BLUR 24

www.blur-magazine.com | issue 28 | december 2012

CONTENTS Emilie Lefellic INSTANTION

Jean-Baptiste SÉnÉgas WET PLATE

Matt Hoyle PROJECT

Ruslan Lobanov CLOSE UP

GALLERY 24

CONTENTS Leon Leijdekkers TETRA

Shuji Hiramatsu ANALOG WABI SABI

Patrick Caloz PINHOLE

Bill Vaccaro PLAYSTICK

march

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COVER PAGE

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GREETING FROM EDITOR

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BLUR MAGAZINE info

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IMPRESSUM

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CONTENTS

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GALLERY 24

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CLOSE UP | Ruslan Lobanov

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PROJECT | Matt Hoyle

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WET PLATE | Jean-baptiste Sénégas

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INSTANTION | Emilie Lefellic

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PLAYSTICK | Bill Vaccaro

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PINHOLE | Patrick Caloz

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ANALOG WABI SABI | Shuji Hiramatsu

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TETRA | Leon Leijdekkers

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december

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www.blur-magazine.com | issue 24 | December 2011

BLUR magazine is an international e-magazine founded in 2007 with the mission to promote creative photography worldwide. It represents a meeting place for photographers, both prominent professionals and talented amateurs yet to be discovered, and photography lovers from around 195 countries

In these times of photographic hyper production, BLUR magazine aims to slow the pace and encourage its readers to reflect more on the images and to experience photography more profoundly. This is why BLUR omits technical specifics of photographs and focuses instead on creative, impactful photography and its creators.

ISSN: 1847-7410

BLUR magazine is a completely voluntary project run by photography enthusiasts from Croatia, USA, Canada, Brazil and Germany.

Publisher: F.U.C.* Address: street Ljubičica 19, 10 360 Sesvete, Croatia Contact: info@blur-magazine.com Bank account: Privredna banka Zagreb 2340009 – 1110540685 MB: 2580837 OIB: 39145219372

BLUR magazine is published by Photography Association CREATUS (F.U.C.*), a nonprofit association founded in August 2009 with the aim of contributing to the development of the photography scene in Croatia, while promoting and connecting Croatian photographers with their international colleagues.

Publishing and distribution of ‘’Blur magazine’’ is supported by Zagreb City and City Office for Education, Culture and Sports

BLUR magazine is published quarterly in an PDF format.

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The mission of BLUR magazine is to promote and celebrate creative photography and to provide worldwide exposure to outstanding photographers, both professionals and amateurs.

Gallery 24 is a collection—specifically, an online exhibition—of 24 outstanding and impactful photographs put together with the aim of demonstrating the diversity and beauty found in the world of photography. Photographs presented in Gallery 24 are selected for their high aesthetic quality, composition, and “wow” factor.

Your photograph can also be part of this collection. Make your work visible to thousands of people from all over the world by submitting your photo here:

Submission Instructions:

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http://www.blur-magazine.com/submission/photo-submission/

Send your photos through an online submission tool.

Send each photograph separately. If you are submitting 2 photographs, use the online submission tool twice.

The resolution of your photo needs to be 72 dpi.

The maximum size for each photo is 1MB. Send photographs in JPG format.

Name the image file as follows: artist name-artist surname-photograph name.jpg.

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Resize your photo to 1,500 pixels at its longest dimension.

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Send a maximum of 2 photos per issue of BLUR magazine.

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alexandru iatan

Unfinished song

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Nada Maleš

Koop Island Blues

by Robert Gojević

Clothes are not a fortress Ruslan Lobanov Ukraine|http://20131.portfolio.artlimited.net/?tabid=0

On the cover page we see a photograph of two girls with bare breasts sitting on retro motorcycles in an empty, but obviously urban, part of a city. Tell us the story behind this photo.

The photo was shot in 2010 in the western part of Ukraine, in Lvov. It’s a photo about the ephemeral romance of the city. It was created based on one of my sketches, as most of my photos are.

Clothes are not a fortress Ruslan Lobanov Ukraine | http://20131.portfolio.artlimited.net/?tabid=0

www.blur-magazine.com | issue 24 | December 2011

project | Ivana Krnjić

Yesterday in America Matt Hoyle

USA | www.matthoyle.com

Yesterday in America Matt Hoyle USA | www.matthoyle.com

www.blur-magazine.com | issue 24 | December 2011

by Robert Gojević

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A craftsman

Jean-baptiste Sénégas

France | www.photo-senegas.com

How long have you being using the wet plate collodion process in your work? When was the first time you encountered this technique?

One day I saw a picture on the Internet, a portrait. It struck me as mysterious. It was full of anomalies and the most peculiar texture, like a very beautiful, failed photograph.

I thought to myself, “That’s what I want to do.” I have been using wet plate collodion for only a year. The beginning was laborious. And those who practice this technique will know what I mean. But after much patience and perseverance, I am extremely happy to be using it! The furniture, the tiling, the sink have all turned black since I began.

Also my clothes, my shoes and my fingers. Fortunately, my wife is still intact. Apart from that, the technique is fabulous

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Jean-baptiste Sénégas

France | www.photo-senegas.com

www.blur-magazine.com | issue 24 | December 2011

Capturing the beauty and poetry

Emilie Lefellic FRANCE

www.flickr.com/photos/emilie79/

What do you photograph mainly and what is its fascination for you?

I try to capture the beauty and poetry that inhabits every single thing on our planet – the soul of inanimate objects or places, the innocence of a child, the fragility of a woman’s neck, the delicacy of a flower, the majesty of an animal, the elegance of a dress, the nostalgia in someone’s look or in a landscape, a personal emotion…

Basically, I think anything can become fascinating when captured on Polaroid film because Polaroid film takes every subject into another dimension: that of nostalgia, of dreams, of memory – maybe of the unconscious. What you shoot on Polaroid film just doesn’t look ordinary or “real” anymore, and that’s what fascinates me.

Capturing the beauty and poetry Emilie Lefellic FRANCE www.flickr.com/photos/emilie79/

www.blur-magazine.com | issue 24 | December 2011

playstick | Jennifer Henriksen

Beauty and simplicity of working with toys Bill Vaccaro

USA | http://billvaccaro.visualserver.com/

How long have you been doing photography, and how long with toy cameras?

I’ve been photographing since I scrounged up enough cash to buy my very first camera – a Minolta SR-T 201 – back in 1971 when I was a poor college student at the State University of New York at Buffalo. I then graduated to a Nikon F which was my go-to camera for years.

I bought my first toy camera – a Holga – after being inspired first by Gayla Trail’s toy camera work that she posted on her early photoblog in 1994. I played with it for a while then put it down and went right back doing straight sharp work. Then, in the middle of 1995, I struck up a correspondence with Susan Burnstine. Susan was still experimenting with toy cameras and was just at the beginning stages of building those strange one-of-a-kind cameras of hers which have since led her to well deserved success in the fine art photography world. I was experimenting with the Lomo LC-A camera and she suggested that I do more work with toy cameras. I got hooked with the delicious blur and never looked back. I’ve since done work with a Hasselblad Flexbody and am now experimenting with wet plate collodion but I still go back to toys when the mood strikes.

PLAYSTICK

Beauty and simplicity of working with toys Bill Vaccaro

USA | http://billvaccaro.visualserver.com/

www.blur-magazine.com | issue 24 | December 2011

portfolio | Robert Gojević

The ideal way to discover a city Patrick Caloz

Switzerland | www.stenopes.com

Pinhole photography is not a very common choice or the most practical photographic technique for a traveler, but that doesn’t seem to hinder you. Why do you use pinhole while traveling?

For me, pinhole photography is the ideal way to discover a city. For example, when I photograph a city in the fall and use a slow film (ISO 50), it allows me to have time to pause from a half hour to an hour and a half. Using this technique, I do more than see landmarks and navigate the city. I really see the city and absorb its atmosphere. What is interesting is that we are accomplices, my box and I. It only captures what does not move, everything else disappears to make room for the imagination of those who see my photos.

The ideal way to discover a city Patrick Caloz

Switzerland | www.stenopes.com www.blur-magazine.com | issue 24 | December 2011

by Denis Pleić

The Analog Wabi–Sabi­

Recognizing the finite nature of this world Shuji Hiramatsu

Japan | www.flickr.com/photos/teatimelogic

The Analog Wabi–Sabi­

Recognizing the finite nature of this world Shuji Hiramatsu Japan | www.flickr.com/photos/teatimelogic

http://www.flickr.com/photos/toyokazu Japan

Petals

www.blur-magazine.com | issue 24 | December 2011

portfolio | Denis & Karmen

Achieving the greatest expression Leon Leijdekkers

The Netherlands | www.monochromejourneys.com

How did you develop your interest in photography?

At first, when I was young, I started drawing and painting my experiences during my wanderings through nature.

Later, my father gave me an old 6x6 camera and made me a darkroom so I could print my own images.

I was mesmerized by the possibilities of grain, hard and soft paper, dodging and burning, and I experimented a lot with this medium.

Achieving the greatest expression Leon Leijdekkers

The Netherlands | www.monochromejourneys.com www.blur-magazine.com | issue 24 | December 2011

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