Smoke and mirrors…
One of the nice things about speaking with people who share a common interest is that you can talk freely, without the need to explain everything in detail. The title is enough… Financial bubbles and wicked economic policies are nothing compared with the roots upon which they are founded. I am referring to certain negative aspects that, unfortunately, are typical of human nature. It is a very long list: ambition, greed, envy, pride, vanity, arrogance, duplicity, superficiality, vendetta, revenge… The tentacles of these dangerous drives intertwine in a ring, nay a pinhole, which projects a distorted image that is necessary to satisfy them. The emerging picture shows clearly a reality full of wastage and exaggerations, showoffs and unnecessary investments determined by the need – which sometime is really “necessary” – to look better, wealthier, more capable, more “in the know” and more on demand than one really is. The smoke-and-mirror game that is played with potential clients, competitors, contacts… is a very expensive distortion whose consequences can be financial ruin. How many photographers lease expensive
equipment which is not really necessary for the assigned project? How many gallery owners spend more than they can afford to organize an event? How many times people behave fraudulently based on unnecessary expenses only because “discounts” are available? It is not going to be easy to project a culture of efficiency to our valuable clients – nearly all of whom have no fault – as long as certain professionals keep “aiming high”… But the reality is that, ironically, those who end up on the losing side are not the clients (some of whom these days are really operating on a shoestring) but the very ones who provide their services, often at a loss, to meet the expectations of a distorted market. Thanks to the crisis, this gambling approach could finally come to an end… Attention could be focused again on efficiency, merit, quality, objectiveness and, most of all, creativity, which has always benefitted whenever money is scarce. Who knows, maybe the sky will soon be clearer. Emanuele Cucuzza Editor-in-Chief ema@edifore.com
Cover: Photo: Cyril Lagel Make up: Corinne Lebreton Hair styling: Christian Attuly Model: Caterina Norbis Location: Studio Daylight in Paris
BIANNUAL - N. 2 - SEPTEMBER 2011
www.imageinprogress.com
CREATIVE DIRECTOR AND EDITOR-IN-CHIEF
Emanuele Cucuzza ema@edifore.com
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info@edifore.com TRANSLATION
Silvestro De Falco PUBLISHER/ EDITORE
EdiFore srl via Orti di Trastevere, 55 - 00153 - Roma - Italy T: +39 06 58 30 19 18 - +39 02 30 31 43 34 www.edifore.com - info@edifore.com DIRETTORE RESPONSABILE
Emanuele Cucuzza
RESPONSABILE DEL TRATTAMENTO DEI DATI PERSONALI (D.LGS. 196/2003)
Emanuele Cucuzza PRINTER/ STAMPA
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IMAGE IN PROGRESS (VERSIONE TELEMATICA)
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Registrazione del Tribunale di Roma n. 260 dell’8 giugno 2010
IMAGE IN PROGRESS (VERSIONE STAMPATA)
Registrazione del Tribunale di Roma n. 261 dell’8 giugno 2010
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Editorials 8 The Evolution of the Fashion Industry by Francis Wong 10 My fashion brand and the best ways to get the right photographer… by Martina Mueller 12 No brush, no colors, no perms, no products by Dario Chicco 14 Using DSLR for videos by Corey Reese 16 Producing plug-ins to help your creativity. by Dirk Schoettke 16 Novel “Photos of a Soul” by Anita Zechender
Publications 19 The new frontiers of independent publishing… interview with Emin Kadi @Clear Magazine 28 Interview with Stefano Cerio, a fine art photographer Artist Diary Texts by Elise Boularan 36, Sara Munari 40, Fabrizio Alzati 44, Pavlove Der Visionaer 50, Jonathan Dy 54 Beyond Photography Interviews with: Maurizio Galimberti 57, Oleg Dou and his gallerist Liza Fetissova 62, Terry Rodgers 71 Experiment 78 “Illustrating fashion photography...”, interview with illustrator Sandrine Pagnoux and photographer Sophie Etchart Cover Story 84 Beauty and Life, interview with Cyril Lagel
Fashion in Progress 154 The story of “Shadowless”, texts by a team of free lancers who did this shooting. 160 Sophia Micol, the story of a commissioned shooting, texts by the stylist and the photographer.
Focus On 96 Fat is beautiful! Interviews with photographer Yossi Loloi and Cheryl Hughes, Hughes Models’ owner 106 Theater in a click! Interview with Erwin Olaf and his gallerists Sarah Hasted and Joseph Kraeutler 118 “One Shot: The Landscape”, results of the mini competition presented by The International Photography Awards 124 “Abstract Surfaces”, interview with Edoardo Hahn 128 Interview with Photo Reporter Emiliano Mancuso 134 “Working in Vancouver…” by photographer Shimon Karmel 142 “From Model to actress”, interview with top model Pavlina Nemcova 148 The “Paper-cut-project”, interview with stylists Amy Flurry and Nikki Salk Not Only Credits 143 “Don’t flap your eyelashes!” interview with make-up artist Dorita Nissen Location&More 130 Temporary Design Museum 135 GreenGate and Sunrise, beyond design there is your “me”, by designer Paolo Ciacci
Fashion t: Francis Wong*
The Evolution of the Fashion Industry Stylesight. Stylesight is the most trusted name in trend, providing worldclass content, tools and technology for creative professionals in the style and design industries. It combines accurate forecasting and expert trend research with cutting edge technology to make the creative journey faster, more efficient and costeffective – the industry’s first and only “Creative Platform.” Stylesight’s content links inspirational images, runway analysis, retail and trade show coverage, global events and cultural movements that impact the way we create, connect and live. Groundbreaking, yet intuitive technology makes the entire site customizable and actionable, offering a virtual working environment where ideas can be realized and shared. Stylesight is headquartered in New York City, London, Hong Kong and Shanghai, with satellite offices in Australia, Brazil, Guangzhou, India, Istanbul, Korea, Los Angeles, Malaysia, Taiwan and Tokyo. Additional correspondents are positioned around the world. Subscribers include thousands of the world’s leading manufacturers, retailers and designers. My job. As Senior Vice President, Creative Director of Stylesight, I work closely with the CEO on managing the relationship between marketing, sales and content, with site design and functionality. I oversee the art direction of Stylesight, as well as the New York and London design teams. I also oversees Stylesight’s Translation Department. Additional roles include concept and new product development, as well as daily interaction with Stylesight’s Editors and Department Managers. The photographer and creative director’s role. Fashion isn’t just about selling clothing - we sell desire. Successful brands use the photographic style to set the tone for their branding, creating a new type of
desire that makes you want to own a piece of the collection. Creating the right “desire” is critical for positioning a new brand. A fashion photographer has an extremely important role to play here, translating the creative director’s vision into visual form. The partnership and chemistry between a photographer and a creative director define the brand’s first impression. Being updated. One of the many challenges of working in the creative world now, is that there is such a plentiful array of information out there. It would take forever to browse all of the available information. Reliable, trustworthy media, who have industry knowledge and experience aggregating and curating content out of this vast array of information, saves us time, allowing us to put our focus back on the creative side of our job. This is exactly what we are doing at Stylesight for the style and design industry, just as Image in Progress does for the photography industry. The evolution of fashion campaigns and catalogue photos. ‘Digital’ and ‘Mobile’ are the keywords. The speed in which we share information is changing the way the industry works. Most creative directors only want digital photography. I proof most layouts using the iPad when I am on the road. In a studio, we can shoot 20 styles in one day - this would never happen if we were not using digital photography. On the same day of the shoot, you can pick the top photos, crop them and have a mock-up done. Many campaigns are only presented online, with less print and more video. Lighting is also becoming extremely important for creating contrast in digital displays. I have designers based in Boston, London, New York and Hong Kong, working as a team in cyberspace, brainstorming via video conferencing. www.stylesight.com
*Based in New York, Francis Wong is Senior Vice President, Creative Director of Stylesight. Fluent in English and Chinese (Cantonese and Putonghua), he holds a Masters of Science in Information Technology Education from the University of Hong Kong. Francis’ extensive knowledge of the design industry stems from a diverse career experience. Prior to joining Stylesight, he was the Senior Designer for A Partnership, Inc., where he executed designs for print, Internet and TV production. Before moving to NY, Francis lived in Hong Kong where he spent time teaching Technology Education to professional educators at The Hong Kong Institute of Education. In addition, he worked as a freelance creative director for the Hong Kong record label, LYFE Company Ltd., and did freelance design for Sony Pictures Home Entertainment (Asia). He also served as an IT project consultant for the Hong Kong Government. 8 IMAGEINPROGRESS.com
Flavio Lucchini is invited at the 54th Biennale di Venezia, Italian Pavilion, Lombardy, in the great overview dedicated to Italian art, a project by Vittorio Sgarbi - June/November and simultaneously What women want(?), solo exhibition, presented by Alan Jones Arsenale Space - Riva San Biagio, Castello 2145, Venice - June 1st/July 25th Sign off design, sculpture exhibition, curated by Luca Beatrice, SlideART Edition Archivio di Stato - Chiostro SS.ma TrinitĂ , Campo dei Frari, San Polo 3002, Venice June 1st/November 27th 100 artworks/20 years archive, solo exhibition, project by Gisella Borioli MyOwnGallery - via Tortona 27 bis, Milan - May 11th/October 14th www.flaviolucchiniart.com - info@flaviolucchiniart.com
graphic design StudioB16
DURING LA BIENNALE DI VENEZIA 2011. 54 FLAVIO LUCCHINI IN VENICE AND IN MILAN
Fashion
t: Martina Mueller*
My fashion brand and the best ways to get the right photographer… Callisti, my Fashion Brand. I arrived enthusiastically on the fashion and design scene after several years through which I was creating and sewing for my friends and family, since I was 13. When I was 19, I presented my first collection successfully in an avant-garde fashion shop in the Viennese 1 District. Then at 23, at the end of my university studies as a graphic-designer, I went to Miami and New York, where I derived the influences for my next collections. My inspirations came from the diversity of the people, the Broadway theaters, the art and architecture. The elegance and simplicity of the architectural landscape, glamorized by mirrored glass and classical lines, with elegant, ornate details show up impressively in my latest work. The style of my fashion brand, Callisti, which I founded in 2007 opening my shop in Wien, is extravagant, fancy, very feminine and sexy, but always with a noble, classical touch. Every single piece, whilst never being too outrageous, is essentially all about sensuality and feminine power. The chic & funky accessories are the pure completion for every single outfit. I do change every collection, but you can always recognize the typical, specific Callisti style in every single piece…. People say you can immediately recognize my dresses with no doubts ;). Moreover I love to work with elastic materials, translucent fabric, sheer silk, lamb nappa leather…
perfect ingredients for the woman I have in mind: a sophisticated, glamorous, modern & chic businesslady, who should always feel the center of the world while wearing my creations… Actually Callisti‘s Greek origin, “Kaliste”, means: “For the most beautiful”! Shooting my Callisti collections… I like very clean and simple images! Straight lines, not too much distracting stuff in the background, not too many colors... I prefer to keep it classy ;) How do I look for the right staff to shoot my dresses? There are different ways. I mainly find their work in magazines, on creative on-line pages or talking with other people from the fashion-biz... And don’t forget Facebook! Fb and other creative social networks are very useful to get in touch with other professionals and in general to spread even my work. However lately it was even another easier way I chose my photographer. Actually it happened that a photographer came over to my store, she introduced herself and her portfolio, which was absolutely stunning, amazing... It was such a nice start! Also I love to manage by myself other important aspects to shoot my collections. For example the styling or the research for the right location… www.callisti.at
*Born in 1975, Martina Mueller has launched her label “Callisti” and opened up her first store in Wien, her birth city, in January 2007. She is the Creative Director, the heart and the brain behind her brand. Her unique sense of aesthetics has already earned her a distinguished place in the fashion business nationwide. Everything she produces reflects her exclusive approach to elegance. She has a deep understanding of woman’s form and shape and there is a huge amount of integrity in her work. The ambition behind Callisti is to evolve and develop the distinctive design universe reflecting Ms. Mueller’s unique style. 10 IMAGEINPROGRESS.com
Fashion
t: Dario Chicco*
No brush, no colors, no perms, no products...
Let me tell you my story and my 100% pure hair cutting… I fell into haircutting by mere accident. I had just left high school and a friend of my father’s asked whether I was interested in cutting hair at a very exclusive men’s barber shop that also cut women’s hair. Hairdressing in 1964 in Australia was mainly sets, perms, colors and basic haircuts whereas in the continent and England it was the beginning of the wash & wear cuts. Charles and Victor, whom I worked for in Canberra, were my mentors in French cutting. After three to four weeks of watching the two brothers, and with practice on my friends, I picked up the skills and was cutting full time. It was the period of the Mia Farrow short haircut and layered bobs. Fortunately for me tech college did not exist in Canberra at that stage, otherwise I would have ended up being more of an all-round hairdresser doing lots of colors. So, the skills of barbering and hair cutting have brought me to where I am today. My clientele at that time were diplomats, politicians, fashion models, actors and media types. It was the time I cut the hair of George Lazanby, a past James Bond. So I began with an interesting clientele. In the late sixties I moved to Sydney and worked with another great French cutter, Denise of Paris. It was here in Sydney that I also met John Sahag, with whom we would have frequent discussions on French cutting techniques. John was a master haircutter that became internationally famous. In the early seventies I moved to Melbourne and worked for Edward Beale who at that time was the Vidal Sassoon of Australia. In 1972 I opened Just Hair in partnership with a person that was not a hairdresser. Big mistake but it was at this time that I cut the hair of the Rolling Stones and Santana when they were touring Australia.
I opened my first solo salon in 1974, “Ecru hair”, in Melbourne. It was here that I started to get a lot of media coverage through magazines, newspapers and doing haircuts for film, theater and TV. Rocky Horror, Tommy, Mad Max, etc., etc. In 1984 I moved to Sydney and opened Voihaircuts and I am still operating as the only wash & wear hair cutter, I never use a brush, no colors, no perms, no products. My philosophy and technique is that I am !00% pure in this industry that is full of poisons and toxic chemicals that are harmful to the operator, clients and environment. I even water down shampoo because it is full of chemicals. The art of cutting is overtaken by hairdressers that make more money on colors and selling products. My cutting techniques are mostly French, with the combination of English and my own, and have been used in Redken and Vidal Sassoon TV commercials. I have a reputation of cutting in an unusual and fast manner. I may flip your hair over and cut long hair with electric clippers. I don’t merely cut hair, I sculpture and carve hair so that it simply falls into shape. My natural way of cutting is not for everyone, if you have tortured mannequin high maintenance hair, don’t come to me, unless you are willing to change your habits. The perfect haircut should flow, move and be lively. It should have no restrictions, it should be adaptable and move from left to right front to back, under any condition. It is sculptured into the shape of the head. Cutting is not just dealing with the growth of hair. You have to consider the body shape, height and weight, bone structure and face shape condition and quality of hair, work and lifestyle. Design you see. Quality you feel. www.voihaircuts.com.au
*Born in Trieste in Italy, Dario Chicco has been living in Australia since he was 5. He started cutting hair in 1964. It was the beginning of the cut, wash and wear period and he had more of a French influence as well as English techniques and his own. He has always been a cutter with the uniqueness of not using a brush, only drying by hand. He has cut the Rolling Stones and Santanas hair and has an extensive clientele. His work has been featured in most major magazine and newspapers and his cutting skills have been used in both Redken and Vidal Sassoon TV commercials. 12 IMAGEINPROGRESS.com
EMANUELE GAROSCI RACE-CAR DRIVER & HOTEL DEVELOPER
Behind every original property are the original people who make it happen. Design Hotels™ presents its most illustrious personalities. Former race-car driver Emanuele Garosci brings an elegant, edgy, emotional vision to a magnificent little palace on Venice’s Grand Canal.
Video t: Corey Reese*
Using DSLR for videos
Advantages and disadvantages
The DSLR has bought new endless possibilities of what you can achieve and shoot with the photo camera. Photo Camera’s such as the 5d mark 2, 7d, X2i, just to name a few, has allowed independent film makers - with no budget to big budget Hollywood productions - to capture great quality that makes people take notice. Some advantages of the photo camera. Full HD, great quality right out of the camera, Small and light weight, cost effective, ability to shoot in very low light, array of lens available that you can use for photo, still photography and motion. Also the DSLRs are compact cameras and are easily mounted on moving cars, to fitting in very tight spaces. Some disadvantages. Because it is not a dedicated video camera it only records 12 minutes at a time. It is not made for shooting for hours straight or longer but more for short bursts. On board audio capture is not too good right now. It can overheat if you are shooting for long periods. The small size can be hard to balance for steady shots. What can you reach with a normal camera that you’d never be able to have with a photo camera? Right now, I would say the time limit of how long you can record without the camera stopping is a limitation. I would not say that the DSLR would never be able to match it but for now, functionally speaking, it is not able to match that. Also Film is Film, I think in the future the DSLR will get close to the quality of film and maybe one day it will take its place. Some useful tools. An array of different lenses to use for wide shots to close-ups. Separate Audio recording
devices to capture sound, Video Lights, Hand held gear for moving or walking shots, and a nice tripod. Basic Set for video, what is my advice? Depending on what you are going for, you will need camera of choice, 2 to 3 light setup, main light, fill and backlight. Audio devices to record sound for later sync in post. Some mistakes to avoid. The most common mistakes range from the subject being out of focus, poor lighting, terrible sound quality, poor filming angles and setup. The best way to correct the problem would be to get it right on set. If the subject is out of focus in post there is almost no way to fix it without reshooting. On set check focus to ensure sharp images. Lighting: you can adjust down or up slightly in post but too much will start to take your image quality down. You can adjust sound some but bad sound will come back to haunt you if you have a great picture quality but the audio sucks. Best thing would be to have someone monitor the audio on set so you have an idea of the quality you are getting. It is very important to make sure you shoot for the edit to ensure footage will match up with proper angles and use of the 180 rule. Software Advice. I use Adobe CS5 Premiere pro, after effects for all editing. It allows you to import files right from the camera and begin editing right away. No waiting to trans code the files before you can edit. Tips. I have a new series where I’m training other on how to get the most out of your DSLR camera via Youtube and my website, I invite people to request new tuts on questions they may have. www.coreyreesephotography.com
*Corey Reese “C. Reese” is a renowned multi-media personality, model, actor, photographer, film cinematographer and editor born and raised in Decatur, Georgia, USA. His successes have stretched through the entertainment industry starting in 2003 and by 2005 he reached Cosmopolitan’s 50 Sexiest Bachelors, granting him access to Regis and Kelly for a two-time appearance, as well as an appearance on The Today Show. C. Reese has been seen on billboards in Times Square for the Black Single’s ad campaign as well as throughout the internet where his presence is prominent. His photographs, which have also been published within the music industry, include CD covers for Canton Jones as well the legendary Jennifer Holiday on her collaboration w/ Pastor Warnock. All beginnings lead to others, and C. Reese’s latest beginning is as a Cinematographer. One of his first projects includes, The New Me (2009) starring Derrick Toles; C. Reese was the Director, Editor, and Director of Photography. He has completed camera work for Listen (2010). C. Reese was recently named Director of Photography for the short film project MAN-I-FESTED (July 2010). 14 IMAGEINPROGRESS.com
Brand and Future
t: Dirk Schoettke*
Producing plug-ins to help your creativity. Nik Software’s story, tips and news. The Alliance. Nik Software was founded in 1995. In 2005 we entered into a strategic alliance with Nikon Corporation Japan and we received a minority equity investment from them. We currently collaborate and work together with Nikon to develop Capture NX, which was first introduced in 2006. Capture NX offers powerful and easy to use photo editing tools and also serves as a host for Nik Software’s award-winning Color Efex Pro product that contains 52 photographic filters with over 250 effects. Recommended workflow. When working with a normal, non-HDR image, we recommend starting with noise reduction using Dfine. Then Viveza can be used to enhance color, light and structure. After balancing the color and light in the image, creative effects can be applied with either Color Efex Pro, for color enhancements or Silver Efex Pro for black and white conversions. Finally, the image can be finished with Sharpener Pro to optimize the image’s detail and sharpness for any output device. When working on an HDR image, either a true HDR image created from multiple images or a faux-HDR image created from a single exposure, we recommend first applying noise reduction to the original image series if needed, then merging with HDR Efex Pro. Color Efex Pro and Silver Efex Pro can be then used on the resulting HDR image to create a specific stylistic enhancement. Sharpener Pro can also be used to sharpen the image for output. It is important to keep in mind, however, that photography is a very individual art. We believe the 16 IMAGEINPROGRESS.com
secret of making amazing images with an individual style is to learn the rules, then break them to suit your tastes. Easy Interaction. We pride ourselves on developing not only powerful algorithms but also in developing visually pleasing and great user interaction. We strive to make every feature and functionality of our products discoverable, so that our users spend less time learning how to use the software and more time experimenting with various tools and enhancements to improve their images. Our goal is to ensure that we develop specialized tools that our customers will use again and again. The only way to truly achieve this goal is ensure that the tools are powerful and easy to use. Our patented U Point technology was developed to solve one of the most common problems photographers face when editing images which is selectively editing colors or objects on an image. Traditionally users have used complex layers or masks to selectively edit images, since the introduction of U Point technology, which is now found in all of our products including Capture NX, users can now selectively edit images without the need for any complex layers or masks. With U Point technology users can simply drop a control point on any color or object and modify virtually any parameter with precise, selective control. To ensure our users feel confident and understand the true potential of what they can achieve with our products we continuously invest in education. Our education strategy incorporates active participation in numerous tradeshows and dealer events, free online training videos, and live daily webinars. We offer up to 50 free online trainings per month on all
Brand and Future
of our products in 5 languages. Customers can also download free 15-day trials of our software and participate in our webinar trainings. Our customers can, essentially, get up to speed on all of our products prior to purchase. Best selling plug-in. Our best selling individual plug-in is Color Efex Pro and a very close second is Viveza, however our best selling product is our Complete Collection. Our Complete Collection combines all of our plugins into one package and offers a significant savings over buying our products individually. In Europe we sell 35% of our products in the retail channel, however there are differences in the ratio of online to channel sales in the various markets throughout Europe. Currently we are experiencing an upward trend in sales in the retail channel and we are pleased with the increasing demand for our products from hobbyists and nonprofessionals. Computer piracy. Our users can install their software on two different personal computers. To combat computer piracy our
products provide a protective mechanism via online product activation. News. We are always working on new products and researching new technologies that we can offer. We recently introduced our Silver Efex Pro 2 product, which has been very well received and is considered by many professional and amateur photographers as the best black white solution on the market. With Silver Efex Pro we set out to create the best black and white software and, based on the market feedback we’ve received, we believe we have met that goal. Regarding new things in store, we encourage everyone look for our upcoming mobile applications we will roll out later this year.
www.niksoftware.com www.nital.it
*Dirk Schoettke is the Managing Director of Nik Software GmbH, a wholly owned subsidiary of Nik Software, Inc.. In this role he is leading the European Sales and Marketing and Engineering operations and he has led the company’s consistent growth in Europe since 1999, when he was appointed as top Executive Manager in Europe. Before joining Nik Software, Dirk Schoettke was Managing Director of High Performance GmbH, a specialized consulting company providing training and education services to the world’s leading imaging organizations such as Epson, Minolta, Kodak, or Nikon. Prior to founding High Performance, he established a successful consulting practice for integrated software/hardware solutions or the graphic design and imaging industry, working for some of Germany’s largest advertising and marketing agencies.
PUBLICATIONS
ph: Emin Kadi - t: Emanuele Cucuzza
THE NEW FRONTIERS OF INDEPENDENT PUBLISHING INTERVIEW WITH EMIN KADI,
PHOTOGRAPHER, CREATIVE DIRECTOR AND PUBLISHER OF CLEAR MAGAZINE IMAGEINPROGRESS.com 19
AcquaJoss - Conselice, Ravenna
PUBLICATIONS
Stefano Cerio
Stefano Cerio
A Q U A P A R K
AQUAPARK Author: Stefano Cerio - Texts by: Gabriel Bauret e Cristiana Perrella - Publisher: Contrasto - Year: 2010 Size: 30 x 24 cm - Pages: 94 - Photographs: 32 color photos - Setup: Bound - ISBN: 978-88-6965-285-1
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ph: Stefano Cerio - t: Emanuele Cucuzza
STEFANO CERIO
A FINE ART PHOTOGRAPHER
AT THE LAUNCH OF HIS BOOK, AQUAPARK, STEFANO CERIO TOLD US ABOUT HIS TECHNICAL AND ARTISTIC CHOICES, GIVING US USEFUL TIPS ON HOW TO SET UP A TRULY FINE ART EXHIBITION.
Des électrons sous les Paupières #1
ph-t: Elise Boularan*
Elise Boularan
IMAGEINPROGRESS.com 37
ph-t: Fabrizio Alzati*
EUROPOORT
MY PREVIOUS LIFE. When I met Emanuele Cucuzza, at the Furniture Fair in 2007, we started talking about publishing and photography right away. Back then I used to work for a Japanese firm of architects with offices in Tokyo, Osaka, New York, Los Angeles and Milan. I traveled a lot for them and I never left home without my Leica M7. THE PHOTO AROUND THE CORNER. I was more than just a photo buff and the temptation to follow my instinct and to become a full-time photographer was already strong. Years of photo reports went by, when I finally made my decision. So, I updated my website, took stock of my situation and slowly revived some old contacts. However, Emanuele – whom I had talked to for some of my first photo reports – got in touch with me before I got in touch with him. He talked to me about Image in Progress – his new publishing venture – and asked me to tell my story. To be honest, I was a bit uncomfortable because, even though I worked in communication, it was not easy all of a sudden to zero in on myself.
44 IMAGEINPROGRESS.com
THE CHOICE. So I decided to talk, though not about me but about Europoort, one of my recent photo reports. What you see here are obviously only some of the photos available on the website. I left the choice of the photos to be published entirely to Emanuele, because I think that editing a magazine involves a personal touch that reflects the style of the publication. After all, even though it is hard to be objective, I made my choice at the beginning and, also from an emotional point of view, I have problems in summarizing in a few photos a project that lasted months or years and involved many trips… Maybe a full account can be given only with a book. MEMORIES FROM JAPAN. Anyway, before I start talking about this project devoted to Rotterdam’s port, I think I should relate first of all to a previous trip to Japan. About a couple of years ago, as I was going by taxi on the highway connecting Osaka’s airport to my hotel, and running parallel to the sea for several kilometers, I observed with interest a long series of warehouses, wood storage areas, steel plants, incineration plants, petrochemical
ph-t: Sara Munari*
My body says... “I travel in photography between a smile and dizziness. As I shoot, I open an imaginary window from where I see the Mad Hatter, Alice’s bunny and all the Seven Dwarves singing. Often I look for occasional events in the day-to-day, trying to capture a busy world - both varied and multifaceted - placing everything on the brink, as if everything were about to fall. I tell my story through the images I see. I like to seek. The traveler’s art has been demolished by all-inclusive tour packages, but I stay away from that, I stay away from the brochures of travel agencies and journey in photography. I feel like Palomar, Italo Calvino’s famous character. In “The Naked Bosom”, Palomar walks on a beach, where he sees a woman sunbathing with her breast naked. During his walk, Palomar feels the different degrees of participation in the act of watching. Rejection, indifference and enjoyment of the esthetic object by the watcher. This part is very close to my approach to viewing, for the trial and error technique guiding the analysis of the right perception of things. The insecurity that I feel by trying to eliminate every model and the constant instability of the results of my intellectual research reverberates from reasoning to reasoning, lending positive assuredness to the changeability of my visual doubt. How does one look at an interesting subject? When is something so beautiful as to inspire the shooting of a photograph? I don’t know what beauty is. Beauty is an open word to signify a state of things that combine through my senses. I know how the sight of something beautiful changes me, that’s why I use it. But photography is not enough, the reality of the image leaves me wanting for something. I break it down, I re-use it, I sully it in many of my works. Photographs reproducing the truth (if that were possible) are geographic maps where the names of the locations are missing. I put those. My photographs are loose paper in an open binder, they fly in all directions. This is how I try to look at the world, by changing my perception of reality and revealing the only state of things where everything seems possible to me. The work on my body, shown here, is evidence of the research I have been long carrying out. Here bodies
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take on a difference substance. They seem almost thrown there, abandoned or flying. Naked bodies have been widely used in the history of art but this is more a story on “not naked” or on the body without “being” inside. It’s like a map, a discarded rag, an empty container. I don’t have a special relationship with my own body; I am not seduced by it… This may sound juvenile but using it is a way of recognizing my identity, it’s a writing space, a sheet where I can write a speech. Through expression, movement, sensorial stimuli and my imaginary representation, I rediscover its existence and that it supports me. “My” body is no longer a pure art object, but a medium of expression; it accommodates my language and is a language in itself”.
Sara Munari
Sara Munari was born in Milan in 1972. She lives and works in Lecco. She studied photography at ISFAV, in Padua, where she graduated as a professional photographer. She teaches history of photography at the Italian Photography Institute in Milan. In 2005 she took the post as art director for Leccoimmagifestival, organizing exhibitions of the works of both great artists, such as Francesco Cito and Giovanni Umicini, and your artists. She organizes workshops with such internationally renowned photographers as Franco Fontana, Maurizio Galimberti, Marco Anelli, Lorenzo Castore, and Giovanni Umicini. In 2001, she opened Photographic Station, a studio and gallery for photo exhibitions and where she carries out her activity as a photographer. She obtained awards and distinctions in photography and the arts and is part of the National Archive of photography of the Tor Vergata University, Rome. In 2008 she joined the Italian Photographic Archive. She exhibits her work both in Italy and abroad. www.saramunari.it
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Alessia Xoccato, Fashion Designer 10:33 am - Atelier/Studio Savona 123 ph: Pavlove der Visionaer
ph-t: Pavlove der Visionaer*
Psychovisual Notes
Opening line. I would like to tell you a story, the story of Pavlove the dog or rather “Pavlov’s dog” and how “Inneres Auge” began from this word play. Maybe not everyone knows what I am talking about when I mention “Pavlov’s dog” but I will refresh the memory of those who forgot. Pavlov was a Russian physiologist who, at the end of the 19th century, studied dogs’ conditioned reflexes, a sort of scientific approach to understand the working of living organisms also in relation to their living environment. I have never appreciated this man, who used animals for his experiments, but he inspired the development of my photo project that few months later I would call “Inneres Auge” (i.e. inner eye). I was fascinated by the idea of creating an alter ego that somehow switched the dog-scientist roles. It would make my project more detached and objective. So, Pavlove, a dog, was going to study human behaviors that intrigued him through photography. Man in backlight in space. I wanted to explore visually a number of questions I have always been fascinated with: people, spaces and 50 IMAGEINPROGRESS.com
the ensuing interactions between the two. How do people interact with the places where they live every day? Do people affect places or is the other way around? The more I wondered the more I wanted to get to the bottom of the matter. I tried to understand whether there was a science that studied the relationship between people and spaces, to find ideas or at least to have a general idea on the topic. I ran into the so-called “Living architecture” theories but they offered very little in the way of emotions to give me a satisfactory answer. I decided to focus my work on a limited group of people to be “analyzed” so as not to make serious inference errors. I would study the group of “young creative people living in Milan”, where creative defines people capable of creating or inventing something new applied to any type of work. I was going to analyze visually the most disparate aspects of creativity by taking photos of creatives where they lived. This was a nearly psychological approach to a work that until now had nothing photographic about it. Ego. Against this backdrop, Pavlove der Visionaer, whose identity is unknown to the masses, began to
ph-t: Jonathan Dy*
In the puddles with Jonathan Dy
My artistic endeavor can be conventionally defined by doubt, failure, limitations and oil paint. Until now nothing satiates my senses like it. I look for the richness of color, texture, and emotion of a brush in every medium of art - including photography. Around 2006 I became fascinated with the construction in Vancouver prior to the 2010 winter olympics. Massive holes in the middle of the city and skeletal frames brought to mind glass buildings in Zamyatin’s novel, “We”. And the close relationship between construction and decay. The work in progress was aesthetically more interesting than the finished product (usually condos) would become. In 2008 while documenting construction on a morning after heavy rainfall, I shot my first puddle. This sparked a series that permanently changed my perspective and approach with the camera... I continued to shoot architecture, focused on distortion, and aimed to capture familiar buildings in reflection. I soon realized 54 IMAGEINPROGRESS.com
that quality was largely dictated by the weather - the freshness of the water, wind, amount of sun/cloud, and time of day all played a hand in color and clarity. While most Vancouverites dread the rain, I saw in it the possibility for creating new opportunities. For the first few months I neither planned nor manipulated surroundings - to the extent that trash and random debris often became the focal point. I carried an ethos of non-manipulation into the handling of files in post-production, by not cropping, enhancing color, or making adjustments of any kind. Having never owned a computer also influenced that decision. And without any formal training in photography, excluding photoshop from the process aided my learning curve in a way that I could never afford with film. When the rain stopped giving in the summer I began making puddles with plastic, water and food coloring. This opened the door to portable reflections and brought painterly instincts back into
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ph: Maurizio Galimberti - Courtesy of Ca’ di Fra’, Milan - t: Marco Cittadini*
About Galimberti… As the opening of Maurizio Galimberti’s personal exhibition
approaches, we are going to tell the story of his unmistakable style…
Maurizio Galimberti’s self-portrait - “Autoritratto per Salvo” mosaico fuji instax - frottage su lapidi originali di Salvo - cm 24x32 -2011
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Ne xt e xh i b i ti on : MAURI Z I O GA LI M BE RT I “ In il lo te mpore vox p o p u l i … ” Openin g 6:00 p.m. – 9 : 0 0 T hu rsda y Sept emb e r 15, 2011 ( week end S TA RT ) T h e e x h i b i ti on w i ll c o nt i n u e u nt i l Sat urd ay Oc tob e r 22, 2 0 1 1 Ca’ di Fr a’ Via Ca r lo Far i n i , 2 – 2 0 1 5 4 Mi l a n gcompos ti @ g mai l.c om T: +3 9 02 29 00 2108 www.mau r i zi og ali mber t i . i t
*Since childhood (he was born in 1972 in Northern Italy), Marco Cittadini tried to express himself through photography. Luckily, his first attempts were forgotten by humanity. However, the photographic camera gave him a privileged mirror over his subject’s intimacy and saved his past where memory forgot. Even more, such research gave Marco a passion that is still alive and growing fast. Trying to move ahead and improve, Marco further developed his skills at the Italian Institute of Photography, in Milan, where he started a career as free lance photographer (besides being an engineer). Marco produced interesting travel photography projects: for example, from a Buddhist monastry in Nepal, where he spent a month as a resident. In portrait photography, one of his most interesting projects was recently exposed at the Contemporary History Museum of Milan. It portrays one hundred people from Milan, both vips and common people. The project captured, at the same time, the feeling of the city and the statistical distribution of races, professions, gender and age of the city inhabitants. Marco now shuffles amongst different European cities, working on new projects (one in particular on sustainable energy) and finding some deserved happiness. www.marcocittadini.it
Marco Cittadini photographed by Emanuele Cucuzza @ EdiFore
Success and experience have affected Maurizio. In his maturity he has perfected his style. “I have become more clean-cut, more rigorous and more compulsive in repeating the subject. From a practical point of view I am definitely more compulsive: every day I have the physical need to take photographs.” Today Maurizio is carrying on also other forms of communication and in any case other ideas of subjects. In the upcoming exhibition at the Ca’ di Fra’ Maurizio Gallery he will exhibit works of conceptual art, a philological-type of research on the meaning of the individual word and the variation of such meaning as the context changes. Should we worry that we will no longer see his gorgeous ”classical” works? Will Galimberti’s artistic future be decoupled from photography? Maurizio sounds reassuring. “My artistic future, which is also my present, is not decoupled from photography but is simply more oneiric, more inward-looking; it is linked to an approach that goes beyond the physicality of objects and the day-to-day. You can find photography in everything.”
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ph: Oleg Dou t: Natalia Archipova
The Oleg Dou’s effect
White 2007 (Paper and paints) - Oleg Dou - 100x100 cm - C-print under Diasec - Edition: 6
Interview with the Russian artist who brought old portraits’ style to the future…
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(left) Bambi 2008 (Toystory) - Oleg Dou 180x180cm / 120x120cm C-print under Diasec Edition: 6 (3 big + 3 small) (right) Cheburashka 2008 (Toystory) - Oleg Dou 180x180cm / 120x120cm C-print under Diasec Edition: 6 (3 big + 3 small)
Lisa Fetissova photographed by Lars Schwander
t: Michelle Bourcier
“I am always looking for a genius. A modest one, if possible.” Interview with Liza Fetissova, Director of The Russian Tea Room Gallery in Paris, where you can find Oleg Dou’s works. Founded in September 2007 by Liza Fetissova, the Russiantearoom gallery has been displaying the best of Russian contemporary photography. However, since 2010 the gallery has chosen to concentrate its efforts on Photography and to represent also international artists. Willing to introduce emerging and established artists and their works, who challenge the context and content of the possibilities of the photographic medium, Liza Fetissova with the Russiantearoom gallery has as its main objective the promotion of photography through the development of artistic projects, publications, and cooperation with galleries, institutions and independent curators. What was your past experience? “Professionally, my past experience was developed in another field. Emotionally, I have always been going to museums, have always been interested in art, so I have been “involved” since I was very young. Though I am not an artist myself, I am curious about and attracted by works of art.” Why did you choose to live in Paris? “Well, I wanted to move to the another country since I was 12, and life chose Paris as my destination.” What does Paris represent for contemporary photography? “Historically, Paris attracted a lot of artists, and some of them were photographers, or used photography in their artistic practice. Today Paris hosts the best photographic fair – Paris Photo - as well as several museums and important events. But as in many other art fields today, the physical space is no longer im68 IMAGEINPROGRESS.com
portant. Internetization, cultural diversity and multidisciplinarity – these are the characteristics that have changed completely the notion of space and time. And photography is the one that reacts the most to these changes: everything is an image. So Paris is just a physical point in space, but it doesn’t represent anything special, I think.” When was Russiantearoom established? What was your target and what is your editorial policy? “Russiantearoom was founded in 2007, and step by step we have been building something that we are fond of. It is not a stable and frozen organism, we are developing all the time. For four years, we have been representing Russian artists, meaning some young non-photographers, as well as some young and mid-career photographers. Since November 2010, we have decided to concentrate our efforts on exploring only the photographic medium. With the new space that we are going to open in September 2011, we are planning to start a new chapter, with the idea to study, through different exhibitions, the characteristics specific only to photography and to follow its changes over the last 30 years, as well as its current transformation. We would like to redefine its nature, due to all the current changes. So the editorial policy involves looking for strong artists capable of following this change, someone whose work can demonstrate in the best possible way the specificities of photography. Currently we are looking for international artists, especially those coming from regions
Cupid’s Delight | 2009 | 198cm x 229cm | oil on linen Courtesy TORCH Gallery, Amsterdam and Terry Rodgers
works: Terry Rodgers t: Emanuele Cucuzza
“I know what you desire…” Interview with Terry Rodgers,
ph: © Wouter Deruytter
painter, video and photographer of modern society’s fantasies.
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EXPERIMENT
images: Sandrine Pagnoux and Sophie Etchart t: Emanuele Cucuzza
Illustrating fashion photography… A journey into the secrets of a well-established duo,
illustrator Sandrine Pagnoux and photographer Sophie Etchart,
Sandrine photographed by Sophie
Sandrine Pagnoux’s illustrations on Sophie Etchart’s photos give birth to highly effective images. Mysterious and intriguing, they seem to enhance the essence of the photos taken, to bring it on a more intimate level. This is the result of a rare instinctive synergy between two professionals. They have been working together on a non-exclusive basis for a long time now, serving international brands and trademarks and becoming a symbol of the artistic elaboration of fashion photos. How did you two meet? Sophie: “During a lunch with friends. The first time I met Sandrine, she heard I was photographer, told me that photography was her dream and we decided in a second to work together, just to see.” Sandrine: “I was just coming back from Spain where I had lived for a year and we had mutual friends. And yes, it was as easy as that.” Were you friends before starting your profession or did you meet for business reasons? “No, we began to work in a photo studio we rented and we discovered each other during shootings.” Have you ever been afraid for your friendship, during your collaborations? Sandrine: “No, never.”
Sophie: “Nope. Why? We have different works so no competition between us.” When did you start your collaboration? “In 2000, when we began to work together as photographers under the name of “Julles & Julles”, then in 2006: we started our mix of pictures and illustrations.” What were your past experiences? Sandrine: “After some studies of iconography, I tried to work as photographer but this job didn’t give me good vibes. I was too shy, not very sociable, too solitary to manage a team. I was also frustrated because I could not do what I wanted just with a camera. So I decided to devote all my energies to graphic design/illustration.” Sophie: “I started in photography as an assistant in “Le Studio Astre” in Paris and after 2 years I worked as a fashion and portrait photographer for French magazines. I stopped my work as photographer after a few years and did philosophy studies but I was missing photography too much and I came back from time to time. I definitely decided to do only photography in 2005.” Sandrine why did you choose photography as an art tool? “I like to work on pictures because I love working IMAGEINPROGRESS.com 79
Sophie portraited by Sandrine
both from Paris. Their work gives birth to inspired and surprising images…
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Ph: Cyril Lagel Make up: Corinne Lebreton Hair styling: Christian Attuly Model: Caterina Norbis Location: Studio Daylight in Paris
ph: Cyril Lagel t: Michelle Bourcier
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t: Emanuele Cucuzza - ph: Yossi Loloi
FAT IS BEAUTIFUL!
FULLER FEMININE BEAUTY CELEBRATED AS IT TAKES CENTER STAGE IN MAGAZINES THE WORLD OVER… It may be also the result of a just war waged against anorexia but in the past few years, like never before, media have attributed a central role to “fat” also in the closed world of fashion magazines. From the high-drama advertising campaign by Oliviero Toscani for No-l-ita to that emphasizing “everyday” looks by Rankin (see interview Image in Progress no.1, page 33), The Dove Campaign for Real Beauty, the celebration of roundness went unscathed through the controversy sparked by the fight against fast and junk food. The art world has long been courting overweight men and women, showing them in painting and sculpture. The most famous denizen of that world is Botero but the list of artists that have cast their eyes on shapely forms is long and available on the web site of Dimensions Magazine, which is devoted to Fat Art and Culture. Such artists include photographers of the caliber of Joel Peter Witkin, Jan Saudek, Irving Penn… However, the real innovation was the recent publication of overweight pop icons even on covers, including that of a cult magazine like V, which is one of the standard setters for fashion and beauty. Its “Size Issue” celebrates obesity by giving free rein to some of the best international photographers and stylists with a binge of musty-read editorials written to explain why “Everybody is beautiful”. An aggressive intrusion in the world of fashion that promises to be just the beginning. Different clothing brands have long targeted this market adding that pinch of often-missing flair while the Image (In Progress ;) industry is witnessing model agencies stuffing their rosters with Plus-Size models, as illustrated in the next few pages with the interview with the head of the Hughes Model Agency. We expect suitable lines of sexy lingerie – which so far never went beyond size 50 - to appear pretty soon in the market. So, the culture of “Be yourself” has finally left the underground and nudity is no 96 IMAGEINPROGRESS.com
longer precluded, as attested by the cover of Max, dedicated to rock star Beth Ditto, photographed by the duo Mert Alas and Marcus Piggot, the enjoyable photos by Danielle Levitt for S Magazine (see interview with its founder on Image in Progress no. 1, page 38) and by “Belle Vere”, the wonderful cover story by Steven Meisel for Vogue Italy (June 2011). Beauty raised to the nth power overcomes all sorts of complexes, laying bare a brazen sensuality. The usual sophomoric and reassuring image is a memory by now and makes way for a new attitude, with the discovery of a feminine role that was too often denied or ridiculed in contemporary society. Thus, this special issue is dedicated to this woman and her newly-found confidence. We start with an interview with Yossi Loloi who, with her “Full Beauty” series, reflects this new phase in women’s advancement.
w w w. yo ssi loloi .com w w w. fu llb e aut yp roj ect .com w w w. w a ve p h ot ogaller y.com w w w. h u gh e s models 12p lus .co.uk w w w. o li v i e rot os cani .com w w w. r a n k i n.co.uk w w w. d i m e ns i ons magaz i ne.com w w w. d i m e n s i o n s m a g a z i n e . c o m / l i n k s / a r t _ a n d _ c u lt ure.h t ml w w w. sa u d e k.com w w w. i r v i n gp enn.com w w w. v m a gaz i ne.com w w w. sm a gaz i ne.com w w w. we a re ex p eri enced.com w w w. m a x . rc s .i t
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Candy - ph: Yossi Loloi
ph: Courtesy of Erwin Olaf / Hasted Kraeutler - t: Emanuele Cucuzza
THEATER IN A CLICK!
CELEBRATED DUTCH PHOTOGRAPHER ERWIN OLAF TELLS THE SECRETS OF THE “DE LA MAR” PROJECT, HIS LATEST SERIES OF PHOTOS JUST EXHIBITED AT THE HASTED KRAEUTLER GALLERY.
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“A Streetcar Named Desire” - ph: Courtesy of Erwin Olaf / Hasted Kraeutler
t: Jeremy Redstone
“CONCENTRATE ON GROUP SHOWS AND SUBMIT TO MAGAZINES!” A TIP FOR NEW TALENTS IN THE INTERVIEW WITH SARAH HASTED AND JOSEPH KRAEUTLER, THE DIRECTORS OF HASTED KRAEUTLER. BASED IN NY, THEIR GALLERY REPRESENTS ERWIN OLAF, IN USA, AND MANY OTHER GREAT PHOTOGRAPHERS…
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1st place in the ‘Future’ category “Nouakchott Opus Invertum” ph-t: Philippe Bernard - www.jeffgaydash.com “I feel fascinated by brightness and whiteness; the whiteness that emerges. In photography, the white means full of light, saturation, overdose. I am attracted to that colour, a vain testimony of both a dazzling and a vanishing sight. As a photo-grapher in its original meaning, I play with this light, between appearing and disappearing. Looking for “vestiges of future”, I went to Africa. I chose Nouakchott because it’s an young and ambiguous African city, full of light, in the middle of two deserts: mineral and aquatic. I found these shipping containers on a sport field in a sebkha between the town and the ocean. To photograph this city, I imposed two major constraints: pervasive light and an uninhabited landscape. I therefore chose to work in the middle of the day, especially on Fridays, at prayer time. Finally, in post production, I accentuated the overexposure in order to reinforce the sensation of being bathed in light.”
t: Melody Jordan
ONE SHOT: THE LANDSCAPE
RESULTS OF “ONE SHOT: THE LANDSCAPE”, ONE OF THE MINI COMPETITIONS PRESENTED BY “THE INTERNATIONAL PHOTOGRAPHY AWARDS”. AN IMPORTANT SHOWCASE FOR FLEDGLING TALENTS AND SUCCESSFUL PROFESSIONALS DEALING WITH A RATHER CHALLENGING THEME. SEVERAL ARTISTS EMERGED WHO ARE WORTH KEEPING AN EYE ON AND IMAGE IN PROGRESS, AS PART OF THE JURY, HAS DECIDED TO PUBLISH A GALLERY OF THE WINNERS’ PHOTOS AND SELECTED PHOTOS OF OTHER PARTICIPANTS...
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ph: Edoardo Hahn - t: Marco Consiglio
ABSTRACT SURFACES Born in Turin in 1962, Edoardo Hahn is a freelance photographer in Milan and has worked with such photographic agencies as Marka and Grazie Neri. Some of his photos and photo reports have been published in various magazines, such as Rolling Stone, D by Repubblica, Io Donna, Panorama, Traveller, Dove, Airone. His latest fine art project is entitled “Abstract Surfaces”. What is it exactly? “It’s a work where I wanted to go beyond the merely descriptive aspect, or documentation with photo images. I asked myself whether it would be possible to use that space – that rectangle or square – not as a record of reality but simply for what it is. I focused my attention on the border between our experience of reality and that which breaks it up it through unexpected ways to represent it.” Can you tell us how you created and carried on this project? “At the beginning there was this need to go beyond descriptive photography, or photography that it is said to “tell the truth” while in reality it is only a simplification. I started to create images where the border between real and unreal was ambiguous, not perceivable immediately. As I went on I realized that
by combining images in groups - diptychs or triptychs - I was able to express this border I wanted to focus on.” What is the message or emotion that you want to convey with these photos? “I want people who look at them to question the truthfulness of photographic images. Every day we are bombarded with countless images that claim to document reality. We tend increasingly to mix the real world with the virtual one. I would like visitors to wonder about what they are looking at.” What type of equipment did you use? “The photos have nearly all been taken with a digital reflex and many with macrophotography equipment.” …can you give us more details? I think our readers want to know more… “Every image had, obviously, different problems but I have always tried to respect – that’s the right word – the natural light that I found every time, waiting for the right moment to shoot. The equipment – besides the macro mode and the use of a tripod – is basic, just making sure that I would use fixed apertures not zoom.” Did you use digital post-production? IMAGEINPROGRESS.com 125
“Two boys of the Satere Mave tribe play in the water of the Rio Negro (Brazilian Amazon). The Satere Mave indios have been using for time immemorial the Guarana, a plant which is used to make energy drinks .” PDN’s Photo Annual 2008 for the Amazonia project. © Emiliano Mancuso - Contrasto
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ph: Emiliano Mancuso / Contrasto - t: Emanuele Cucuzza - Piero Consentino
“PHOTOREPORTER, ARM YOURSELF WITH PASSION, PATIENCE, HUMBLENESS AND… A JOURNALIST!”
HOW IS THE RELATIONSHIP BETWEEN PHOTOGRAPHY AND JOURNALISM AND BETWEEN AGENCY AND PHOTOGRAPHER CHANGING? WE ASKED EMILIANO MANCUSO, A CONTRASTO PHOTOREPORTER
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ph-t: Shimon Karmel*
WORKING IN VANCOUVER…
SHIMON KARMEL SHARES WITH US HIS STORY, HIS PROFESSIONAL TIPS AND HIS POINTS OF REFERENCE FOR HIS WORK AS A PROFESSIONAL PHOTOGRAPHER IN VANCOUVER promoter Love Leigh (Vancouver Maidens of Music 2011 Calendar). Hair and make-up: Atefeh Shojaie.
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ph: Stanislav Merhout for Calendar STOCK 2011 - t: Mette Thyssen
PAVLINA NEMCOVA
FROM MODEL TO ACTRESS
top model: Pavlina Nemcova @ Czechoslovak Models - www.czechmodels.cz - ph: Stanislav Merhout www.stanislavmerhout.com for Calendar STOCK 2011 - location: Paris
AN INTERVIEW WITH THE TOP MODEL WHO CHANGED HER CAREER TO BECOME A FULL-FLEDGED ACTRESS.
Ambition and the pursuit of success are justified for those who have not achieved it, but when you are an internationally acclaimed professional, like top model Pavlina Nemcova, putting yourself to the test in another career is a sign of inner strength, intellectual liveliness and an innate passion that go beyond all understanding of those who believe that fame is everything. As the star of advertising campaigns for brands such as Christian Dior, Cartier e L’Oréal and with her picture on the covers of such magazines as Vogue, Marie Claire, Cosmopolitan, Photo, Pavlina Nemcova (née Bakarova) had everything going for her but she is first of all a tireless artist and now is focused on her career as an actress, which is giving her great satisfaction. When and how did you start to work as model? “I was 15 years old, when I was discovered in the streets of Prague and, together with Eva Herzigova, we were the first two girls from the Eastern block to go to Paris.” Where were you born and what was that city like for a fledgling model? “I was born in Decin a small town in the north of the Czech Republic, but my parents moved to Prague when I was 6 months old. So I grew up in Prague where, as a young girl going to school and thinking of becoming a doctor, I had no plans for a career as a model.” Pavlina’s career did not take her away from university. She kept the promise she had made to her mother, a Russian literature and history teacher, and her father, Miroslav, an engineer for the highways department and the vice minister of transportation during the Communist years. She successfully passed her international law exams. Furthermore, she speaks five languages fluently:
English, French, German, Russian and obviously Czech. What is like working in the fashion business? Does this world suit you? “The fashion business is a very special world, where if you have no good background, no feet on the ground, you can easily lose yourself. But if you take it in a serious way, as a good opportunity to earn very good money, and you act professionally, then it´s an excellent way of life, where you discover the world and many different people.” Is there any photographer in particular with whom you have enjoyed working? “It wouldn’t be fair to all the others, if I say only one name…” Then tell me, what photographer you’d love to pose for and you didn’t have a chance yet? “...and unfortunately I will never have the chance to work with, it´s Helmut Newton...” Have you ever felt uncomfortable in posing for a photographer? “Thank God I never had that feeling!” What is the cover you are the most proud of? “It was a very long time ago, when I was posing with my new born son for French Elle and shot by Pamela Hanson.” What were your other highlights in your career and what are your goals now? “I had a chance to work for the best magazines, brands and photographers and I´m very thankful for that. Now my goal is to convince the world that I´m a good actress.” What do the work of an actress and that of a model have in common? And what are their main differences? “Well, I think that there is nothing in common between those two businesses. If you´re a model, IMAGEINPROGRESS.com 143
Amy Flurry (left) and Nikki Salk - ph: Mali Azima
ph: courtesy of Paper-Cut-Proejct - t: Noemi Russo
PAPER, SCISSORS AND…
FROM THE TIME THEY FIRST MET TO THE BIG COMMISSIONS, AMY FLURRY AND NIKKI SALK TELL US ABOUT THE “PAPER-CUT-PROJECT”: PAPER CREATIONS INSPIRED BY A MUSE CALLED FASHION. Walking by a store window decked by the “PaperCut-Project” both the fashionistas and those who could not care less about fashion would stop to look at what is on display. The wigs worn by Nikki Salk’s and Amy Flurry’s dummies draw attention for their unquestioned originality and the work that goes into making them. Perfectly reproduced flowers, feathers, manes and curls amaze and win over bedazzled passersby. It is not marble, plaster, or fabric but just hand-shaped white paper, the one typically used in offices, copy shops and schools. The attention to the details and the accurate reproduction of shapes add allure to the creations, making them 148 IMAGEINPROGRESS.com
worthy of artistic recognition. The maker of all this is Nikki Salk, in line with current trends thanks to the trained eye of stylist Amy Flurry. The marriage between art and fashion puts a stop to the frenzy of mass production, stimulating the phantasy thanks to cuts with a minimalist flavor. After a debut in 2010 at the Jeffrey stores in Atlanta and New York, the “Paper-cut-project” cooperated with Hérmes in Europe and Asia. Your past experiences as stylists led you to create the “Paper-Cut-Project”. How did this idea/ your cooperation come about? “Nikki began working with paper in art school and
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Paper-Cut-Project for The Bay
ph: Susi Belianska - Stylist: Marzia Fossati
Shooting “Shadowless� The detailed story of Shadowless, an uncommissioned photo shoot by a team of freelancers published by Jimon magazine. Make up & Hair Fabio Lo Coco - Make up & Hair assistant: Marco Minunno Starring: Viera @ Next Milan
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Skirt: Antonio Marras - Collars: Coseatre - Necklace: Paolo Pasotti
fashion in progress
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fashion in progress
ph: Francesco Mion - model: Martina Dimitrova @ Elite Milano
Sophia Micol
The story of the shooting commissioned by Claudia Usai, stylist and creator of the Sophia Micol brand.
Stylist and creator of the Sophia Micol brand: Claudia Usai “The idea to create the Sophia Micol line of hair accessories originated from the difficulties that any woman who cares about her style has in finding something different from typical perfume shop items. To design this collection, I took my inspiration from the great actresses of the past, divas that had the kind of elegance and style that have all but disappeared. Sophia Micol’s creations are entirely hand-crafted by Italian milliners. The only fabric used is silk, of the finest quality, from the Como industrial district. In addition to the collection, I make a series of unique pieces where, in some cases, I apply stones, ribbons and ancient buttons. For the photographs for the catalogue and the internet site, I took care also of the styling and got vintage clothes for the shooting session in this great store in Milan called Jacassi. The choice of the photographer was not casual. Francesco is a friend whom I met years ago when we both studied photography at the IIF. Then we parted ways: he went on to 160 IMAGEINPROGRESS.com
become a professional photographer while I had a baby first and then worked on Sophia Micol, though for me photography remained a passion. I had no doubt that I would pick Francesco because, in addition to being a great professional, I hold him in great esteem. During the shooting session, I too had fun in taking photographs; I took the pictures of the masks. Unfortunately the make-up artist wants to remain anonymous but she was key to the success of the session, as she met in full all my expectations (and they were a lot). As it can be seen, the model has different make-up styles (In some photos she has an art deco style while in others she goes from a 1970s look to a natural appearance). We were able to create a good team. The model was absolutely great. She has personality and I hope that these photos will give her exposure.” www.sophiamicol.com
Model: Farrah Holt @ Select - Make-Up: Dorita Nissen
Twist - ph: Chris Cowan - www.chriscowanphotography.com
Nails by Mike Pocock @ Streeters - Model - Make-Up: Dorita Nissen
Hb Korea - ph: Jeon Seung Hwan - www.studiojeon.com
not only credits
t: Noemi Russo
“Don’t flap your eyelashes!” An interview with make-up artist Dorita Nissen on her colorful world, where make-up and art meet…
On the way to perfection, what bothers often is self-consciousness about the use of make-up. Maybe it is a sort of nostalgia for untouched beauty and the absolute truth, but this innocent quest for baby-like beauty is still successful when talent and technique meet. Going through Fashion Trend, I discovered that behind this lucky combination there is also Dorita Nissen’s work. Her secret is not in in her brushes, eye shadows, lipsticks or mascara but in her innate passion for painting. Her colorful recipe for the sublimation of a portrait involves not only substantial skills and knowledge but also experience. Recently, she worked for Harper’s Bazaar China, for French magazine Twist, with photographer Chris Cowan while in the past she worked with jewel designer Hannah Martin and pop star Tahita Bulmer. Dorita, tell us about your relationship with art:
is it an innate passion which grew over time? “My passion for the arts has always been a part of my make. The love for drawing & painting started when I was really young, I could sit for hours on end in my room and just paint away. In upper secondary school I studied art and design, I used to skulk out of other classes to sneak down in the art room to paint. My graduation painting ended up being bought by one of the CEOs of the Danfoss group global.” In Denmark you studied Art & Design for three years, and then you went to Italy to attend an art restoration course; are your studies over? What is the path that a young aspiring make-up artist should follow? “I wanted to try something a bit different and that is why I moved to Florence to study art restoration. I was fascinated by the history in the arts. I did come to the conclusion that it wasn’t for me, I didn’t want to restore other people’s art, I wanted to create my own. I do think that having an art background is very valuable for a makeup artist. There are many paths to take, depending on what kind of makeup artist you want to be. Going to a good makeup school is a great start, getting a job working and selling makeup, would be another option as a beginner, as you get to work on many different old and young faces. Assisting someone established is one IMAGEINPROGRESS.com 165
Location&More t: Paolo Ciacci - Twentyone*
I designed a line of furnishings/installations that brings the connection between humans and nature to a higher level, creating a green oasis where one can leave everything behind and be at one with the environment, in a private and spiritual experience. GreenGate is the door to this experience. It is an object that speaks to our sensations. Following these sensations we place it in our favorite spot, the only position where the GreenGate provides a visual perspective study of the elements of the landscape, producing a feeling of “infinity”. It focuses on the inner part of the self and relates it to the spatial and physical reality, so as to prompt the mind to transcend the physical space. Between the silence and the sounds of nature, the GreenGate is a means that opens up any perceptive capacity, overcoming any limitation. The Sunrise is an oasis between plants and the sky, without any time and space constraints, giving the sense of freedom to achieve a higher stage, with an overview of all that which surrounds us. The surrounding environment speaks in a different way to people, so that everyone can potentially get in touch with their inner selves. Everyone should be given this chance. That is why GreenGate and Sunrise can be placed in the most disparate locations. For instance, I see them in the garden of La Louve in Bonnieux (Provence) and in the garden of a small apartment, or on the Champs Élysées in Paris or in the square in a small town. Any place will do when you just want to lose yourself. The GreenGate comes in stainless steel (or steel treated in different finishings), which allows it to absorb the lights and colors of the environment in which it is placed, adding style and character with its rigid shape. The Sunrise consists of a marble slab (which comes in different types) with holes that make it possible for plants to grow. GreenGate and Sunrise, designed with Filippo Pernisco, and manufactured by Safa Arredamenti and Simeg Marmi, respectively, are both available for sale and for rent for photo shooting sessions and private events. 168 IMAGEINPROGRESS.com
Paolo Ciacci photographed by Emanuele Cucuzza @ EdiFore
GreenGate and Sunrise, beyond design there is your “me”.
*Twentyone was established in Rome in 2008 by a group of architects and designers. Their prior experience in the planning and design of homes, yachts, hotels and public establishments allowed these professionals to accumulate a level of knowledge that, when coupled with the technical know-how of specialized companies, translates into quality, high-level design and products. Twentyone’s philosophy is based on a contemporary interpretation of history and artisanship; artisanal tradition is applied to new millennium thinking, trying to combine manufacturing skills with technology, scientific research and communication. All this gives rise to a unique mix of tangible and intangible, matter and thought. paolo@paolociacci.com www.paolociacci.com www.twentyonestudio.com www.simegmarmi.com www.safarredamenti.it
Location&More
Green Gate
Sunrise
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Location&More t: Emanuele Cucuzza
360 degrees of freedom… on a bench!
Union Bench is the first of a number of furniture products that are set to enhance how people interact with each other both at work and at play. “The design contributes to and benefits people’s daily lives”, says the Swedish Product Designer Jangir Maddadi. “I wanted to ensure that every shape had a meaning and that every part had a function” he adds. This is evident, as the contributors of the project include a physiotherapist, urban townplanner, landscape architect, interior designer, a design professor and several manufacturers. The bench can accommodate upto twelve individuals at once and allows the user to sit facing any direction they choose and with whom they please. The natural curves of the be-
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autiful organic design complement the fact that the bench is also made from robust and environmentally friendly materials. The bench comes in two main forms; an outdoor version that is made of concrete with an option of polyruthane or wood seating, and one for indoor use which is made from fibre-glass and finished with a comfortable leather cushioned seat. Less obvious is the multifunction screw-hole in the centre of each seat-base that allows for the addition of a back-support, parasol, and lift-device just to name a few of the accessory options available. www.idodesign.se www.unionbench.se
ENJOY A SLOW
AND ECO-ORGANIC
COUNTRY LIVING EXPERIENCE
On the border between Umbria and Tuscany, the residences of Fontanaro offer a new way to experience the countryside. During the stay, the care and attention of the Pinelli family will make you feel at home. Upon arrival you will enjoy a wine tasting or you can have lesson in olive oil tasting with an AISO sommelier (Italian Association of Olive Oil sommelier). You will be able to savor the products of the organic vegetable and fruit garden and to discover the secrets of olive oil, honey and saffron production. You can be guided to the cultural as well as wine and food marvels of the area, and even to the best cashmere producers..., or you can choose to stay and relax in 30,000 square meters of privacy.
www.fontanaro.it
Location&More
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Location&More
t: Valentina Volpini
Temporary Museum for New Design All eyes are on Superstudio Group for the off-fair events of Fuori Salone del Mobile 2011. The famous crossroad of photography, fashion, design and contemporary art became Temporary Design Museum. Image in Progress was there… Image in Progress continues to pay attention to the world of design and could not miss Design Week (12-17 April) during the Milan Furniture Fair 2011. FuoriSalone is becoming increasingly popular, with events displaying young designers’ prototypes and the latest collections of top brands taking place all over the city. This time of year the spaces of the Superstudio Group and the entire Tortona area, off the new Milan Fair and the city center, are used as meeting points and for exhibitions and happy hours graced by charming must-see installations. This year, in particular, Superstudio Group carried out three projects of great impact, with over 112,000 visitors: the Temporary Museum for New Design, Space A and Home & Spa Design “Abitare in Italia”. The Temporary Museum for New Design, which had been in the making for three years, gathered in Superstudio Più an audience made up mostly of professional operators. The 10,000 m2 area was divided in large galleries, to emphasize site-specific installations. Inside the atmosphere was evocative, with a combination of lights-sounds-videos by Canon, Mini cars hanging from twenty meters high and… the first issue of Image in Progress, whose presence there was justified by its selective distribution policy! Space A, too, set the stage for the great success achieved by the second edition of Innovation/ Imagination initiative, which gathered the best emerging designers, with their contaminations of different artistic languages. Serbia and Thailand featured two collective exhibitions devoted to their own young talents, including the winners of the Young Designer Serbia contest and
the 42 Thai designers who received the DeMark Award. Moreover, the UNICEF project and competition “Baby Pit Stop” was presented, with Pietro Lissoni as one of the members of the jury, to encourage breast-feeding in public spaces. On the other hand, Superstudio 13 in via Forcella featured experiential and sensorial paths devoted to private homes, with the exhibition Home & Spa Design “Abitare in Italia” (“Having a Home in Italy”). Home wellness was illustrated by the main wellness architects in twelve installations, each representing a different sensorial path within the concepts of Home Design, Bathroom Design, Spa Design, Design Lounge and Outdoor Design. Creations such as the Japanese bathtub Inax, capable of producing very soft bubbles without using soap, or David Trubridge’s indoor and outdoor furniture, built in wood or vegetable plastic, reflected the environmentand nature-friendly character of the exhibition. The reflection on the interaction among technology, environment and experiential component of one’s private space emphasized in the best possible way this new interpretation of living where psychic and physical wellness is fostered by sophisticated atmospheres and furniture. The social aspect was quite captivating, with the Cappellini parties and lounge areas where visitors could be entertained until late at night. This year marked another success by the Superstudio Group which, as noted by creative director Gisella Borioli, is already making plans for the 2012 edition. www.superstudiogroup.com IMAGEINPROGRESS.com 173
Novel t: Anita Zechender*
Photos of a Soul My Guy Laroches have always altered reality. Without them my photos would not look so visionary. I take them off because it is dusk and Central Park salutes Strawberry Fields and the soul of the artist that sang it. “Imagine” is the word that seems to be whispered by those trees; I am wearing my yellow ocher hat and I pull up the collar of my faux fur coat. Two years have gone by since I decided to follow Ethan in this jungle of skyscrapers, so I decided to take out my camera and start looking at the world through its lens. Tonight I am alone. I am often and I start playing. I would always love to do that and think of running from one party to another between Manhattan and Brooklyn and then going back to Rome, to my family, within the space of one night. I would love to think of crossing the line and then go back to my mother to sip herbal tea that tastes of childhood. Relative time devastates me. It takes my breath away. It reminds me that every second is like walking toward the unknown. So I decided to make it absolute, I decided to shoot a photo. I shoot one, ten, one thousand photos. Sometimes I forget to live to shoot photos, because living scares me. It is better to look at a photo; that moment seems like eternity and memory courted by melancholy; it challenges reality and tells a story. I often look ugly in photos, even though those who love me tell me that it is not true. However, I have to confess that when I look good in a photo I look like the princess of an unknown galaxy. This makes me believe that my camera can take pictures of what is not there. I run to the Dakota, say hi to the doorman and look at the window to try to meet history but Yoko Ono is not there. I shoot a photo and grasp the flame that is still alive. I go into the coffee shop across the street and order a cappuccino and a muffin. Taking a deep breath. I like to feel this way, free to be a femme fatale. Disguising my shyness with a faux fur coat, with little make-up and a lot of mascara; painting my short nail with red scarlet polish, taking a glimpse at them while I hold the taste and warmth of tradition. I see that tradition, it tastes like home. I capture it and shoot.
All the women sitting at the tables all around me have colored hair. I laugh because I feel alive, I feel unique in the different uniqueness, New York makes me feel alive. Tonight there is a party in Greenwich Village; Ethan and I are going there by taxi, bringing champagne and apple pie. I get out of the coffee shop full of my thirty years; I know I am not a little girl anymore but I feel so young. An Afro-American guy carrying a case of white milk smiles at me and pretends to shoot a photo. I do take a picture of him though. Here he is, in his striped rapper pants, with a smile as white as the milk he is carrying on his shoulder, and behind him a model wearing leggings and amphibian shoes, carrying a round baby in her arms who looks like a gnome. I told you, this lens captures everything: eternity, youth, other worlds, what is not there, whatever is there and fleeting away. Here it is my eternity, close only to the scents of my childhood, the creativity of other universes, nuances not yet conceived, paradise as I have always imagined it. He wears a 1930s hat and a je-ne-sais-pas-quoi-colored scarf; I run into his arms and that is the only moment where I cannot shoot. We run through Nolita’s streets; I have to buy something for tonight; there will be some colorful and interesting characters, a great sculptor from the Metropolitan and an up-and-coming gallery owner whom I met a few years ago. Ethan is pure science. I am art and creativity. He is the favorite subject of my photos, also when I could do without him. I take photos of him all the times; I do not want to miss anything of him, a grimace, his first wrinkle, a sign of our love, e reflection of me. I capture his likeness but I am free. He is what I am not and could never be. I look and think that other women could photograph him. This makes me vulnerable, blind and so I start shooting frantically pictures of everything and everyone, including the men of those women. It is 8 p.m. in Manhattan and there are no stars to be shot. To be continued in the next issue. anita.zechender@libero.it
*Anita Zechender, a free-lance journalist, a traveler by inclination, loves to observe the world’s nuances, understand their interconnections and leave them again free to play. After she obtained a Master’s degree in fashion, she has been researching new trends and has performed advertising work for Miss Sixty e Murphy&Nye. Writing for her has always been artwork, something that needs phantasy to be intuited, courted and loved. Photography, fashion and art unveil the eternity of time to those who have the soul to understand it. She writes about travel, photography, fashion, art and design for international magazines. Inspired by Bradbury, Nabokov, Allende and Tim Burton’s films, she is taking her first steps as a writer with a story written in installments for Image in Progress. IMAGEINPROGRESS.com 175
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MANAGING DIRECTOR: DIRK SCHOETTKE @ NIK SOFTWARE - CREATIVE DIRECTOR: FRANCIS WONG @ STYLESIGHT - STYLISTS: MARTINA MUELLER @ CALLISTI - CLAUDIA USAI @ SOPHIA MICOL - MARZIA FOSSATI - CINEMATOGRAPHER: COREY REESE - PHOTOGRAPHERS: FABRIZIO ALZATI - SUSY BELIANSKA - ELISE BOULARAN - PAVLOVE DER VISIONAER - JONATHAN DY - SHIMON KARMEL - FRANCESCO MION - SARA MUNARI - HAIR STYLIST: DARIO CHICCO - MAKE UP ARTIST AND HAIR STYLIST: FABIO LO COCO - DESIGNER: PAOLO CIACCI - WRITER: ANITA ZECHENDER
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