Shutter magazine

ALTERNATIVE PHOTOGRAPHY MAGAZINE

True Colours

Pastels, Neons and B&W DANNY LANE BOBBY VU DENNIS AUBURN ROSANNA JONES

NO. 22

Fall 2016

CONTENTS

An Interview with Dennis Auburn So High in Soho A Photo Series by Tom Sebastiano Get to Know An Interview with Danny Lane Multiple Exposures A Tutorial by Francesco Mugnai The Perfect Scene A Interview with Bobby Vu Skins: Mixed Media A Feature on Rosanna Jones The Secret Life An inside look on Eduardo Acierno Free Lensing

A Tutorial by Alexis Vasilikos First Impressions A look at the Daguerreotype Achromat A Quick Chat

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DEN A

What’s good with photography is that it can make you feel emotions of all sorts. And if that is truly the case, then it’s the sudden surge of youthful energy we’re feeling right now while looking at Dennis Auburn’s photographs.

Hi, Dennis! We’d like to thank you for finding the time for this interview! We’re excited to feature you on the magazine.

Thank you for having me!

You may get this question in a lot on interviews but still we’d like to ask: how and when did you start shooting on film?

I bought a Canon FTb SLR from a nearby antique shop when I was 17 years old. At the time, I had just moved away from my country hometown and into a huge city and the transition was tough.

Shooting with film on my Canon FTb really distracted me and I got hooked ever since.

What makes analogue photography special for you? Is there anything specific about shooting on film that makes it particularly stand out?

I love how spontaneous film can be. Double exposures are my absolute favorite and I never know what the result will be but that sense of excitement is what keeps me attached to analogue photography.

What makes your approach to shooting with film different from shooting with digital?

I first started shooting on 35mm film and though it took practice it really taught me how valuable a photo can be. Don’t get me wrong, digital photography has many advantages but it’s easy to shoot hundreds of photos and lose track of what you need to improve on.

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Your photographic body of work really works around youth—its poetic vibe and romantic tendencies are very apparent in your work.

Can you talk more about that?

Since I’m young now, I tend to surround my work around my age group. Growing up, I’ve always been fascinated with youth, mainly my peers.

The more people I meet, it’s interesting to see how people choose to live their own youth.

Your photographs are wistful and almost make us feel like we’re in a heightened state of ecstasy.

How do you compose your photographs? What do you see in your viewfinder when you shoot your photos?

If I’m working with a team, I need a moodboard to get the idea of what I want out as clearly as possible. It always comes out differently then I intended but that spontaneous nature improvises new ideas.

When I’m looking through my viewfinder, I’m in my own world. I start confusing reality with dreaming where I’m not rushed and it’s my time.

How do you compose your shots? Does it come from a vision or do you center on a specific effect that you’d like to achieve in your photos?

Please talk us through your creative process.

I daydream constantly, probably more than I should. Each shot is more or less a dream or vision I’ve had in my head for awhile.

What’s your most favorite part of your work?

Before, during or after? Why? The whole process is my favorite. Brainstorming ideas for the shot beforehand, getting the shot in the moment, and then afterwards grabbing some tacos after a long constructive day before editing photos. The majority of the time, it never feels like work. It’s always been a therapeutic session no matter how stressful it could potentially be.

We really like the bokeh shots and amazing effects like the exploding lights and galaxies in your photos. Can you say that this is the “Dennis Auburn” signature in your pictures?

I can’t really say what my signature or style is at this point. Only being 21, I’m still trying to figure out who I am and same goes with my photographs.

Do you have personal rules that you apply to your work? Please share them with our readers.

I’m a sucker for colors. If the tones in my photos are not up to par personally, then I won’t use it.

Some of your photographs remind us of one of our Golden Rules: “Don’t think, just shoot.” Do you ever shoot from the hip?

I can’t think of a shoot where I haven’t. I’m constantly in the weirdest positions while shooting.

If I find myself dirty rolling around on the floor or positioning myself on random objects after a shoot, then it was a good day.

NNIS AUBURN

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As a young photographer yourself with already so much under your belt, what tips can you give to other aspiring analogue shooters out there?

Don’t stop. Keep shooting. Sometimes it feels like you can’t reach that creative spirit, but that can always be a positive thing. It lets you find your own unique outlook.

Can you itemize your cameras and film choices for our readers?

Nikon N80 Nikon D90 Kodak Portra: 400 and 800 speed Fuji Instax camera Instax Film What is your take on photography as an art?

There’s something about photography that struck me as beautiful. It gives the opportunity to warp reality. My father was an artist and taught me how to draw, paint, and sculpt as a kid and I knew that I always wanted to create. Finding it hard to get thoughts from my mind onto paper, photography has made it a breeze to capture that. It’s made me notice little details about the world that we sometimes overlook.

What’s your favorite camera and film combo?

My Nikon N80 has never failed me. It’s been through dirt, sand, and survived a waterfall. Pair that with Kodak Portra 400 speed and you have a perfect couple.

What do you want your viewers to take away from your photographic body of work? What do you want them to see in your photographs?

I really want people to make their own interpretation of my work. I often times I see something completely different than what my audience sees.

Which artists inspire you in your work? Any artists that we should follow?

When I first got into photography, I wasn’t familiar with any other photographers. I first came across Tamara Lichtenstein’s work and instantly fell in love. I have been a huge fan of her dreamy aesthetic and her imaginative visuals. She’s been a huge inspiration of mine for awhile and not only that I’m glad I can call her a good friend of mine.

Given the chance to collaborate with any artist or photographer, living or dead, who would it be and why?

Hands down, Salvador Dali. My father showed me his work at a young age and I have been in love with his surrealism and creative process.

Dali collaborated with a lot of artist and tried different mediums throughout his career which is what I would love to do in the future.

What’s next for Dennis Auburn?

I have projects I’m aching to get out there but I’m not sure what’s next for me. I know I will always be submerged in trying to create. I only what that to grow from here on out taking me to new destinations and meeting interesting, open individuals along the way.

Any last words for our readers?

The only advice I tell people is to travel as much as you can while you’re young. It’s the healthiest thing you could do for yourself. Even small day trips are worth the time to get out there. And who knows, you might find a piece of yourself somewhere you’ve never been before.

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NEON, RAIN AND AN EVENING SHOOTING

OCTOBER ON FILM WITH

SO HIGH IN SOHO

Wearing 140mm heels in always a vertiginous challenge.

Finding your feet, your balance and your poise for a portrait is an even higher ask. So there we were, Tom and I, in London’s drizzling Soho watching the orange glow of raven black taxi lights bleed onto the patent wet cobbles; hunting out the acid neon light I am so addicted to.

Naturally a little peacock-like I found it quite amusing trying to find space to hold still for Tom’s camera in the indigo night inside the gay rainbow streets of London. It’s not an easy task for Tom to find the right places for light levels or just a spot we can squeeze into, whilst London sometimes saunters and sometimes rolls itself past.

Clattering girls, wrapped couples, drunken huddles; London’s streets has it all. Now it has us leaning into stripper’s signs in doorways, the tart pink glowing in my eyes; slipping down alleyways under the guttering street lamps; tearing a muscle or two twisting in Madams’ forbidden doorways: all like Alice running down different roads with Tom the Mad Hatter taking the twists and turns.

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The lights flick on and off as Tom shuts the camera lense; capturing the journey shutter by shutter. The challenge from the sitter’s perspective is that you have no safety net of an image to see. You’re committed to film in a moment and don’t know how you look or how the frame will sit. The moment is captured and you move on; you catch another and another and another. You have to trust Tom to tell you how to move yourself and where to look.

A quick heel change from YSL suede boots into beetle black Jimmy Choos and I sit on the stained steps in Charing Cross station. Strip lights that make you a little glue faced; the dirty floor littered with London’s trash; I think Tom likes to mix grime and grit into his images. Relieved to be sitting after two hours of walking and standing I look up and I think about some of the more troubling clouds in my mind. That’s the shot. It took a whole evening of persistence and tenacity but now there it is and remains. That moment captured.

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It’s possible that my shoots are more casual than others. I’m not really interested in makeup although if a model shows up wearing makeup, that’s fine.

I also don’t fully understand how to use a camera, so experimentation is a big part of what I do.

What do you think makes you different from other photographers?

I found pictures of my parents in the basement once and they were really cool. Subconsciously, that might have been an influence­­—but really I was introduced to photography through cinema.

Characters and the chance to understand them made me want to become a photographer.

What was the one photo that made you want to become a photographer?

We featured photographer Danny Lane’s blog as our Blog of the Week a few months ago, and since then have been continuously drawn to his dreamy compositions lo-fi style of shooting. Here, we catch up with Danny again to find out why he stands out from the crowd.

GET TO KNOW:

People and the way they present themselves are interesting and important. Pictures are just moments in life.

What are you trying to say with your images?

I use 35mm film and I swear by this old Konica point and shoot. Konica C35. Now that I have figured it out, it’s like magic. I also use a Contax G1 and a Canon AV-1. Shooting with film feels so much better to me. It feels brave not to look at the pictures as you shoot and its rewarding when they come out nice. Digitally, I use a Sony NEX-7 because it's small and the quality is great.

What types of cameras do you use and why?

Ooh, I’ll tell them you said that! Sometimes when I shoot for an agency, they already have the girls “they think I’d like.” Most of the time they are right.

For a while, I would shoot with anyone I thought was attractive or cool or different from the other models I’ve shot with already. Now I am trying to shoot with people who are confident and creative.

But a good sense of style is important too.

Everyone you photograph is extremely beautiful; Do you handpick your models on certain criteria?

CYCLE

SPIN

Me, I’ll be sitting at my desk in my new apartment working on something great. Maybe it’s a series of photos or maybe it’s a song. In general, photography will be really confusing in 10 years. It already is. I’d like to see photography comeback a little closer to reality. There is still so much to be said and experienced with real life.

Where do you see yourself as a photographer in 10 years?

To be vague, I think the vibe is the most important thing about a photo. Composition mixed with real emotion make for a nice vibe..and a nice image.

I love colour and black and white pictures equally.

Good photography, to me, is familiar but leaves room for the imagination. Comfortable, sexual, strange, nostalgic, shy—a photo should just make you feel something.

In your opinion, what makes or breaks a photo?

I’d be very happy shooting celebrities, obviously.

Film, theatre and music are a big part of my life and I admire success in these fields. I also look forward to shooting with my wife and kids someday when I have a wife and kids.

Who would you love to photograph?

Of course. Almost all of the people I shoot with are strangers. I’ve seen so many different apartments in New York and I have met people from all over the world. The unexpected has become even more frightening because I’ve been so in touch with it.

Has photography led you to anything or anyone unexpected?

The first time I shot nudity, it was unexpected and on a highway. Backstage at fashion week is exciting and crazy. I recently went to Montreal to shoot a package for a modeling agency and I really loved that city. Honestly, this is pretty cool answering questions for Hunger TV too.

What have been the highlights of your career?

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MULTIPLE

SCREEN

MULTIPLY

SOFT LIGHT

HARD LIGHT

EXCLUSION

OVERLAY

COLOUR DODGE

LIGHTEN

THE ART OF THE MULTIPLE EXPOSURE The way a multiple exposure image works is that the exposure is additive. The brightness of the additional image is added to the brightness of the first image. An area that is bright in either image will appear bright in the final image, while an area that is dark in both images will appear dark in the final image. So, for a good double exposure you must have images with dark areas in them that will overlap (or else you’d just end up with a bright, blown out image). The key is the way that these dark parts of images overlap. If they are are closely overlapping, you’ll likely end up with quite a boring image. But if you have an image with both bright and dark areas overlapping a dark area on the other image, then there is a greater chance of achieving a much more interesting image.

For creating a multiple exposure photo, many modern digital cameras allow you to do this in-camera. While the exact implementation varies between camera manufacturers, most allow you to take a single photo, and then for the next photo the first photo is superimposed on the screen. This then makes creating an effective composition much easier as you can see the final result. Many cameras also offer a range of options for multiple exposures. You can change how many frames to use, so that you can create a triple or quadruple exposure. If your camera takes multiple exposures, it is well worth playing around with.

However, not all cameras can capture multiple exposures.

And even for those that can, they can’t match the control you have when creating multiple exposures in software. Any editing software that supports layers and blend modes can

be used to create a multiple exposure. (The usual suspects: Photoshop Elements, Photoshop CC, and Paintshop Pro are all suitable software packages). While 'screen' blend mode accurately blends the photos together in the same way that a real multiple exposure would, the other blend modes are also worth experimenting with. Since screen blend mode adds the exposures of the two images together, it is best used for bright, high key style images.

Overlay blend mode will make areas where both images are bright brighter, while areas where both are dark will become darker. Multiply blend mode the opposite of the screen blend mode. Any areas of either image that are dark will appear dark, while only areas that are bright will appear bright. For a low-key look, multiply blend mode can be a good choice.

It is useful if you have reasonably bright images but you don’t want to go for a high key look.

Often, multiple exposure images will look best in black and white. The combinations of different colors overlaid on top each other can look a bit strange (depending on the chosen blend mode). The fact that double exposures tend to emphasize shape as the main compositional element I think also reduces the need for color.

Another benefit of using image editing software to create a multiple exposure is that you can re-position the images and use layer masks to adjust where it occurs. Double exposures (or triple, quadruple, etc.) can produce great images. You just need to put in a little thought when capturing the images to try and select shots with both dark and bright areas that will work well together. It’s certainly worth giving this technique a try, whether you do it in-camera, using software, or both.

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Multiple exposures open up a whole world of unexpected and unbelievable results­—whether you choose to plan out your analogue shots or go randomly with your instincts, multiple-exposed images promise endless experimental opportunities and surprising results that will astound you.

T P S

THE PERFECT SCENE:

AN INTERVIEW WITH BOBBY VU

Bobby Vu is a Los Angeles-based director and photographer who shares his passion for both photography and filmmaking. He became well-known for his short films and it’s no wonder his photographs remind us of those magical movie scenes from the 80s. In this interview, Bobby reveals what his day looks like when he is not working and speaks of what motivates him to continually make beautiful work.

Tell us a little about yourself and your photography.

As a photographer, I’ve have a lot of experience in the fashion industry. Mostly, I do photography as a creative exercise and companion to my filmmaking. To keep my mind sharp and tell stories from the camera. I love doing both journalistic photography and fashion. One of my life goals is to be featured on Vogue Italia.

Why do you love photography and how does it work in your filmmaking?

I love photography because you get to create your own reality within your lens. It’s also much more simple than filmmaking, where I get to carry around my camera and just shoot. As for filmmaking, we must get a script locked down, location, crew, actors, etc. It’s a very collaborative field, yet the most satisfying.

You do some very cinematic shooting. What is your secret?

My secret is to not only learn photography. My style is a mixture of things I like, especially film cinematography and renaissance paintings. And above photography and lighting techniques, I’ve adapted a habit of being curious of life. To find the fascinating things in things that’s not so significant.

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Tell us more about your filmmaking?

I’m still learning and I’m probably never going to reach my full potential. I believe my strengths in genre are drama, action, film noir, mystery, thrillers. I tried making a comedy and romance but it ended being too serious. Haha.

What kind of a camera and lenses do you primarily use and how do you select your equipment?

I own a Canon 7D DSLR, which is only a mid-range camera.

When I was starting as a photographer, I would always wish to get a better camera in the hope that it would enhance my photography. But as I grew as a photographer, I relied less on technology and learned to work with what I have. I even had a period where I was doing my photography from my iPad. Can you name some tips for those who want to start taking photos and even making films?

Learn the fundamentals. Fundamentals of light, composition, color, etc. And learn it well, it will keep you above your competition as you grow with technology. As for film, they are extremely technologically advanced, but even the most expensive movies need to fall back on fundamentals.

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MAGAZINE BIBLIOGRAPHY “A Lomography Guide To Multiple Exposures.” A Lomography Guide To Multiple Exposures. N.p., n.d. Web. 29 Nov. 2016.

Cheeo. “A Quick Chat With Dennis Auburn.” Lomography. N.p., 28 Apr. 2014. Web. 29 Nov. 2016.

Arnthorsson, Thrandur. "Bobby Vu | From Photographer to Film Director!" Digital Photo Web. N.p., 25 July 2014. Web. 11 Nov. 2016.

Donati, Rachel. “So High in Soho.” InvernoDreaming. N.p., 24 Jan. 2016. Web. 29 Nov. 2016.

Foiret, Cyril. “Louise Mertens Mixed Media Collages.” Trendland. N.p., 09 Dec. 2015. Web. 29 Nov. 2016.

Hunger Magazine. “Get to Know: Danny Lane.” HUNGER TV. N.p., 9 Sept. 2013. Web. 29 Nov. 2016.

Ivana. "Lomography - Secret Life Of A (Fashion) Photographer: Eduardo Acierno." · Lomography. Lomography, 19 Apr. 2017. Web. 11 Nov. 2016.

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