EMERGING P H OTO G R A P H E R
volume 7
1
02
LETTER FROM THE EDITOR
04
Stuart Palley "TERRA FLAMMA: WILDFIRES AT NIGHT"
06
Garrett Baumer "RESTRICTED ACCESS"
08
Sinziana Velicescu "ON THE PERIPHERY"
10
Guillermo Hernandez "WHEN IN TEXAS"
12
Justin Tsucalas "POST COLLEGIATE"
15
Lyndi Bone "ROBOT FRIEND"
16
Amanda Leigh Smith "PORTRAITS OF HER"
18
Kasper Løftgaard "HOME, ONCE"
22
Charles Mosteller "CONCRETE COWBOYS"
26
Irina Popova "IF YOU HAVE A SECRET"
30
Kristina Varaksina "ABANDONED"
32
PORTFOLIO OF ONE: Adam Birkan
Photo © Lyndi Bone
TABLE OF CONTENTS
EMERGING
2 2
PHOTOGRAPHER SENIOR VICE PRESIDENT, PHOTO+ John McGeary
Hu
rley
VICE PRESIDENT/PUBLISHER, PHOTO+ Lauren Wendle
te
r Photo ©
Pe
MANAGER, CUSTOM MEDIA & EVENTS Moneer Masih-Tehrani
LETTER FROM THE EDITOR
MANAGING EDITOR Jacqui Palumbo DESIGN Kelly O'Leary, Ami Pourana, Fred Shallcrass CONTRIBUTORS Amy Touchette, Brienne Walsh
Summer in New York City brings with it some of my favorite things: food trucks lined up in Hanover Square, daytime rooftop gatherings, fireworks on Coney Island and a new issue of Emerging Pho-
PRODUCTION DIRECTOR Daniel Ryan
tographer.
CIRCULATION Lori Golczewski
In this issue, you'll find the work of eleven rising photographers with diverse backgrounds, concepts and voices: Stuart Palley's blazing
SUBMISSION SUPPORT Brad Arshinoff, Brad Kuhns, Reiko Matsuo
California wildfire landscapes (page 4); Garrett Baumer's meticulously built security-site sets (page 6); Justin Tsucalas's tongue-in-cheek chronicle of post-collegiate life (page 12); Charles Mosteller's striking portraits of urban cowboys in Philadelphia (page 22); and Irina Popova's honest depiction of her home country, Russia (page 26), to name a few. We've also brought back Adam Birkan from the last issue to discuss his new work on the end page (page 32). For this issue, our team and editors from our parent magazines, PDN and Rangefinder, reviewed more than 1,300 submissions over the
EMERGING PHOTOGRAPHER JURY Jessica Gordon (Senior Editor, Rangefinder), Moneer Masih-Tehrani, Jacqui Palumbo, Libby Peterson (Associate Editor, Rangefinder) Matthew Ismael Ruiz (Managing Editor, PDN) ASSOCIATE PUBLISHER Mark Brown (646) 668-3702 SENIOR ACCOUNT EXECUTIVES Mike Gangel (646) 668-3717 Lori Reale (858) 204-8956
course of four days. We put together Emerging Photographer to put new talent on your radar, and we hope you find their work as memorable as we do. We're looking forward to the next submissions period, which will open in August 2015 at www.emerging.pdncontests.com. Until then! —Jacqui Palumbo
ACCOUNT EXECUTIVES Noah Christensen (646) 668-3708 Dennis Tyhacz (646) 668-3779 Jon McLoughlin (646) 668-3746
EMERGING PHOTOGRAPHER 85 Broad Street, 11th floor New York, NY 10004
ON THE COVER: Emerging Photographer is brought to you by PHOTO+, home to PDN and Rangefinder
A PUBLICATION OF
"Shuttlecocked," from Justin Tsucalas's series, "Post Collegiate" (page 12). Taken at the Nelson-Atkins Museum of Art in Kansas City, Kansas, Tsucalas references The Wizard of Oz: "Houses aren't the only thing that might fall on you in Kansas."
volume 7
1
CEO AND PRESIDENT David Loechner
SENIOR VICE PRESIDENT, OPERATIONS Lori Jenks
CFO AND TREASURER Philip Evans
SENIOR VICE PRESIDENT, DIGITAL Teresa Reilly
CHIEF INFORMATION OFFICER Bill Charles
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STR E E T
©
DENNIS KEELEY 2015
p h oto g r a p h y 2 01 5
PDN AND ACUITY PRESS PRESENT T H E S E A R C H F O R O U T S TA N D I N G S T R E E T P H O T O G R A P H Y
w w w. s t r e e t p h o t o g r a p hy 2 0 1 5 . c o m
— Stuart Palley —
TERRA FLAMMA: W I L D F I R E S AT N I G H T
4 5
Since graduating with a Master's in photojournalism from University of Missouri in 2013, Stuart Palley has covered a wide range of topics for publications such as Los Angeles Times, National Geographic and the The New York Times. But it is the wildfires that rage in California that are currently capturing his fascination. “As
a
I'm
very
documentary
photographer,
interested
how
respond
to
in
natural
humans disasters,”
he explains. Growing up in Southern California, Palley has always been exposed to the effects of wildfires, but he believes they will become worse in coming years thanks to the current drought in the region. In “Terra Flamma: Wildfires at Night,” he not only aims to capture the terrible beauty of a natural phenomenon, but also to raise public awareness. He says: “If [the public] sees more beautiful pictures about fires, they’ll do more research, and understand the work that firefighters do, and better prepare their homes for wildfire.” So far, Palley has captured more than 30 wildfires at night using long exposures (he began funding the project with a highly successful Kickstarter campaign). Depending on the situation, he either takes his images from a distance, or from the closer perspective of firefighters on the scene. Often, the latter puts him in harm’s
way—he
recently
witnessed
a
fire where two propane tanks exploded, forcing him to run away from the scene. “No
picture
is
worth
dying
over,”
he
laughs. The series has been featured in New York, TIME and The Washington Post, among others. As much as he can, Palley tries to be respectful of the fact that he is witnessing destruction—sometimes homes,
or
even
of
worse,
peoples’ their
lives.
“I try to use captions to explain what is actually going on beyond the frame,” he says. “I try to make order out of the chaos.” —Brienne Walsh Photo © Stuart Palley www.stuartpalley.samexhibit.com
— Garrett Baumer —
RESTRICTED ACCESS
6 7
nancy borowick — “cancer family, ongo ing”
series
mythology around security sites. Looking at the com-
places
positions, one feels a sense of anxiety that, at any mo-
—modern-day security bunkers, missile silos and con-
ment, they will be caught looking at something entirely
trol towers, emptied of people and poised for the im-
forbidden. “I like how quiet a photograph can be, how
minent apocalypse. In actuality, they are 4 x 4-foot sets
it can make one feel slightly uneasy without anything
Garrett Baumer builds in his studio using foam core,
actually happening,” Baumer says.
At
first
glance,
“Restricted
the
Access”
photographs appear
to
in
be
the real
Plastruct, spray paint, LED lights and studio strobes. Inspired by a pastiche of references, including Google
In his empty landscapes, Baumer materializes the
image searches of the Titan Missile Silo in Arizona, as
general undercurrent of fear in American society
well as maps and films, Baumer creates an alternate
centered around a nuclear future. Although we cannot
dimension that depicts a place that is, as he puts it,
see our stockpile of nuclear weapons, we know
“slightly worse off than we are.”
they are there—and the result of a breach would be catastrophic. “I’m not trying to be political,” he says.
In graduate school at Columbia College Chicago, Bau-
“But I know they are loaded images.”
mer worked on a series in which he used actors in various staged scenarios. Realizing that he was spending
—Brienne Walsh
the most time focusing on the visual aspects of the environment, he decided to start building sets from
All photos © Garrett Baumer
scratch to create “new unseen spaces” inspired by the
www.garrettbaumer.com
gar rett baumer — “restricted access"
— Sinziana Velicescu —
ON THE PERIPHERY
While it’s true, as Sinziana Velicescu says, that “there are
and there’s nothing that can be done to fix that,” she ex-
a million details to discover if you stay in one place long
plains. For her, the beauty of Los Angeles lies where you
enough,” the specific details she notices tend to be par-
least expect it: “around the corner, a few miles from the
ticularly extraordinary. Case in point: “On the Periphery,”
main strip, outside of one’s comfort zone”—hence the ti-
a series she developed as a way to resolve her “love-
tle of the series.
hate relationship” with Los Angeles. (“It’s a beautiful city if you ignore the traffic, the clutter and the advertising,”
Citing Joel Sternfeld, William Eggleston and Lewis Baltz
she says.)
as inspiration, Velicescu says she has “an ongoing fascination with how notions of the American Dream are
In “On the Periphery,” Velicescu essentially “crops out”
manufactured and constructed in the West.” Up next: a
what she doesn’t like about her hometown and puts to
photo series that moves “’beyond the periphery,’” she
the fore her own partly fictionalized abstract version
says, “by exploring the beige stucco landscapes of
instead. “I photograph mostly walls and buildings,” she
more recently developed cities surrounding the Greater
says. “To me, they hold as much life and expression as
Los Angeles Area.”
the average human being.” —Amy Touchette Made during “chance encounters [with the city] and a substantial amount of wandering,” her process is in-
All photos © Sinziana Velicescu
extricably linked to the winds of inspiration at any
www.sinzianavelicescu.com
given moment: “Some days the city doesn’t speak to me
— Guillermo Hernandez —
WHEN IN TEXAS
10 11
A wide cultural audience has been introduced to the world
start talking to me.” By the time the game started, they would
of Texas high-school football by the book, film and television
forget he was there, allowing him the freedom to capture in-
show Friday Night Lights; the larger-than-life sport imbues
timate moments between not only the players, but also the
the culture of Texas's cities and towns. In his series, “When
coaches and fans—some of whom had been following the
in Texas,” Guillermo Hernandez explores the legacy of the
team for more than seven decades. “They know the kids,
sport, shooting in different towns throughout the Lone Star
they know that Johnny lives over there, and is playing line-
State. His series shows that the weekly football game is not
backer now,” he says. “It’s really heartfelt, the support these
merely about winning or losing, but about keeping the social
communities give to the kids.”
fabric of small communities intact over many generations. Hernandez
has
been
circulating
“When
in
Texas”
gradu-
within the photography-competition circuit (he recent-
ate of the University of Texas, returned to Austin af-
ly placed in the 2015 PDN Photo Annual sports catego-
ter photo assisting and researching for Golf and Sports
ry), and the series garnered him a staff job at Spring-
Hernandez,
a
dual
journalism
and
history
Illustrated in New York City. He spent the fall of 2014 driving
field News-Leader in Springfield, Missouri, where he is
to different towns in Texas every Friday morning—the far-
currently based.
thest he drove was eight hours to El Paso—trying to arrive early enough to have lunch in town.
—Brienne Walsh
“I have long hair and piercings, and [the locals] were like,
All photos © Guillermo Hernandez
‘You’re not from here,’” Hernandez says. “But they would
www.guillermo-hernandez.com
— Justin Tsucalas —
P O S T C O L L E G I AT E
12 13
As Justin Tsucalas captured the moments that would
“always drawn to the older photographers like Diane
eventually compose the series “Post Collegiate,” cre-
Arbus, Henri Cartier-Bresson, Walker Evans and Robert
ating a complete body of work was not at the forefront
Frank—black-and-white darkroom-type stuff,” he says.
of his mind. Tsucalas began habitually photographing
He’s advanced a lot since those days, but he hopes to
his friends while they were enrolled at Goucher Col-
build a miniature darkroom at his new business ven-
lege in Baltimore and continued after they graduated
ture, Plaid Photo, so he can relearn those darkroom
and transitioned further into adulthood. At the time,
processes. “I love the variety that comes with my ca-
Tsucalas said the pictures were “mainly just used for
reer and the constant feeling of physically being in
our amusement,” but an editor from Wonderful Ma-
places that I wouldn't/shouldn't be had it not been for
chine, Morgan Kazanjian, helped him to develop the
my camera,” he says. “I shoot a wide range of subjects
concept. “[She] flushed this story out while she was
professionally and personally and hope to maintain
doing an audit on my commercial portfolio. It opened
that variety as my career moves forward.”
my eyes to the possibilities these images and others like them can have,” he explains.
—Amy Touchette
“Post Collegiate” is playful and tongue-in-cheek, yet
All photos © Justin Tsucalas
carries a sense of nostalgia. It was Tsucalas’s first ex-
www.plaidphoto.com
ploration of color photography; growing up, he was
justin tsucalas — “post collegiate"
— Lyndi Bone —
R O B OT F R I E N D
As a single mom, Lyndi Bone wanted to start a practical ca-
the pair is depicted doing things like lighting firecrackers,
reer, enrolling at Utah Valley University with accounting in
selling lemonade, eating cotton candy and skating in a roller
mind—but quickly realized that career path was not for her.
rink. They transmit not a specific time or place, but rather nos-
Instead, she turned her focus to the photography department,
talgia for the American Dream.
where professors pushed her to explore her creativity. “The series gave me a good excuse to make a roShe found herself most inspired by the juxtaposition be-
bot costume,” Bone says, laughing, when asked why
tween technology and nostalgia. The youngest of six
she used a robot rather than an iPhone or a comput-
children, Bone grew up in the 1980s. She spent her child-
er to represent technology. The feel of the images, she
hood mostly outdoors, playing with friends and siblings.
hopes, transmits both a sense of humor and a collective
Watching her own kids grow up in the era of online inter-
yearning for returning to simpler times—one that her kids
action, she began to wonder how their nostalgia would
might not recognize now, but will likely relate to in the future.
be different from hers. “Instead of imaginary friends, they have online friends they've never met,” she says.
—Brienne Walsh
This led her to create “Robot Friend,” a series that features her
Photo © Lyndi Bone
son interacting with a human—usually one of Bone’s friends—
www.lyndibone.com
dressed up in a robot costume. In the lighthearted series,
16 16
nancy borowick — “cancer family, ongo ing”
17 17
— Amanda Leigh Smith —
PORTRAITS OF HER
Look at any of Amanda Leigh Smith’s editorial portraits and it’s likely that a strong sense of freedom will come over you. Whether it’s from the wide-open vistas she chooses on location, her playful compositions or the pensive, expansive expressions
of
her
subjects,
Smith’s
liberated take on life shines through. Raised in Cypress, Texas, Smith has explored a variety of disciplines already: she’s earned a BA in political science, worked in natural medicine and had jobs as a social worker and at a forestry museum. But photography, which she studied in high school, was always what made her happiest, and, as she puts it, “life is too short not to follow your dreams.” She
enjoys
capturing
her
subjects’
spirits “in a way that they feel good about” and does so largely by creating a positive and engaging environment during the shoot: making fun a priority while also challenging her subjects to push past their comfort zones. Photographing exclusively in 35mm film also helps Smith to achieve the atmosphere she seeks during shoots. She says a film camera “brings a sense of nostalgia to the shoot that people seem to feel more comfortable with in my experience.” She adds: “The sturdiness of an old camera while I’m hanging off the back of motorcycle [is also a plus].” Smith
utilizes
social
media
to
make
connections with clients; however, she’s found word of mouth from previous clients has been most effective in acquiring jobs. Her clients range from offbeat zines such as Blood of the Young to trendy fashion publications such as Cake and Nylon. But as she cuts her teeth in the magazine world,
she
hopes
to
start
shooting
campaigns for designers who inspire her and to make photojournalism stories on global issues she cares deeply about. —Amy Touchette Photo © Amanda Leigh Smith www.aleighsmith.com
18 18
nancy borowick — “cancer family, ongo ing”
19
— Kasper Løftgaard — 19
H OME , ON C E
nancy borowick — “cancer family, ongo ing”
Photography can be used to investigate an unfamiliar
subjects when they know that you’re shooting with a film
situation or to go deeper into a familiar one, and for
camera....They settle down a bit more and allow me to look
Kasper Løftgaard, making the series “Home, Once” was an
at them longer.”
opportunity for the latter. After attending a workshop with photographer and former Magnum member Kent Klich, Løft-
Originally attracted to technical aspects of photography
gaard decided to use photography to explore his long-stand-
—“cameras, lenses, lighting and all of that,” he says—in time
ing issues with his parents and his childhood in order to
“that stuff became less important and I saw that I had found
understand them better. The result: lovely, poetic images
a way to tell a lot of things without saying them.” Current-
bathed in an elegant, subdued palette that portray a range
ly studying photojournalism at the Danish School of Media
of subject matter.
and Journalism in Aarhus, Denmark, Løftgaard’s next series will portray college rodeo in Texas. He says, “I think it could
Shot in his hometown of Tvis, Denmark—where, with an
be interesting to shoot it very quietly and rather moody like
estimated population of 1,500, “everybody knows each
'Home, Once' and see what comes out of it.”
other,” he says—Løftgaard photographed the series using his Mamiya 7. “I had grown really tired of always looking at
—Amy Touchette
the screen of my digital camera and always shooting things in a hurry,” he explains. “Medium format forced me to slow
All photos © Kasper Løftgaard
down, and somehow it’s more natural to work slowly with
www.loftgaard.com
kasper løftgaar d — “home, once"
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— Charles Mosteller —
C O N C R E T E C O W B OY S
28 29
Nothing quite illustrates “less is more” like wellexecuted
black-and-white
photographs.
The stripped-down nature of marrying light and dark can—at times—have a much more powerful impact than any spectrum of color can; a terrific example is “Concrete Cowboys,” a series by Philadelphia-based photojournalist Charles Mostoller. Esthetically bold and emotive, “Concrete Cowboys” portrays two teenagers, Shahir Drayton and Abdurrahman “Man-Man” Early, riding and caring for horses in the city of Philadelphia. The teens are two of several whom Malik Divers, the owner of the horses, “recruits to care for them as a way of teaching the teens work ethic and responsibility,” Mostoller explains. Mostoller’s
meeting
with
the
Concrete
Cowboys was lucky—he’d seen them on horseback around the city and happened to meet them one afternoon—but establishing trust took the tried-and-true method: perseverance. “They all thought I would be gone after one afternoon but I kept coming back week after week and they began to open up to me,” he says. Mostoller also grew up around horses and stables (his mother was a semi-professional equestrian), so the teens respected his knowledge. Shot with a Nikon D4 and D3, Mostoller trailed his subjects mostly by bicycle. “Photographing a group of kids racing through urban streets on horseback is hard,” he says; the bicycle gave him the speed and maneuverability he needed. Influenced by James Nachtwey’s Inferno and Larry Burrows' Vietnam, Mostoller plans to “keep telling hopeful stories about Philadelphia that get beyond the stereotypes so often associated with inner-city life.” —Amy Touchette All photos © Charles Mostoller www.charlesmostoller.com
24 24
nancy borowick — “cancer family, ongo ing”
24 25
charles mostoller — “concrete cowboys"
— Irina Popova —
I F Y O U H AV E A S E C R E T
28 29
When Russian-born photographer Irina Popova was
In Popova’s opinion, Russia used to be an open-
a child, she played a game that involved hiding a
minded, warm place. Much of this has vanished in the
“secret” in a glass jar, then burying it underground.
current political climate, which Popova describes as
She references that game in “If You Have a Secret,”
“very radical, very conservative and very nationalistic.”
a series of images taken in her homeland. “[It] is a metaphor for going away from Russia,” explains
In displaying photographs that reflect reality rather
Popova, who left the country after Putin was first
than
elected, and is currently living in Holland. “[Russia]
responsibility to protect her subjects. “[Russians] are
is a little secret, which I come back to find again, and
living in a dangerous time,” she says. “People can
to show to other people.”
get arrested just by being recognized in my images.”
propaganda,
Popova
realizes
she
has
a
At the same time, she wants to be honest in her Culled from an archive of almost one million
depiction, saying that Russians deserve to be seen
images, the photographs in the series capture both
in an ordinary light. “There is no barrier between
the inherent joy and sadness of life in a nation
them and the rest of the world.”
Popova loves deeply. Her images are raw and direct; subjects include a funeral dinner in Yarkino, a home-
—Brienne Walsh
less couple sleeping in a cellar in St. Petersburg and an elderly couple standing in front of the house they built in Tver.
All photos © Irina Popova www.irinapopova.net
ir ina popova — “if you have a secret”
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— Kristina Varaksina —
ABANDONED
Although
Kristina
Varaksina’s
30 30
series,
“Abandoned,” was directly inspired by Let the Right One In—a 2008 Swedish film about a child vampire and her bond with her bullied 12-year-old neighbor—it also reflects her own experiences growing up in Russia. “With aging, you learn to live with yourself and people around you, but when you are a teenager the feeling of being abandoned, being different from everybody else can be overwhelming,” she explains. “These sorts of feelings have always been with me.” Depicting beautiful, languid young women in bare rooms lit by television sets and the starry night sky just beyond the windows, the images capture feelings of jealousy, ennui and self-loathing so difficult to put into words—and even more difficult to visualize. Cast with two models from an agency in New York City, the girls often seem otherworldly. A sense of alienation is heightened by the pallid glow of the women’s skin—an effect achieved both by the makeup artist who worked with Varaksina on set and lighting from a blue gel placed on a strobe that mimicked the twilight feel of a blinking television screen. The images echo themes seen throughout Varaksina’s work, in which she explores “women going through major changes, children creating their own worlds around them and teenagers and young adults going
through
social
conflicts,”
she
explains. Her hyper-real style and filmlike color palettes place her subjects just beyond our world without sacrificing the feeling of a shared human experience.
—Brienne Walsh All photos © Kristina Varaksina www.kristinavaraksina.com
nancy borowick — “cancer family, ongo ing”
30 31
PORTFOLIO OF ONE
PRESENTED BY
Could you define your work with a single image? Bangkok-based photographer Adam Birkan gives it a tr y. Adam Birkan’s series “Hanoi” developed organically—just the way
extremes of yesterday and today, a city rich with history and tra-
he likes it. Birkan, who is currently based in Bangkok, but must leave
dition that has become one of the fastest-growing metropolises in
Thailand periodically to renew his visa. Led by his “predisposition to
the world.
wanderlust,” Birkan spends the time in various Southeast Asian citFinding the quiet moments and small details among the bustle of
ies; his time in Hanoi, Vietnam, fostered a new body of work.
extremely populated cities like Hanoi is a challenge that often inIn Hanoi, Birkan noticed an aspect of contemporary society that
spires Birkan’s photography. Entering a complex social landscape
often occupies his eye: economic disparity and the relentless, ev-
and emerging with “a moment that seems to defy expectations” is
er-quickening pace of change. For Birkan, Hanoi is a “case study
deeply meaningful to him and the reason he chose this image (pic-
in emerging economies,” a distillation of the complexity of the
tured) to define his work. The photograph, captured during a peace-
world as globalization takes hold. “In few places is the past and
ful moment on Hanoi’s chaotic, motor-scooter-packed streets, is a
the present so viscerally evident,” says Birkan. He adds that while
“juxtaposition that shows both where we are, where we are going
“’progress’ is an unstoppable force,” the city is “the proverbial fork
and where we have been,” he says. “I guess you could say quiet
in the road.”
moments are the decisive moments of chaos.” —Amy Touchette
Of course, humankind has always been evolving, but today, techno-
Photo © Adam Birkan, www.adambirkanphoto.com
logical advances have sped up life so that connections to the past are declining in a new, more severe way. Hanoi is a menagerie of
Adam Birkan was previously featured in Emerging Photographer Vol. 6, No.1.
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