food and portraits. I also sell my more creative analogue photos as prints. And I sell a little bit of everything to picture libraries. I also do professional scanning for people (negatives, slides, old photographs) and create hard copy photo books.
afterparty MAGAZINE
How did this shoot come about?
40
A friend of mine introduced me to Stella Cecil, London based set and costume designer. She was looking for someone to shoot her portfolio as she was applying for different jobs, including Notting Hill carnival. So she came to my house (it was winter so we didn’t risk shooting outside) with tons of crazy clothes and props, as well as a model with long legs. I was shooting digital, but using Lomography Ringflash with color filters cause I wanted to experiment with long exposure, overexposure and colors. But I also ended up shooting 2 rolls of film on my Lomo camera with Lomo Ringflash as well. www.julijasvetlova.com
dee elegia
photography: Dee Elegia
49
afterparty MAGAZINE
Dee Elegia is a Scottish born analogue/Polaroid photographic artist currently living in Manchester England. Her work has been featured in numerous publications and exhibitions including ‘Raw Beauties’ and ‘Chemistry’ exhibition. Her work, while having a consistent and unmistakable look, is as varied as it’s possible to be while working with analogue photography. She shoots Polaroids, roll film, does emulsion lifts and develops film with alternative methods (such as Caffenol). And that’s just to name a few techniques. Her style initially appears to have the classic analogue vintage feel, but there’s much more going on than just that. There’s a modern, easy and relaxed feminine feel to her work which combined with intentional analogue artifacts like dust, scratches and intentional under/overexposure give the impression of an artist who has no pretention and is continually experimenting.
afterparty MAGAZINE
www.elegia.co
50
51
afterparty MAGAZINE
marta huguet
photography: Marta Huguet models: Claudia de Antonio Huguet and Lorena de Antonio Huguet
Who are you and where are you from? My name is Marta Huguet Cuadrado and I’m from Madrid, Spain. This is the city I’m living in at the moment, although I feel I belong to many other places. I spent a year in Finland and I fell in love with the Scandinavian countries, but my dream place to live is Iceland. How did you start getting into shooting analogue photography? When I was a child I always liked photography. My grandma always had a camera in her hands and I think I wanted to hold one in mine ever since. I studied architecture and I appreciate its plasticity in camera, but photographing it never appealed enought to me.
afterparty MAGAZINE
I shot some pictures while traveling but digital photography never made me feel like I was creating anything, it felt more like getting uglier versions of reality. Then a little personal catastrophe happened and I decided to keep my mind busy with something that made me happy at the same time. I found a Lomography shop close by and bought a Diana F+.
58
In the beginning, it was quite stressful since I wasn’t able to control or understand why things happened this or that way, but I felt in love with film photography.
You founded Analogue Photography Magazine: Whattaroll - tell me about it. I co-founded it with my friend Adrian Norbert Cuper. He had this idea of creating one magazine about Film Photography that worked as a window to all the analogue artists out there, and I helped him create it from scratch. We asked some other friends to join us in order to have an all-rounded team and the family keeps growing! We’re amazed by the amount of collaborators that believed in us and decided to help us out. At the moment, we all work with no profit motive because we need to create a strong base and work smoothly as a team, but we are approaching the day we jump into the Big League. Organizing workshops and creating the first printed Issue are just some of the steps we’are about to take. We all believe in hard work and passion as the guiding principle of every little decision we take as a team.
afterparty MAGAZINE
Read the magazine: whattarollmag.com
60
sparkman
photography: Jon Sparkman model: Oryx
Who are you and where are you from? My name’s Jon Sparkman, I’m from Bristol, UK originally but have been living in Cheltenham for the last few years. How did you get into photography? Originally I studied Photography in 2006 for an A-level in Bristol. That year was the last year the college did film photography, in 2007 they switched to all digital. I took some mediocre shots on my dads old Nikon, and processed them badly. I got a rubbish grade and dropped it after a year. I gave up photography completely until 2011, where I got a full time job in a high street printing lab. Given the access I had to a negative developing machine and a printer, I got back in to the game. I had access to a basic three light studio as well, which helped me get to grips with photography basics. I had to learn everything from the ground up, with only the help of some friends and the internet.
afterparty MAGAZINE
I hear you quite like your Hasselblad. Apart from the camera porn, what’s the attraction to analogue photography?
68
I do indeed. No matter how technologically advanced cameras will get, people will still look back and admire the Hasselblad 500 series. It’s an iconic camera. Shooting on such a camera forces you to take time to compose and create the feel of the picture. You also have to be super knowledgeable about what filters do what, and which film stock to use when. I can do an entire shoot with a single roll, and it take me 2 hours.
The sound it makes is incredible too! Like being slapped with a large fish. I like to be able to leave my film photos alone after developing, with only a few contrast tweaks here and there. No need to spend 3 hours editing someones skin to a super smooth finish, let the grain be your friend and give your photo that glossy velour! When you shoot, do you have a specific process or is it more an organic kind of thing? I always have a theme I like to do. For example if I’m shooting black and white film, I will definitely need some heavily contrasting clothes/location to be in. I make sure I get a good mix of close and far shots, but I find its key to connect with the model and get them to engage with the camera. A pretty girl standing like a post in the photo isn’t a great look, I need to feel some emotion or passion in the set. Any photographic heroes in front or behind the lens?
afterparty MAGAZINE
I love the work of Helmut Newton, his style is brilliant and definitely a genre-moulding photographer. The way he has empowered women in his photos changed modern day culture from the stuffy 50s repression.
70
Jeanloup Sieff and Guy Bourdin come up as well as great fashion photographers of the past century. Guy’s work with slide film and bright contrasting colours appeals to my arty side, along with his style of managing to shoot an item such as shoes in an interesting and unusual way. www.sparkmanphotography.co.uk
stefanie schneider
“The girl behind the white picket fence� featuring heather megan christie photography: stefanie schneider
Stefanie Schneider is a German photographer who started working with Polaroids in the late 1990’s. Since then she’s created a unique body work using instant film which has been included in books and exhibitions throughout the world. This set from her film “The girl behind the white picket fence” combines Polaroids and super-8 film in a dreamy tale of love and hopelessness. The choice of her preferred medium, Polaroids, and the open yet empty spaces combine to give the feel of a beautiful, yet bleak dream world. A place as far removed from reality as possible Schneider’s current project called “29 Palms, CA” is a feature film combining (to date) six films and explores the dreams and fantasies of a group of people who live in a trailer community in the Californian desert.
afterparty MAGAZINE
www.instantdreams.net
78
next issue: mono
www . afterpartymag . com twitter.com/AFTERPARTYmag instagram.com/afterpartymag facebook.com/afterpartymagazine