BLUR 27

march

CONTENTS

june

september

december

COVER PAGE

02

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 | Tomek Jankowski

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PROJECT | Gennadiy Chernomashintsev

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WET PLATE | Robert Szabo

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INSTANTION | Phil Garcia

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PLAYSTICK | Kristin L. Ware

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MEET THE | Fred Baldwin & Anne Wilkes Tucker

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PINHOLE | Ricardo Hantzschel

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ANALOG WABI SABI | Yoshimichi Toki

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TETRA | Pierre Pellegrini

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CONTENTS Phil Garcia INSTANTION

Robert Szabo WET PLATE

Gennadiy Chernomashintsev PROJECT

Tomek Jankowski CLOSE UP

GALLERY 24

CONTENTS Pierre Pellegrini TETRA

Yoshimichi Toki ANALOG WABI SABI

Ricardo Hantzschel PINHOLE

Fred Baldwin & Anne Wilkes Tucker MEET THE

Kristin L. Ware PLAYSTICK

G A L L E R

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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E R Y 2 4 Germany www.human-in-time.de Carmen Palma

Poppyfield

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E R Y 2 4 Japan http://19124.portfolio.artlimited.net/?tabid=10 Aaron Brown

Arashiyama

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E R Y 2 4 Greece www.flickr.com/photos/sickside/ Charoula Stamatiadou

Charoula Stamatiadou

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E R Y 2 4 Canada www.flickr.com/photos/tinkerbella94/ Chelsea Felker

With the Wind

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E R Y 2 4 Italy www.zambellilaura.it Laura Zambelli

J’adore nature

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E R Y 2 4 Poland www.thomasgulla.com Tomasz Gulla

Catcher

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E R Y 2 4 UK www.markbroughton.net Mark Broughton

Amongst The Waves

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E R Y 2 4 Hungary http://zsolo.blogspot.com Zsolt Kote

Bardo

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E R Y 2 4 United States www.flickr.com/photos/valeriekasinskiphotography/ Valerie Kasinski

A Weightless Dream

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R Y 2 4 Russia http://evgenysaukov.500px.com/ Evgeny Saukov

Army of lovers

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R Y 2 4 Indonesia http://21993.portfolio.artlimited.net/ Achmad Kurniawan

The Waterbender

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R Y 2 4 India www.flickr.com/photos/imaginebiswa/ Biswadip Talukdar

A Sadhu in Triveni Sangam

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R Y 2 4 Croatia Josip Vukić

Spring mood

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R Y 2 4 Romania http://fotograful.tk Aurel Rapa

Morgana

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R Y 2 4 Russia www.sonyakhegay.com Sonya Khegay

Soft mood

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R Y 2 4 Croatia www.fotoimota.hr rudi kokić

Marina MiĹĄevic

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R Y 2 4 Croatia www.facebook.com/LiliZanetaPhotography Lili Zaneta

Untitled

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R Y 2 4 Portugal www.ddiarte.com DDiArte

Venus vs Mars

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R Y 2 4 Indonesia http://bink.pixu.com Bintoro Bink

Down To The Sun

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R Y 2 4 Poland http://rafalmichalak.com Rafal Michalak

Maja

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R Y 2 4 USA www.binaryexhibit.com MAX Potega

Table Lamp

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R Y 2 4 Switzerland www.rubiano.biz Camille Rubiano

Sarra

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R Y 2 4 Poland https://www.facebook.com/EmiliaMank.fotografia Emilia Mańk

Mask2

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R Y 2 4 Ukraine http://21218.portfolio.artlimited.net/ Ivan Palis

Untitled

by Robert Gojević

B ALBUM Tomek Jankowski Poland|www.tomekjankowski.net

How did you meet the emerging supermodel Basia Szkaluba and get her to collaborate with you?

What was crucial: your charm or persuasion skills, or did your photographs just do the talking?

Creating a photographic project is not a personal date, so any charm has nothing to do with it. Basia and I had a chance to work for the same local model agency about two years ago.

We met at a fashion show, and when I saw Basia on the catwalk, I already knew she was the one. I tried to explain my ideas about the project to this agency we both worked for, but I was completely ignored. So I took matters in my own hands. I showed Basia and her family my photographs, and we began to contact each other and meet, converting my ideas into reality.

B ALBUM Tomek Jankowski Poland | www.tomekjankowski.net

www.blur-magazine.com | issue 27 | September 2012

How far away from each other were you, and how much time did you spend packing and traveling back and forth?

We live about two hours by car from each other. So traveling back and forth wasn’t a big deal. I don’t use any special or fancy photographic equipment. I carry only a small photographic backpack with my camera always ready to shoot. This allowed me to be at our chosen locations in no time. But everything had to be done in very rare moments of Basia’s spare time – between her school studies and professional modeling work. We were in constant contact, perfecting the timing of our sessions. Sometimes it was only a few hours in one day of the month ... sometimes we spent a weekend or even a whole week together.

B ALBUM Tomek Jankowski Poland | www.tomekjankowski.net

www.blur-magazine.com | issue 27 | September 2012

Tell us something more about her, as a person and as a model. You probably became good friends during that time. What was the most memorable thing you kept from this one-year relationship, and do you spend time together even now and still photograph her?

Yes, I became good friends not only with Basia but also with her family.

“Invading” Basia’s personal space and her family home was inevitable. The very idea of the project was to show an imaginary journey through one year of her personal life. By shooting every month of the year, we wanted to create a sensation of passing time and changing of seasons.

Additionally, we did a number of side sessions when the mood was right and we felt the need to save the moment.

One of these memorable moments was probably shooting in February by the lakeshore. I wanted to photograph Basia in her rubber boots, standing in a freezing, halficed water ... I couldn’t move freely in such rubber boots, so I only took

B ALBUM Tomek Jankowski Poland | www.tomekjankowski.net

www.blur-magazine.com | issue 27 | September 2012

a pair of my old Vans ... In a few minutes, my feet and legs were totally wet with freezing water up to my knees. The rest of the day, I was trying to recover my normal body temperature!

What can I say about Basia ... When I first met her, I knew that we were born to do this project. It was an instinctive connection. Basia is a complete model. Her natural beauty and strong, dynamic personality made our work a yearlong adventure.

She has a unique gift. It’s enough for her to wake up in the morning, comb her hair, and put on an old sweater, and she’s ready to shoot, looking fresh and beautiful. A lot of supermodels need heavy makeup work to maintain their usual photo look. Basia doesn’t need anything. We are in contact all the time, and I really hope we will work together again soon. But her agents in New York and Paris are already waiting for her.

B ALBUM Tomek Jankowski Poland | www.tomekjankowski.net

www.blur-magazine.com | issue 27 | September 2012

project | Robert Gojević

DÉJÀ VU Gennadiy Chernomashintsev Ukraine | www.facebook.com/G.ChernomashintsevPhotography

About the Author Gennadiy Chernomashintsev was born on July 23, 1968, in Donetsk, USSR, now Ukraine. When he was a child, he never thought about photography. His first camera was a FED (ФЕД) rangefinder, a gift from his father, which delighted him. But that feeling that really great pictures give you that separates them from ordinary photos was not obvious to him. But as time passed, he began to understand. His path to becoming a professional photographer was a roundabout one.

Chernomashintsev studied engineering but dropped it. He started writing poetry.

Then music attracted him, and he tried to write songs and play guitar. At the age of 23, he became obsessed with cinematography.

As a self-taught producer, he shot 300 advertising spots, several short films, and built a production company. Then, quite unexpectedly for everyone, at the age of 36 has decided to become a photographer.

Today he works as a fashion photographer.

DÉJÀ VU Gennadiy Chernomashintsev Ukraine | www.facebook.com/G.ChernomashintsevPhotography

www.blur-magazine.com | issue 27 | September 2012

About DÉJÀ VU Project The idea for this project was simple! It was all about nostalgia. In my opinion, period between the 1920s and the 1990s was the golden era of photography; it was the time when photography was pure art. And not just for photography, but also for fashion. I tried to express this feeling of nostalgia with appearance, style, and location.

Bristol Hotel in Odessa was the most appropriate place for this project. It’s very old and represents the spirit of old traditions.

I’m inspired by the great masters of photography, their way of living and their work. So in thinking about their work I tried to find myself.

The only equipment I work with are the Leica M6 and B&W film.

The most important thing is the emotion, and composing the shot like a short B&W movie. And, for sure, it’s not about making a photography style, because this is my way to create photography. It’s out of time. Just take a look at old fashioned magazines. They are full of art, but nowadays everything is post-modern.

It’s very difficult to talk about your own work. Others should talk about them, and photos should speak for themselves.

DÉJÀ VU Gennadiy Chernomashintsev Ukraine | www.facebook.com/G.ChernomashintsevPhotography

www.blur-magazine.com | issue 27 | September 2012

DÉJÀ VU Gennadiy Chernomashintsev Ukraine | www.facebook.com/G.ChernomashintsevPhotography

www.blur-magazine.com | issue 27 | September 2012

by Robert Gojević & Denis Pleić

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Living History Robert Szabo

USA| www.robertszabo.com

You have been doing photography for more than 40 years. Does this mean that one can never get fed up with photography?

I can’t say that I have ever been “fed up” with photography. Since I have never been able to earn a living at photography, there have been times in my life that I lost interest in photography, though that never lasted for very long. I would always come back to it. Since starting wet plate in 1997, I have been very active and interested in photography. The interest is still there, and I don’t see it fading.

When and how were you exposed to wet plate as a technique?

What attracted you and who showed you how to do it?

I was a Civil War reenactor starting in the late 80s. In 1997, I was at an event and John Coffer was set up directly across from our camp. He did a tintype image of us while we were in formation, and I went over to ask him if I could see it. John was reluctant to show it to me since he had overexposed it. That image is what really got my interest up. It may have been slightly overexposed, but to me it was a masterpiece. The look and feel of the 19th century was all there in that half plate tintype. It just drew me in. I had been exposed to wet plate before this by seeing Claude Levet working at other events, and I spent some time in Claude’s tent looking at his images. Claude’s work was and still is amazing, but for some reason, when I saw the formation image by John with me in it, I started to think about doing wet plate myself. At the time, I was also overweight and getting too old to portray a soldier and wanted to stay involved in Living History, so with my background in photography, it seemed like a natural transition. A few weeks after meeting John, I went to his place in Upstate New York for a one-day lesson.

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Living History

Robert Szabo

USA | www.robertszabo.com

www.blur-magazine.com | issue 27 | September 2012

SPECIAL MOMENT

Philippe Garcia FRANCE

http://philippegarcia.net

How and when did you decide to start with photography? And when did you first discover Polaroid materials?

I started photography when I was about 10 years old, back in the early 80s. My uncle liked to shoot, and he taught me the basics of photography and lent me his camera, a rangefinder, “2 stars” Foca that looked like an old and cheap Leica. For my 11th birthday, I got a Polaroid camera as a present, which was actually a Kodak EK-2, a copy of a Polaroid. I really loved the idea, but didn’t really go too far with it. Then I spent some time shooting landscapes, nature, animals, and sports, and one day I got to help a photographer friend during a studio shoot, and as we were checking the lights with a Polaroid back and 669 film, I realized how the Polaroid material was different and specific, and I started to imagine finding some artistic use for it.

SPECIAL MOMENT Philippe Garcia FRANCE http://philippegarcia.net

www.blur-magazine.com | issue 27 | September 2012

You often photograph people, especially women. What is so fascinating for you about this kind of photography?

First of all, I think that the characteristics of Polaroid film (low contrast, grain, soft tones) make it a great film for shooting portraits and nudes. It comes naturally to me to use it in this segment and not for other types of photography. Then the most important reason why I’m shooting people is probably because I love to meet people and share a project with them. I shoot exclusively women, first of all, because I think they are more photogenic, they have a better aesthetic knowledge of their body, and also because I like to work with women more because they bring a different vision to the photographic project than my masculine one. I’m not very directorial to my models, so I need to get them to understand the idea of the shoot and to bring their own brick to the wall.

SPECIAL MOMENT Philippe Garcia FRANCE http://philippegarcia.net

www.blur-magazine.com | issue 27 | September 2012

playstick | Jennifer Henriksen

White Island Photography Kristin L. Ware

USA | www.whiteislandphoto.com

Please tell me a bit about your portfolio, and why you chose to use a toy camera for this project.

My choice in subject matter hasn’t changed much over the years. And I rarely ever go out with the intension of shooting something specific. I just load up my camera, go out, and shoot whatever I see. Nowadays, I choose my Holga more often than not because I really like medium format and the dark corners give an image an almost haunting or ethereal quality.

What inspires you to pick up your camera?

Possibility. When I go out with my camera, I never know quite what I’m going to get. And that’s exciting.

PLAYSTICK

White Island Photographyy Kristin L. Ware

USA |www.whiteislandphoto.com

www.blur-magazine.com | issue 27 | September 2012

What is the biggest creative obstacle you have faced?

Well, since nearly everything I want to shoot seems to be on the side of the road, I’d have to say it’s a tossup between power lines, traffic, and “no trespassing” signs. I swear it’s a conspiracy!

One creative person you admire.

Susan Burnstine. I think she has an incredible eye. Her work is something out of a dream. Plus, she’s an animal lover.

PLAYSTICK

White Island Photographyy Kristin L. Ware

USA |www.whiteislandphoto.com

www.blur-magazine.com | issue 27 | September 2012

portfolio | MaurĂ­cio Sapata

The Multiple City essay

Ricardo Hantzschel

Brazil | www.flickr.com/photos/hantzschel

Ricardo Hantzschel was born in Brazil and has worked as a professional photographer since 1987. He teaches photography at Senac University in São Paulo, Brazil, and also runs the “Cidade Invertida,” a project associated with museums and cultural/ social organizations teaching traditional photography to people at universities and schools as well as the underprivileged in community centers. The Cidade Invertida or “Inverted City,” is a camper trailer transformed into a giant camera obscura or pinhole camera and darkroom where students can be “inside the camera” to learn how the traditional photography process works. It aims to captivate people through photography, helping to make them aware of how they can create their own subjects and have a more critical approach to their everyday lives. Since 2006 the trailer has traveled 15,000 km.

The Multiple City essay “I started using pinhole cameras back in the 90s, and the simplicity of the process fascinated me right from the beginning. The Multiple City project was made using five different hand-made pinhole cameras.

With them I wanted to portray a strange but familiar city by showing some of the most recognizable architectural sites in multiple layers, a consequence of my imagination and the multiple eyes of those five cameras, playing with the totally unexpected.” http://cidadeinvertida.blogspot.co.uk/

The Multiple City essay Ricardo Hantzschel

Brazil | www.flickr.com/photos/hantzschel www.blur-magazine.com | issue 27 | September 2012

The Multiple City essay Ricardo Hantzschel

Brazil | www.flickr.com/photos/hantzschel www.blur-magazine.com | issue 27 | September 2012

by Denis Pleić

The Analog Wabi–Sabi­

message in a flash Yoshimichi Toki

Japan | www.flickr.com/photos/toki_dub

The Analog Wabi–Sabi­

message in a flash Yoshimichi Toki Japan | www.flickr.com/photos/toki_dub

www.blur-magazine.com | issue 27 | September 2012

The Analog Wabi–Sabi­

message in a flash Yoshimichi Toki Japan | www.flickr.com/photos/toki_dub

www.blur-magazine.com | issue 27 | September 2012

portfolio | Denis & Karmen

WINTER PROJECT Pierre Pellegrini

Switzerland | http://web.ticino.com/fotografie.pierre

Tell us something about yourself? Who is Pierre Pellegrini?

After having gone into architectural design, I realized my dream of becoming a physical education teacher. During my professional development, I applied myself to photography. For me, photography represents a wonderful way to communicate and, at the same time, to give viewers the chance to feel emotion.

How did you get interested in photography?

I’ve been interested in photography since childhood. I can’t say why. I was simply attracted to it. I still remember when my father gave me my first camera: an old Polaroid. However, it’s only been in the past 10 years that I had the chance to devote time to this wonderful passion. As in other arts, it takes time, commitment, and passion to develop one’s potential and be able to produce works of quality.

WINTER PROJECT Pierre Pellegrini

Switzerland | http://web.ticino.com/fotografie.pierre www.blur-magazine.com | issue 27 | September 2012

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