EYE-Photo Magazine Issue #01, January 2019 (photo magazine)

JANUARY 2019

Association’s journal of EYE-Photo Club eV

I SS U E # 01

WWW.EYE-PHOTOMAGAZINE.COM

Letters from the editor

H

appy New Year, dear readers!

Let me start with a small recap of 2018. As you know we have published 12 magazines on average with far over 200 pages. In our column “PhotoReview” and “Interview”, we featured 160 photographers from all over the world. In our Facebook selection column “EYE-Catching Moments” we presented more than 600 photos and photographers during the year. These are impressing numbers!

Together with your great support, we feel encouraged to continue our work and support the photographic community for another year!

With great joy and enthusiasm, we start the year 2019 and look forward to many new features, reviews, interviews and also to feature many great photographers from all over the world this year again!

The January issue starts with an interview. Our editor Thomas Füngerlings visited Sebastian Freitag. He tells about himself and the creation of his fantastic photographic artworks. Immediately afterwards, we introduce our guest columnist Nikita Stupin, who contributes a gripping account of Venice with fantastic pictures.

A special highlight is the following report by Denis Meyer! He sheds light on the effects of mass tour-

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ism on nature as well as on Iceland’s ecology.

In our columns “PhotoReview” we present the following photographers and their works: Alan King, Apostolis Lempesis, Branislav Fabijanic, David R Banta, Frank Meffert, Jean Marc Deltombe, Jim Graham, Juan Francisco Hernández Rodríguez, Juha P. Forsberg, Mauro De Bettio, Philippe Vermeiren, Sergio Boletti, Tadashi Onishi, Tommaso Vaccarezza.

Not to forget our EYE-Catching Moments: These are award-winning pictures selected by our online editors from our Facebook photo group with now over 17,000 active members.

The EYE-Photo Magazine team wishes you a pleasant reading and a good start into the New Year!

Yours, STEFAN CIMER Founder and Managing Editor

Cover photo by SEBASTIAN FREITAG Š

Because getting your work published DOES matter!

EYE-Photo Magazine is the independent, online magazine of EYE-Photo Club, a registred cultural association, providing a platform to talented and enthusiastic photographers from all over the world to present their work, regardless of their genre, to an international readership.

All images and text, published in EYE-Photo Magazine are the sole property of the featured authors and artists and subject to copyright! EYE-Photo Magazine shall not be liable for the content, quality, relevance or accuracy of any materials used in this issue.

Without written permission of its legal owner, no photo or text can be reproduced, edited, copied or distributed in any form.

EYE-Photo Magazine Š- all rights reserved www.eye-photomagazine.com office@eye-photomagazine.com

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CON

SEBASTIAN FREITAG

©

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INTERVIEW WITH SEBASTIAN FREITAG BY THOMAS FÜNGERLINGS

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COLUMN “VENICE” BY NIKITA STUPIN

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PHOTOREPORT “ICELAND THE SILENT EPIDEMIC” BY DENIS MEYER

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PHOTOREVIEW WITH ALAN KING

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PHOTOREVIEW WITH APOSTOLIS LEMPESIS

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PHOTOREVIEW WITH BRANISLAV FABIJANIC

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PHOTOREVIEW WITH DAVID R BANTA

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PHOTOREVIEW WITH FRANK MEFFERT

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PHOTOREVIEW WITH JEAN MARC DELTOMBE

TENT

PHOTOREVIEW WITH JIM GRAHAM

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PHOTOREVIEW WITH JUAN FRANCISCO HERNÁNDEZ RODRÍGUEZ

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PHOTOREVIEW WITH JUHA P FORSBERG

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PHOTOREVIEW WITH MAURO DE BETTIO

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PHOTOREVIEW WITH PHILIPPE VERMEIREN

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PHOTOREVIEW WITH SERGIO BOLETTI

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PHOTOREVIEW WITH TADASHI ONISHI

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PHOTOREVIEW WITH TOMMASO VACCAREZZA

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EYE-CATCHING MOMENTS SELECTION DECEMBER 2018

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Web: www.kasefilters.de Mail: mc@kasefilters.de Fon: +49 4402 973913 0

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interview

WITH BY

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SEBASTIAN FREITAG

T HOM AS F ÃœN G ERL IN G S

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interview

WITH BY

SEBASTIAN FREITAG

T HOM AS F ÜN G ERL IN G S

Hallo Sebastian, es ist mir eine Ehre, dass ich dich befragen darf. Vielen Dank, dass du dir die Zeit genommen hast!

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Stelle dich bitte kurz vor, wer du bist und was du machst.

Mein Name ist Sebastian Freitag, geboren bin ich Mitte der 70er in Düsseldorf. Auf meiner Homepage steht, dass ich Fotograf, Künstler und Blogger bin - das beschreibt das Ganze relativ exakt.

Meinen Kühlschrank fülle ich allerdings hauptsächlich mit meinem Job in einer großen Düsseldorfer Kunstgießerei.

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Kannst du uns sagen, was Fotografie für dich bedeutet?

Fotografie ist allgegenwärtig - sie ist für mich Ausdrucksmittel Trost und Stütze.

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Vor diesem Interview habe ich dein Portfolio angesehen. Neben den Auftragsarbeiten (Hochzeiten

und Konzerte) fallen die eigenwilligen und ungewöhnlichen Bildarrangements auf. Es ist eine wilde Mischung aus Kreativität, Technik und Mut, die du da zeigst. Was steckt dahinter und woher bekommst du die Inspiration?

Die Inspiration kommt eigentlich von überall her. Die Quellen sind so vielschichtig das ich sie kaum benennen kann. Oftmals finde ich Dinge auf Trödelmärkten, die ich für meine Bilder benutze oder vermeintlich alltägliche Objekte, wie Puzzleteile oder Nägel, die ich mit Bedeutung auflade.

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Hast du vorher andere Fotos gemacht?

Da müsste man erstmal das Vorher definieren. Wann beginnt Vorher und wann ist das Jetzt? Man kann natürlich sagen, dass die Fotos von meinen betrunkenen Freunden, die ich Anfang der 90er mit der Taschenknipse auf Festivals gemacht habe andere sind, als die, die ich heute so mache.

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Ich habe mitbekommen, dass du sehr viele Kameras nutzt. Wie setzt du die verschiedenen Modelle

ein und sind sie für deine Umsetzung deiner künstlerischen Visionen von Bedeutung?

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Die Sammelleidenschaft läuft so eher nebenbei. Meine Rolleiflexen, Yashicas oder Nikons setzte ich eher selten für meine Bilder ein, weil ich das schnell erhältliche, digitale Bild schätze und brauche. Für meinen Prozess der Bildfindung, der oftmals auf Try and Error basiert, ist das unmittelbare digitale Bild einfach praktischer.

Allerdings arbeite ich gerade an einer Serie über kleine, privat geführte Freizeitparks und Märchenzoos, die ich bewusst auf analogem Material fotografiere.

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Wie gehst du vor? Kannst du uns an 2-3 Beispielbildern von deinen Arbeitsschritten,

dem Arbeitsablauf bis zum fertig entwickelten Bild erzählen?

Die Idee vom Bild ist irgendwann da - vor meinem inneren Auge, aber dann ist es meistens noch nicht soweit - ich muss das Bild manchmal tagelang vor dem inneren Auge entwickeln, bis ich zur Kamera greife. Es muss aufgehen, wie ein Brotteig und immer wieder geknetet werden. So war es z.B. bei meiner Arbeit mit der zerbrochenen Flasche und den Nägeln. Dann kommt noch der handwerkliche Aspekt hinzu.

Ich habe in meinem Atelier bestimmt zehn Bierflaschen zerschlagen, bis die Splitter so aussahen, wie ich sie mir tagelang vorgestellt hatte.

Andere Bilder, wie das Foto mit den Puzzleteilen im Wald, sind ganz plötzlich da. Zwischen Idee und fertigem Foto lagen hier höchstens 2 Stunden. Ich bin morgens aufgewacht, hatte die Eingebung und 15 Minuten später saß ich mit meinem Fotorucksack und den Puzzleteilen auf dem Rad.

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interview

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SEBASTIAN FREITAG

T HO MAS F ÃœN GE RL I N GS

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interview

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SEBASTIAN FREITAG

T HO MAS F Ü N GE RL I NGS

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Eine Frage zu deinen Streetfotos: Interagierst du mit deinen Menschen auf der Straße

und wenn ja, wie reagieren sie auf dich?

Ich bin von Natur aus Fremden gegenüber eher zurückhaltend. Ich werde zwar von Menschen schon mal um ein Foto gebeten, aber jetzt gezielt auf Passanten, die mich interessieren zuzugehen, um sie um ein Foto zu bitten, liegt nicht wirklich in meiner Natur. Einfach mit der Kamera loszuziehen, um auf Bilderjagd zu gehen, ist nicht so meins. Mir kommen regelmäßig Leute entgegen, die ich interessant finde, aber 5 Meter nach der Begegnung ärgere ich mich, dass ich kein Foto gemacht habe. Das hat mich lange Zeit wirklich beschäftigt, weil ich immer Fotografen wie Eric Kim bewundert habe, die Blickkontakt mit den Menschen aufnehmen, ja sogar ganz nah an sie ran gehen. Meine Fotos von Fremden entstehen eigentlich immer spontan, im Vorbeigehen aus der Hüfte oder aus einiger Entfernung.

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Wie würdest du deine Arbeit im Vergleich zu anderen Streetfotografen zuordnen?

Das fällt mir wirklich schwer, da ich mich nicht als Streetfotograf sehe.

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Hast du Vorbilder?

Es gibt Fotografen, deren Bilder ich mir gerne anschaue, aber ich denke mir nie - hey - ich möchte mal Bilder machen wie Ansel Adams oder Henri Cartier-Bresson.

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Siehst du deine Persönlichkeit in deinen Bildern? In welchem Bild kommt das zum Aus-

druck?

Da ist eine ganz enge Verbindung. Ich spreche durch alle meine Bilder, sei es die inszenierte Schwarz/ Weiß Aufnahme, die ich Zuhause mache oder ein vordergründig kitschiger Sonnenuntergang aus Düsseldorf.

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Hat sich deine Art zu fotografieren verändert, seit du angefangen hast?

Sie verändert sich dauernd. Knackpunkt war mit Sicherheit mein 365 Tage Projekt, dass ich 2014 gemacht habe. Durch die mir selbst auferlegte Vorgabe, jeden Tag ein Foto zu machen, haben sich plötzlich unvermittelt Türen geöffnet - mein Blick hat sich geweitet.

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interview

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SEBASTIAN FREITAG

T HO MAS F ÜNGE RL I NGS

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interview

WITH BY

SEBASTIAN FREITAG

T HO MAS F Ü N GE RL I NGS

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Kannst du unter all deinen tollen Bildern einen Favoriten nennen, und wenn ja, welches

und warum?

Da habe ich eigentlich keins - es gibt keine Rangliste. Wenn ich einen Favoriten benennen müsste, würde ich meine Bilder in ein Bewertungskorsett stecken - das liegt mir fern. Jede neue Aufnahme, die ich mache, ist im Moment ihrer Entstehung die wichtigste.

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Was sind einige der wichtigsten Lektionen, die du gelernt hast?

Es bringt nichts verbissen an etwas ranzugehen oder etwas zu erzwingen. Inspiration und das Sehen kann man nicht erzwingen. Es gibt leere Tage, an denen ich keine Ideen habe und es ist auch wichtig solche Tage einfach anzunehmen.

Dann sind da noch die sozialen Medien, die mich manchmal dazu bringen, nicht gut zu mir zu sein. Sich nur mit Likes, Zugriffszahlen und Klicks zu beschäftigen bringt nichts. Das Leben findet da draußen statt.

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Welchen Rat würdest du - mit deiner Erfahrung - Leuten geben, die gerade in der Foto-

grafie anfangen?

Auf keinen Fall sich zu sehr mit der Technik befassen. Ich weiß, dass ich als der Typ, der über 150 Kameras besitzt als moralische Instanz nicht tauge.

Aber ich habe gemerkt, dass die ständige Beschäftigung mit der Technik den Blick versperrt.

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Gibt es Projekte oder Ausstellungen, an denen du gerade arbeitest und die du hier vor-

stellen möchtest?

Meine Idee, die ich schon länger habe, ist in unserem Garten einen Ausstellungsraum zu schaffen. Vielleicht ein alter Seecontainer, in dem ich Fotos von anderen Fotografen zeigen kann.

Im Moment arbeite ich an der ersten Ausgabe meines eigenen kleinen Magazins, dass ich in einer kleinen Auflage Anfang 2019 veröffentlichen möchte.

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interview

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SEBASTIAN FREITAG

T H O MAS F Ü NGE RL I NGS

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interview

WITH BY

SEBASTIAN FREITAG

T HO MAS F Ü N GE RL I NGS

SUMMARY Sebastian Freitag was born in the middle of the 70s in Dusseldorf, Germany. He is a photographer, artist and blogger. Photography is omnipresent for him, and it is a means of expression of comfort and support.

The inspiration comes from everywhere. The sources are so complex that he can hardly name them. Often he finds things on flea markets, which he used for my pictures or supposedly everyday objects, such as puzzle pieces or nails, which I charge with meaning.

The idea of the image is there at some point - in his mind’s eye, but then it is usually not yet so far - he has to develop the picture sometimes days before the inner eye until I reach for the camera. It has to rise like bread dough. So it was, e.g. in my work with the broken bottle and nails. Then there is the manual aspect added. I smashed ten bottles of beer in my studio until the chips looked like I’d imagined them for days.

Other pictures, like the picture with the puzzle pieces in the forest, are suddenly there. Between the idea and finished photo were here at most 2 hours. He woke up in the morning, had the inspiration and 15 minutes later he was sitting with my photo backpack and the puzzle pieces on the bike.

There is a very close connection to his personality. It speaks through all his pictures, be it the staged black and white shot, which he makes at home or a superfine cheesy sunset from Dusseldorf. There’s no point getting into something or enforcing something. You can not force inspiration and vision. There are empty days when you have no ideas, and you have to accept such days.

He is currently working on an exhibition space in his garden. Maybe an old shipping container, where he can show photos of other photographers. At the moment he’s working on the first issue of his little magazine that he would like to release in a small edition in early 2019.

Weitere Informationen findest du unter folgendem Link - more information about the

artist can be found here:

WEBSITE: http://sebastian-freitag.com/ FACEBOOK: www.facebook.com/SebastianFreitagPhotographer/ INSTAGRAM: www.instagram.com/herrfreitag/

FLICKR:

Lieber Sebastian, vielen Dank für dieses sehr interessante Interview!

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www.flickr.com/photos/gomjabbar76/

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interview

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SEBASTIAN FREITAG

T HO MAS F Ü N GE RL I NGS

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interview

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SEBASTIAN FREITAG

T HO MAS F Ü N GE RL I NGS

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COLUMN

“VENIECE” BY

NIKITA STUPIN

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“VENIECE”

COLUMN

“VENIECE” BY

NIKITA STUPIN

“Venice from those cities where both the stranger and local foreknow that they are exhibits” Iosif Brodsky. Neistselimykh Embankment

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know, hardly I will be able to describe Venice better, than it was made by great Brodsky. But nevertheless I will try if not to jump over ingenious mind but to be help to its works in waters of modern prose.

I will be short and my description won’t become the next map for the tourist because I possible don’t imagine the detailed description of Venice. How is it possible to describe indescribable? As it is impossible to call the city that isn’t city by the spirit, in essence. All the matter is that Venice never comes to an end, once it begun in destiny of the person.

The sizes of Venice are indescribable because even being in Moscow, for hundreds of kilometers from its waters, from infinite crowds of tourists and from a sound of church bells in the mornings, I am still there, peer into a haze over the Grandee the Channel, with some alarm inside of me, I consider a majestic Basilica of the Healing Mother of God trying to distinguish figures of four Evangelists, I wander my thoughts on the emerald surface of waters and I feel. I catch a smell of seaweed, it is alive, I hear a ring of coins around the corner, in one of small lanes, out of the corner of the eye I see a gentleman in bright clothes leads by the hand the lady in a smart dress. One hand, that on which the morning Venetian sun is reflected a patch of light in a massive ring on a forefinger, it slightly raises a hem not to soil it about a wet stone, two hours ago rain was pouring here. In Venice there is no time. Because time and infinity aren’t compatible.

They just don’t find a common language. I was there in 2016 and in 1810, and at the same time in 1200 and what there to tell, I saw how they pledged the first buildings in 697. I saw everything and didn’t see anything. But the most surprising that my travel to this beautiful, magic place, doesn’t come to an end still, till this day. Today, right now, when I write these lines, I sit in Moscow, opposite to the Tretyakov gallery, in small city cafe. But here I only as a transitory body. My soul still walks on quiet night small streets, it impetuously rushes on San Marko Square, with whistle twists around each of columns of the Palace of Rains and lifting waves flies along channels of the area Dosoduro. And to tell you fair, I don’t know whether I will be able to be former, whether I will return back or I will remain the captive of this mirage forever.One thing i know precisely, I won’t be able to divide myself and Venice. Because having visited there, I became Venice.

A series of works made by me in this strange place reflects my vision of this portal of times. I tried to give the atmosphere of this city and feelings which I felt, physically being there. I hope that each of you will have an opportunity to see it with own eyes. For now, I join Pyotr Vyazemsky’s words; And you will fall in love with Venice It is crazy and with all the heart…

See it otherwise.

In my opinion, one of the most difficult tasks for a photographer is to find new perspectives, if, of course, I can put it that way. When I talk about perspective, I mean not the assembly points of my images, but frames that are different from those that people usually make.

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COLUMN

“VENIECE” BY

NIKITA STUPIN

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COLUMN

“VENIECE” BY

NIKITA STUPIN

The very essence of street photography is to see and subsequently show others what people do not fix in the usual rhythm of life simply because they do not notice it.

Look here, this intersection is usually photographed in moments of tourist agony, in the hours when you can’t pass through thousands of people who want to see the famous square sung by second-rate Hollywood directors. People come here just for this, for the basic and understandable. But when the night takes its rule, this place becomes completely different, diametrically opposed to its daytime alter ego.

Neon signs fill rain puddles with a soft light, a traffic light translated into offline mode adds a yellow tint to the asphalt dark from moisture — everything has changed, and here it is, the Decisive Moment for someone who is looking for non-standard.

The search for perspectives is always a solution to the rebus, a game of cats - mice with reality because everything contributes to the fact that you would take a picture right now when hundreds of other people who came here from different parts of the globe take pictures of this square together with you.

Venice. I visited Her many times and absolutely always I was amazed by the indescribable number of tourists. This endless stream of people crushed and drove me into depression, deep and fast, leaving the central embankment and instantly finding myself captivated by these people in shorts and tank tops with cropped sleeves, I felt like a vampire in whose chest they drive hundreds of aspen stakes.

My head was spinning, I could not catch a single moment, could not fit the objects and people in the frame - there were too many of them for my 35mm. I panicked and panic carried me into the depths of the alleys scattered chaotically along narrow canals, away from the masses of people, and the farther I got from them, the more clearly I heard splashes of absolutely lively Venetian water crashing against the old masonry of houses and enveloping the leaning wooden piles.

Hiding from the smell of people, from the noise and hum, so hateful to me from the first days of my stay in Venice, I began to feel this magical city. She talked to me and I absolutely clearly heard her every word. At some point, I managed to catch a glimpse of a ladder attached to the wall, this reminded me of some kind of allegory from the children’s books that my mother read aloud to me and I took the first picture, turning my gaze to the right and saw an excellent perspective with an abandoned building swaying on barely noticeable waves to the wooden post. Another shot. A few steps forward and I find myself inside the arch that goes directly to the canal.

For several minutes I watched the water, this special water of Venice, I was always struck by its colour — greenish, alluring and so strange and painfully familiar. Maybe from a past life? Maybe.

My thoughts were interrupted by the noise of people, the approaching noise, feminine and childish laughter coming from the depths of the waters. I focused my eyes again, and the next instant, from around the corner of the arch, the stern-painted gondola appeared in which the whole Italian family were talking loudly. Another frame, The decisive moment, squeezed like a vice by the vaults of this Venetian arch, enclosed in the phenomenon of the present moment, which has never been repeated and may never have existed.

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COLUMN

“VENIECE” BY

NIKITA STUPIN

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COLUMN

“VENIECE” BY

NIKITA STUPIN

So I spent a few incredibly pleasant hours wandering around the completely empty, far from the tourist centres places of Venice, and made those shots that you can see in the annotation to this article.

Subsequently, many people told me - “this is a little different from Venice that we used to see, where is Piazza San Marco, where is the Doge’s Palace, where is the embankment that is usually adorned on all the postcards devoted to this great city? What did you do there? Photos of the walls, people carving fish on the market, and ordinary passersby on Devil’s Bridge - this is your Venice?” They asked me …

Yes, this is my Venice. The old market and its servants, the walls that saw the balls, orgies and plague on which modern art is stencilled today, and people who are not ordinary people at the Devil’s Bridge (can ordinary people be at the same time at the Devil’s Bridge? I think no) - all this is my Venice. My Perspective.

Find your own vision. Believe in what you see and call this a Street Photography.

--NIKITA STUPIN - Russian-Canadian photographer. Founder of a creative street photography crew “Moustache & Glasses”. Adept of the classical Straight Photography style. Behind the back of the photographer are more than 25 exhibitions, both in Russia, and in North America and the USA. Besides international venues, Nikita Stupin’s exhibitions have gone over with success on “Red October”, in Fotoloft Gallery at Winery, Artplay gallery and other art platforms in Moscow.

At the heart of his thin insight and unique approach to work not only his talent, but also his degree in the field of clinical psychiatry.

Nikita is the member of the Russian Photo Union, international organization of photographers of Group 7, the teacher of faculty of the photo of Institute of Arts Education (Moscow), Toronto Film School (Canada) and MOMMA (Moscow). Member of the international organization Fujifilm X-Photographers, ambassador of the Fujifilm company. The author of multiple publications on the Street photo and a phenomenon of Straight Photography, and also author’s own technique of “contactless shooting”.

Nikita is the creative director of Dessange Russia and Camille Albane Russia network, and also URT Subaru Russia.

WEB www.moustacheandglasses.com www.facebook.com/moustacheisart www.instagram.com/moustacheisart twitter.com/NikoMoscow www.flickr.com/people/moustacheandglasses 38

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PHOTOREport

“ICELAND: THE SILENT EPIDEMIC” BY

DENIS MEYER

PHOTOREport

“ICELAND: THE SILENT EPIDEMIC” BY

DENIS MEYER

As the latest destination for travellers looking for stunning scenery, the small North Atlantic island of 335,000 inhabitants will have welcomed more than two million tourists in 2017 and 20 to 30% more tourists each year.

Tourism would now be the country's main source of income, ahead of the secular fishing and aluminium industries. A fact that could well change the face of the country and its exuberant nature, a land of ice and fire. Iceland can rely on its near-zero insecurity, to position itself as a "safe haven", far from the threats of terrorist attacks that affect the tourist market around the Mediterranean.

Reykjavík.

Since the eruption of the Eyjafjallajökull volcano in 2010, the tourism industry has broken records. According to the Icelandic Tourist Board, the Viking country recorded a 39% increase in the number of visitors over 2016, which could reach up to 7 times its number of inhabitants by 2017. The tourism sector now accounts for 20% of GDP, generating more than 7000 euros per capita.

Reykjavik, Iceland, March 9, 2017 42

The dynamism of the airline sector, the arrival of new players and increased competition on tariffs are all factors that make up a whole set of factors that propel the country to the forefront.

The activity explodes, the guesthouses multiply, offering a second life to abandoned farms, thus repopulating deserted territories. However, the tourism boom poses serious challenges to the country.

The road infrastructure is not following, hotels are saturated, the explosion of Airbnb raises the price of housing in the capital, to the detriment of city dwellers who now struggle to find a roof. Young people who can not find a place to live leave the country, the gap between generations is widening.

Blue Lagoon.

Americans are the first visitors to the island. Their number far exceeds that of islanders. Airlines offer travellers the opportunity to discover the country by making a stopover of several days without additional costs. Being mostly passing through, they remain concentrated in the vicinity of the capital, and only for a few days. The Golden Circle and Blue Lagoon sites being saturated with tourists, the infrastructures of reception must develop quickly to face this influx.

Blue Lagoon, Iceland, March 19, 2017

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PHOTOREport

“ICELAND: THE SILENT EPIDEMIC” BY

DENIS MEYER

Face to this concentration, the authorities are struggling to ensure the establishment of the necessary reception facilities. Toilets, car parks, signs are insufficient as regards tourist influx. Sites, previously little visited, are now stormed by tourist buses and increasing rental cars. Individual tourists are unleashed in the country without being sensitized beforehand to the extreme fragility of the sites.

Construction site façade, Perlan hot water tank, Reykjavík.

The island benefits from a strategic location from a geopolitical and economic point of view in view of the opening of the Arctic routes. The melting ice opens up new maritime routes between Asia and Europe as well as the eastern façade of North America, also allowing the exploitation of mineral and hydrocarbon resources.

Iceland, March 17, 2017.

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The stakes are such that a "Task Force" has been put in place in order to anticipate and prepare the expected growth of this manner in the decades to come. Face to with this steadily increasing influx, the Icelandic government is currently considering solutions that would allow the country to continue to benefit from the revenue generated by tourism while preserving its natural sites.

Lake TjĂśrnin, in the heart of ReykjavĂ­k.

Wherever mass tourism is developing, risky behaviour is increasing. The increase in reports of incidents involving tourists is alarming. Some sites are privately owned, making it a complex task for government to inform visitors, install safeguards and improve signage.

Lake TjĂśrnin, Reykjavik, Iceland, March 10, 2017.

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PHOTOREport

“ICELAND: THE SILENT EPIDEMIC” BY

DENIS MEYER

Means for channelling tourist flows throughout the territory, for limiting the number of visitors admitted to the island year-round, distributing the masses and developing the most vulnerable sites are implemented.

These measures may reduce tourism pressure in a few specific locations, but also better control the environmental impact of this now mass tourism.

...

BIOGRAPHY Born in 1975, Denis Meyer worked for 20 years in the Social and Solidarity Economy sector, particularly with disabled people, and worked as an activist in civil disobedience groups. Reconverted into documentary photography and photojournalism in 2016, he joined the Hans Lucas agency after training in Documentary Photography and Transmedia Scriptures.

He is also a member of the Gasp Street and Stories collective. His photographic practice is based on intuitive writing that questions the human and its relationship to the environment. His reports are regularly published in the international press: 6MOIS, Paris Match, VSD, L’Obs, Libération, Les Inrockuptibles, Der Spiegel, Wired, Internazionale, Aftenposten Innsikt…

WEB hanslucas.com/dmeyer/photo www.facebook.com/denis.meyer.77 www.instagram.com/denismeyer_hl https://vimeo.com/denismeyer http://gasp-streetphotography.com/

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Jökulsárlón glacial lagoon.

One of Iceland’s most popular tourist destinations, Jökulsárlón has enormous potential. A group of investors, who bought the land from one bank at auction, is determined to fight against the preemption of the purchase by the Icelandic state, which has entrusted the management of the lagoon and its banks to the Vatnajökull National Park.

Iceland, March 25, 2017.

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PHOTOREport

“ICELAND: THE SILENT EPIDEMIC” BY

DENIS MEYER

Skógafoss.

Even if the country is relatively large, most tourists flock to the most famous “spots”. Parking lots are too small for the growing number of rental cars, the lack of sanitary facilities leads to drifts, off-path use destroys vulnerable vegetation, and waste is sometimes found abandoned by visitors. Iceland is faced with a particularly delicate information and education challenge in this context of individual mass tourism.

Skogafoss waterfall, Iceland, March 14, 2017.

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Dyrhólaey.

Some visitors do not respect the paths or markings, and sometimes cause irreversible damage to the plant or geological formations of the sites. As a result, marking, signage and development are being increased at the expense of the pristine character of Icelandic nature. In order to manage its new popularity, tourism professionals on the island suggest that the number of tourists be limited to the most popular destinations. In particular, some advocate focusing on those who are willing to pay a “realistic price” for visiting protected sites.

Dyrhólaey, Iceland, March 14 2017.

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PHOTOREport

“ICELAND: THE SILENT EPIDEMIC” BY

DENIS MEYER

Skógafoss waterfall.

80% of tourists come to Iceland to enjoy nature. This creates enormous pressure on the sites. The upgrading of tourist infrastructure, necessary in the busiest areas, affects the natural character of Iceland’s landscapes. Some visitors do not respect the paths or markings, and sometimes cause irreversible damage to the plant or geological formations of the sites. The size of hotels, car parks and other reception facilities, as well as the facilities and signage in a country known for its almost pristine and grandiose nature, are all manifestations of the silent metamorphosis that is taking place. Skogafoss waterfall, Iceland, March 14, 2017.

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SĂłlheimasandur.

The government is seeking to develop new air links from abroad to the island’s less visited areas (east and north), as part of a strategy to improve the geographical distribution of visitors. However, the consequences of an abrupt increase in the number of visitors to its sectors, which are not well prepared to receive so many people, will be a source of environmental and social pressures all the more consequent.

Beach of SĂłlheimasandur, Iceland March 26, 2017.

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PHOTOREport

“ICELAND: THE SILENT EPIDEMIC” BY

DENIS MEYER

Svínafellsjökull Glacier.

Tourist groups cross a lunar landscape, set in the films Batman Begins, Interstellar, and the famous Game of Thrones series. Local tourism players have decided to focus on filming films and series in Iceland. They take inspiration from it to create their package and surf on this craze to enhance the extraordinary heritage of the island state.

As groups use the same routes, the glacier becomes more fragile with each passage.

Skaftafell National Park, Iceland, March 26, 2017.

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Waterfall Ice Cave, Breiรฐamerkurjรถkull.

Ice caves form during the summer under the effect of glacier melt water. Between November and March, local tour operators organise themselves so as not to be in the cave simultaneously, to preserve the authenticity of the visitor experience, far from the crowds. As the melting of the glaciers accelerates, each cave is unique and changes from one year to the next, which sometimes leads to discrepancies between expectations and reality as seen in photos from previous years, sometimes used for advertising purposes. Vatnajokull Ice Cap, Iceland, March 25, 2017.

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“ICELAND: THE SILENT EPIDEMIC” BY

DENIS MEYER

Basketball court in the north of Iceland.

“Local communities are characterized by a certain proximity between members. There is good social cohesion, it is an open society, which likes to be together. People are used to seeing familiar faces and then all of a sudden all the faces you see are foreign. We find ourselves with a sort of clash between local interests and those of an international consortium of visitors. Overnight, your beautiful little company is not what it used to be.” Þorvarður Árnason, Director of the Nýheimar Regional Research Centre. Iceland, March 22, 2017.

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Area under construction in eastern Reykjavík.

Airbnb’s popularity increases the pressure on land in the centre of Reykjavík and brings many apartments out of its housing stock. The capital observes an exodus of its populations towards the outskirts. The inhabitants of the city centre are gradually giving way to tourists, transforming the landscape where hotels and souvenir shops flourish to the detriment of the city’s cultural and artistic scene. Reykjavik, Iceland, March 9, 2017.

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PHOTOREVIEW

ALAN KING

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ALAN KING

I

was born in Greenwich, South East London, in February 1952. At the age of seven or eight, I was already experimenting with photography first using my Father's box camera and later with my own trusty Kodak Brownie 127. My current weapon of choice is a Nikon D3200 usually fitted with a Tamron 70-300mm zoom lens My current style of photographic work varies and includes street and candid character studies along with my photo-surreal images created with the aid of computer software.

"Known more for his Massurreal and optical illusion Artwork Alan King’s traditional photographic work coupled with his vibrant and vividly surreal imagery, bridges the gap between traditional and New Media techniques" Books of Alan's work have been published and are available from both Amazon and Barnes & Noble. In August 2017 he published "THROUGH MY GLASS EYE" the first collection of his photographs. A new volume of work, "BEHIND THE CATARACT" is in production and will be available later in 2018.

WEB: ART WEBSITE: kingart.vpweb.co.uk INSTAGRAM: @alankinguk

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ALAN KING

Stranger On The Shore

Another Senseless Killing

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Walk In The Morning Mist

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ALAN KING

Clocked Eye

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The Watcher

Smoking Skull

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APOSTOLIS LEMPESIS

PHOTOREVIEW

APOSTOLIS LEMPESIS

I

’m Apostolis Lempesis, photographer and filmmaker, born in 1990 in Athens, Greece.

Through my cinema studies, I fell in love with the elements within a frame, something that led me to find an interest in photography as well, with its similarities and differences from the moving picture.

I usually work within the categories of portrait, fashion, nude, and art photography. My inspiration derives from genres which tend to have a darker aesthetic and concept, like filmnoir and German expressionism, as well as the use of chiaroscuro in renaissance art. I also find inspiration in such themes as BDSM, Horror Fiction, Shibari/Kinbaku, Tattoo Art and 80s Gothic Subculture.

Currently, I’m working in a series of portraits, trying to slowly take a turn to a more grotesque yet more erotic look. Through that process, I’m developing a new parallel project of mine, with the title of “Semi-Self Portrait”, where I, the photographer, pose alongside my models.

The thought behind this is that a part of the real world, the driving force, comes to live with the consequences of its own doing, whether that comes to a good or a bad ending. One could love a character of his, chat with another, fear or even getting killed by one of them.

WEB: www.facebook.com/aposlempesphotography www.instagram.com/apostolis_lempesis

Dima III 66

Marmota V | Semi-Self

Alisa IV

Sanity Assassin VII | Semi-Self

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PHOTOREVIEW

APOSTOLIS LEMPESIS

Empress

Marmota XI

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Nayia I

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APOSTOLIS LEMPESIS

Ruki V

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Thorns II

Sanity Assassin X CREDENTIALS Model: DimaXDark Latex Dress: Angelika Darkling Title: “Dima III”

Model: x Rope Art: Angelika Knot Title: “Empress”

Models: Christina Sakellariou, Apostolis Lempesis Title: “Marmota V | Semi-Self” Part of “Semi-Self Portrait” Project

Model: Christina Sakellariou Title: “Marmota XI”

Model: Alisa Murphy Latex Clothing and Accessories: Angelika Darkling MUA: Eleanna Seremeti Photography Lighting Assistant: Theodore Iliopoulos Title: “Alisa IV” Models: Mary Vulgary, Apostolis Lempesis Title: “Sanity Assassin VII | Semi-Self” Part of “Semi-Self Portrait” Project

Model: Nayia Kanavou Title: “Nayia I” Model: Ruki Konowich Title: “Ruki V” Model: Christina Thorns Title: “Thorns II” Model: Mary Vulgary Title: “Sanity Assassin X”

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PHOTOREVIEW

BRANISLAV FABIJANIC

PHOTOREVIEW

BRANISLAV FABIJANIC

I

'm just a traveller through space and time trying to capture moments of beauty and trace of eternity on my journey...

WEB www.artlimited.net/bfabijanic www.instagram.com/branislav_fabijanic www.tumblr.com/blog/branislavfabijanic www.deviantart.com/branislavfabijanic www.facebook.com/branislav.fabijanic

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BRANISLAV FABIJANIC

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BRANISLAV FABIJANIC

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DAVID R BANTA

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DAVID R BANTA

B

orn in Muskegon, Michigan David began artwork as a child with painting & drawing and then moved into photography at sixteen with an East German Practika camera given to him by his high school art teacher. Drawn to photography, fueled by his father's passion for Polaroid albums, Life Magazine and National Geographic, David acquired a degree in Arts and Media from William James College in 1974.

After 5 years in the working world, he met with legendary experimental photographer Arthur Siegel in Chicago.

Upon reviewing David's portfolio, Siegel said "I don't believe in photography as therapy", and then accepted David as a student at the Illinois Institute of Technology: Institute of Design in 1979 in Chicago. There David studied under black & white photographer David Plowden.

Banta left Chicago, returning to Michigan. In Grand Rapids, he worked as a colour dye transfer lab technician, then became a weekly newspaper writer and photographer, eventually taking a position as chief photographer for five years. From there, Banta began working as a corporate hospital photographer for ten years.

During that period he studied under Magnum photographer Alex Webb at Maine Photographic Workshops. David moved into the commercial photography realm. Disillusioned by three years of commercial work, Banta left 18 years of professional photography behind. He now pursues his personal photographic vision.

He has exhibited in Corsica, France; Athens, Greece; Venice, Italy; Yerevan, Armenia, Boston, Massachusetts and Charlevoix, Michigan. One of Banta's photographs is being published in "inSomnia Photography Magazine", a Ukrainian publication.

His work can be found at: www.davidrbanta.com David R Banta / Flickr David R Banta Photography / Facebook

CLOTHESLINE

TRAVERSE CITY, MICHIGAN

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PHOTOREVIEW

DAVID R BANTA

LAST SUPPER

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PEDESTRIAN TUNNEL, CORK - IRELAND

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WINDOW WASHER

PHOTOREVIEW

DAVID R BANTA

EAST JORDAN, MICHIGAN

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PUDDLE IN PENTWATER, MICHIGAN

DEPOT

PHOTOREVIEW

FRANK MEFFERT

PHOTOREVIEW

FRANK MEFFERT

M

y name is Frank and I’m a Frankfurt-based Street Photography Enthusiast. I work as a fulltime Software Engineer for the German Air Traffic Control (ATC) and Photography is one of my major hobbies.

My photographic journey started almost 10 years ago, after my studies of computer sciences was finished. I suddenly had the necessary time and resources to develop my creative mind. I always had this one question on my mind: How do photographers manage to capture and transport emotions and feelings to the viewers of one single frame? A couple of years later, my exwife convinced me to buy my first decent camera and I started to read books, take workshops and explore the world of photography. I soon realized that it takes more than just knowing how to use the gear and knowing the basic rules of composition to capture emotions.

This is where I stumbled across Street Photography, that controversial genre many well-known photographers claim doesn’t even exist and it seems everyone defines it differently. To me, Street Photography is all about capturing moments of everyday life candidly.

After a very vibrant Street Photography Workshop in late 2015, I started organizing Street Photography photo walks on a regular basis which turned out to be pretty popular in Frankfurt.

After a while we realized that a small group of people was very motivated, so we decided to form a Street Photography Collective called Collateral Eyes, which consists of six photographers including myself.

Today, photography is something really important in my life. It’s a way of self-expression and even helps me cope with my depression. It keeps me curious and motivated and it helps me to still see beauty in everyday life on earth, even on the darker days.

WEB https://frank.meffert.photography www.instagram.com/frankyboy.photography www.flickr.com/photos/houserock www.facebook.com/frankyboy.photography www.collateraleyes.com

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FRANK MEFFERT

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FRANK MEFFERT

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JEAN MARC DELTOMBE

PHOTOREVIEW

JEAN MARC DELTOMBE

I

have been working for several months to realize the project to publish a book devoted to the femininity and beauty of women. Portraits and nudes in reference to painting and first great photographers of the nineteenth century.

WEB www.jmdeltombephotography.com www.facebook.com/jeanmarc.deltombe.3 www.facebook.com/jmdeltombephotography/ plus.google.com/103842813508440238896 jean-marc-deltombe.photo-gallery.besttopphotographer.com CONTACT SITES OF THE MODELS jmdeltombephotography.book.fr/ www.focale31.com/albums/3804/index.php jmdeltombephotography.kabook.fr/

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Aurelie

Aurelie

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JEAN MARC DELTOMBE

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Ingrid

Portrait

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JEAN MARC DELTOMBE

Aurelie

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Jennifer, Museum

Jennifer, Museum

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JIM GRAHAM

PHOTOREVIEW

JIM GRAHAM

I

am retired and now find myself in the envious position of being able to pursue.

My many hobbies and interests at will. My principal hobby, photography, has played a large part in my life for almost 30 years.

In the analogue era, I spent many enjoyable hours in my home darkroom developing film and making prints. That experience, has, I believe, be of great benefit to me in the digital era.

I particularly enjoy creating images, which have a minimalist fine art character to them. While I do create colour images, monochrome is my preferred medium and now accounts for the majority of my work.

This selection of my work was made during a visit to the City of Arts and Sciences in Valencia, Spain during February 2018. I found the architecture in this complex to be utterly fascinating. The principal architect, Santiago Calatrava is widely recognized as one of the most influential and innovative architects of the modern era.

WEB www.jimgraham.squarespace.com www.facebook.com/jim.graham3114 www.instagram.com/jimgraham1952/

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JIM GRAHAM

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JIM GRAHAM

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JUAN FRANCISCO HERNÁNDEZ RODRÍGUEZ

PHOTOREVIEW

JUAN FRANCISCO HERNĂ NDEZ RODRĂ?GUEZ

I

was born in Mexico City. I have been living in Belgium for nine years, where I am a university teacher, writer and self-taught photographer. I discovered photography almost by accident. It was when my son was born and I bought a camera to take pictures of him. After he was born I went to clear a little my mind and I started taking photos of the people who were around the hospital. From that day, photography became a passion.

I experimented with analogue and digital cameras. I improvised a darkroom at home and reveal my own films. Then I filled the bathroom with my films drying. I managed to publish some of my photos, I made an exhibition in the city of Mons and even Leica published me a photograph in one of their annual books. I'm still looking for my own style and my purpose as a photographer and that search is my principal target.

Hemingway's phrase about short stories can be applied to photography. Photography would be then like the tip of an iceberg. You can only see the surface, but you intuit that beneath it lays the most important part.

I see photography as a puzzle that helps me to find some explanations about the meaning of life. Like if each photograph where a part of a puzzle that is revealed each time in front of the computer. I like to leave home not knowing what I'm going to bring back.

I simply like to be always with my camera, discovering the world through the viewfinder. It's like having another world in front of my eyes.

WEB www.instagram.com/the_sisyphus_myth

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JUAN FRANCISCO HERNÁNDEZ RODRÍGUEZ

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JUAN FRANCISCO HERNÁNDEZ RODRÍGUEZ

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PHOTOREVIEW JUHA P. FORSBERG

PHOTOREVIEW JUHA P. FORSBERG I

am a 65-year-old street photographer from Helsinki, Finland. I began taking pictures in the early 1970s while studying graphic image processing. My first SLR camera was a Japanese Chinon

camera. Over the years I have used various cameras such as Pentax, Canon and Nikon. Currently my tools of choice are an Olympus E-M1 MarkII and a E-M5.

Up to the early 1990s, I mainly focused on taking photos of people and landscapes on both black and white film and on colour slide film. After that, I had a long break from photographing and only resumed it about five years ago. I quickly changed from colour to only black and white pictures as I felt this better expressed my vision. I take pictures of human beings in their natural element on the street. I have noticed that I look for the essence or core of the person, his/her true self, primar-

ily through the eyes. I take my pictures very quickly, rather on the go without thinking or planning too much. Sort of like look-arrange-shoot and then I continue my way. My way of working is very simple and direct. I take three different types of street photos; the human-being on the street, the human being in the street landscape and general street landscapes where the human-being is present.

In 2016 I rediscovered landscape photography and my main interest lies within capturing light and graphical shapes and elements within the landscapes. This is a totally new world for me, but I take these photos in a similar fashion as I take my street pictures; quickly without overthinking as I do on busy streets. The technical processing of these landscape shots is however very different from processing street shots. It is much slower and a more creative activity. I also use these landscape pictures as a general learning mechanism in improving my technical processing competencies.

I have mainly taken my photos around Helsinki and Espoo where I live in Finland. Other locations have been London, Oxford, New York and areas around England, Dublin and Ireland in general, as well as the West and the South coast of France, Malta and Crete in the Mediterranean and Tallinn in Estonia. I plan to continue exploring these locations in the future as well, but I am always on the lookout for new streets and landscapes to capture.

WEB Flickr: www.flickr.com/photos/jpof-photography Facebook: www.facebook.com/juha.forsberg.photographer Instagram: www.instagram.com/juha.p.forsberg

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PHOTOREVIEW MAURO DE BETTIO

PHOTOREVIEW MAURO DE BETTIO BIOGRAPHY

B

orn and raised in a little village in the Italian Alps, now based in Barcelona, Mauro already felt from a young age the desire to tell. He discovered that the camera was the right tool for him, the eye through which he could speak to the world. An instrument that began to walk by his side towards a long journey of discovery. Definitely, to grow by himself, without the influence of schools, courses and lessons have slowed down the process of technical knowledge, but because of this, he learned his own way of seeing and been formed and shaped by the environment and the people who surrounded him in his long travels/trips.

“Although it is difficult to express, I think that the photograph represents my way of speaking and what I try to go through my language is to capture the sense of what I breathe and touch with my hands. Not only in appearance but also, and especially, in the essence; trying to express nuances and subtleties contained in a single frame. I think that's part of my personality and my work fully expresses what I am. My story, my soul”.

Mauro De Bettio, Barcelona, Spain , www.maurodebettio.com ON THE FIELD

O

ne of the most important parts of a photography trip I undertake is certainly the preparation.

I always want to know in advance what type of subject I’m going to encounter but also in which surrounding and situation. I spend a lot of time doing research. When I arrive at the destination I try my best to spend as much time as I can with the locals before I set up my equipment. It’s important to get to know the people who will be immortalized forever on a frame to remember who they are, their names and their stories. At the same time, I also spend time examining the scene and chasing the light. Is important to know where the sun rises and where it sets and chose then the best time of the day to better compose the visual story I am trying to create. Ultimately, you can be as prepared as you want, but there’s always the unexpected. For this, then, it is important to be flexible and leave space for those unexpected things because these situations can happen and these can actually end up making better images than what you imagined.

SHADOW REIGN I met him in “the surface”, in his home garden how he calls it. Chris is one of the thousands of people who still live in the underground tunnels of Bucharest, beneath the streets of the capital (Romania ‘17).

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MUSTAFA Mustafa wakes up every morning with the first rays of the sun that, through the roof of his wheeled-house, caress his face, playing and hiding between his wrinkled skin. He stands up and looks around ruffling his grey hair. After bathing under the public tap, he takes his breakfast, dipping a biscuit in a clay mug filled with chai.

It starts here, every morning, his daily struggle. Naked feet in contact with the hot melted asphalt. His shiny back covered with sweat and his thin but muscular arms that balance his business-tool (India ‘15).

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PHOTOREVIEW MAURO DE BETTIO 132

CHASING SPIRITS Every winter, between Christmas and New Year, in the north-eastern regions of Romania, the annual Dance of the Bears takes place, a ritual that symbolizes the death and rebirth of time. Men and women of all ages dress with bear skins and dance to the rhythm of flutes and percussion to drive away evil spirits and welcome the new year. Bears are sacred creatures in Romanian mythology and this is an ancient ritual that brings together the whole community. Tradition holds it close to their hearts (Romania ‘17).

ON MY SKIN Hazaribagh, known as the “city of a thousand gardens”, on the outskirts of Dhaka, is one of the most polluted areas of the planet. Here, since always, the most precious leathers in the world are being produced. The most wanted and at the same time the most hated. Saeful, 20, works the leather, dipped down till his ankles in the tannery pits, since he was 11.

“The acid doesn’t matter, he says, when I’m hungry I need to eat” (Bangladesh ‘15).

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AMIR Char Kaliganj shipyards in Dhaka. The age of laborers ranges from 8 to 80 and they all work together. Children are missing out on formal education but there aren’t any other options other than work for money and help their family. “We were born here and we work in this place on a daily basis. There are no days off or holidays and sometimes we miss school and our friends but it is our job to help and take care of our family and we're proud we can help them" (Bangladesh ‘17).

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TOUCHED Eyes that are still talking to me. Africa is an immense and incredible piece of land made up of people, colours, smells and enchanting landscapes, that I had the good fortune to know and to whom I owe so much (Africa ‘14).

Mauro De Bettio Barcelona, Spain WEB www.maurodebettio.com www.facebook.com/maurodebettio www.instagram.com/mauro_de_bettio 135

PHOTOREVIEW

PHILIPPE VERMEIREN

PHOTOREVIEW

PHILIPPE VERMEIREN

I

certainly get a buzz from shooting landscapes, still lives and other subjects, but nothing comes close to the excitement and enjoyment of taking portraits.

A portrait, a moment of visual communication between the person and the photographer.

A portrait, a moment of mutual complicity between the mind and my desire.

A portrait, a moment of unification between the soul and my determination.

A portrait, a moment of trust between the target and the voyeur.

An instant of maybe 1/125 sec, a moment that never will be repeated.

p h i l r o u g e is my concept without a deadline, a realisation, never-ending thinking‌ Year after year our experience will lead us closer to nirvana, once our creativity will reach our dream‌ Thanks to you and to all the people who support my activity.

WEB www.philrouge.be

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PHILIPPE VERMEIREN

PHOTOREVIEW

PHILIPPE VERMEIREN

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SERGIO BOLETTI

PHOTOREVIEW

SERGIO BOLETTI WILD RED DRESS

I'm Sergio Boletti, an Italian freelance photographer. I am passionate about shots in nature, animals, insects, landscapes, cosplay and human portraits. n this project entitled "WILD RED DRESS" I wanted to portray some models in wild and different places but with the same red dress to contrast nature with a colour that tands out.

WEB: http://bolettisergio.wixsite.com/home MODELS: Eleonora Bighetti: Emma Battistoni: Vanessa Geltride: Sara Sofia Isoloni:

@k_leohn @emmabattistoni00 @vanet97 @sara.isoloni

Model: Eleonora Bighetti 146

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SERGIO BOLETTI

Model: Emma Battistoni

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Model: Sara Sofia Isoloni

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SERGIO BOLETTI

Model: Vanessa Geltride

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TADASHI ONISHI

PHOTOREVIEW

TADASHI ONISHI

B

orn in 1973 Tokyo, Japan. I am photographing the cityscape and street life combined with social nature to find common ground between the street and documentary photography in Tokyo.

Now I run the project “ROZOU� to spread the street photography for those people who are not familiar with it.

I never studied photography except attending to two workshops.

WEB www.tadashionishi.com Instagram/ @tadashionishi Twitter/ @tadashionishiz

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TADASHI ONISHI

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TADASHI ONISHI

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TOMMASO VACCAREZZA

PHOTOREVIEW

TOMMASO VACCAREZZA

Trieste and the inevitability of the Sea

O

ld and almost forgotten, the Italian border town of Trieste has in the waterfront , not so much a beach but a 4 km seafront promenade only few bus-stops away from

the centre of town, its largest characterization: the beach resorts and the placid waters of the Adriatic sea serve as a frame for a bizarre reality where time simply stands still.

A present steeped in the past and a future continuously postponed. In Trieste, there is no escape from the sea and the city dwellers let themselves go with this inevitable cir-

cumstance.

BIOGRAPHY Born in Genova in 1977, I hold a laurea degree in international studies. I approached photography in my early 20s as I used to work as a street photographer for a photographic lab in a seaside town. Since then, capturing fleeting moments on the streets and on the events has become my passion.

However, it’s only after attending a master class in photoreportage at the “WSP collettivo” in Rome in 2016 that my focus has shifted from single shots to long-term projects.

Since then photography turned to be an instrument of investigation and awareness and the humanity I meet a mirror where I can reflect my true self.

WEB Facebook: www.facebook.com/tommasovaccarezza/ Instagram: @looking_for_t

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TOMMASO VACCAREZZA

Trieste and the inevitability of the Sea

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TOMMASO VACCAREZZA

Trieste and the inevitability of the Sea

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eye Catching - Moments

At EYE-Photo Magazine, we champion the idea that photos need space and that they should speak for themselves.

That's why you will find hardly any text in our column "EYE-Catching Moments" but the more pictures!

In our monthly issues, we present a cross-section, a selection from the submitted photographs in our Facebook photo group.

Our online editors, Helena Costa, Thomas FĂźngerlings, and Markus Brandstetter, nominate the best photos for publication, regardless of their photographic genre.

In this issue, we present the selection of the month December.

On almost 100 pages you can see pictures of over 40 photographers from all over the world.

As COVER PHOTO for our column, our editors chose this time the photo of ERHAN KALKANDELEN. Enjoy browsing!

Visit or join our Facebook photo group: www.facebook.com/groups/eyephotomagazineeditorschoice

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EYE CATCHING MOMENTS Claudia Hunter ©, Faces of Beauty - beautiful Cassandra 170

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Shai Peri ©

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EYE CATCHING MOMENTS Tomasz Stankiewicz ©, winter is coming 174

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EYE CATCHING MOMENTS Sheikh Kabir ©, tea making

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EYE CATCHING MOMENTS Klaus Wegele ©, Model Yana Nagornyak 178

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EYE CATCHING MOMENTS Dragos IoneanuŠ, Cormorant fisherman from Xinping 180

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Loh Soo Mui ©, Somewhere in time

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Mei Bakker ©

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Zohar Ferro ©

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Debarghya Mukherjee ©, Title: “Red”, Model: Ananya Purkait

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EYE CATCHING MOMENTS Ausra Barysiene ©, Fishing time 190

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Cyrille Despierres ©, Anaïs Otesse Du Paradis

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EYE CATCHING MOMENTS Marzio Toniolo ©, The Upside Down 194

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EYE CATCHING MOMENTS Alina BeeArt ©, The Upside Down 196

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EYE CATCHING MOMENTS Wolfgang Schmitt ©, the call 198

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EYE CATCHING MOMENTS Yves Papageno ©, Black Christmas card 200

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EYE CATCHING MOMENTS Anita Palceska © 202

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Ivana Zadro ©

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EYE CATCHING MOMENTS Jos Erkamp ©, the last colors... in the Netherlands 206

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EYE CATCHING MOMENTS Sandrine Cohen © 208

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EYE CATCHING MOMENTS Erhan Kalkandelen © 210

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Frank Bräutigam ©, Schnee Düsseldorf

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EYE CATCHING MOMENTS Alexander Heine © 214

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EYE CATCHING MOMENTS Piotr Dochniak ©, Future

216

Models from left: @patrycja__klos @alexandra_lenarchyk @olaszkolda @kaszubazuzia_official #workshop @daniel_bidiuk #style : @aqademia Mua : @czystymakeup @level.up.beauty 217

Jürgen Luger ©

218

EYE CATCHING MOMENTS

219

EYE CATCHING MOMENTS Olavo Azevedo ©, down 220

221

EYE CATCHING MOMENTS 222

Olavo Azevedo ©, light contrast

223

EYE CATCHING MOMENTS Matilde Rubio ©, Together forever

224

225

EYE CATCHING MOMENTS Yap Kh ©, wrecked ship Felicita 226

227

EYE CATCHING MOMENTS 228

Yap Kh ©, Floating Mosque’ of Putrajaya, Malaysia

229

230

EYE CATCHING MOMENTS

Cees Buitendijk ©, love Amsterdam 231

232

EYE CATCHING MOMENTS

Mirjana Kovačević © 233

EYE CATCHING MOMENTS Olga Merrill ©, HEARTS 234

235

236

EYE CATCHING MOMENTS

John Gill ©

237

EYE CATCHING MOMENTS 238

Zarko Kuljanin ©

239

EYE CATCHING MOMENTS Kubrik Kudo’s ©, Photographed 240

241

EYE CATCHING MOMENTS Vicente Muñoz Romero © 242

243

Ines MadDel ©

244

EYE CATCHING MOMENTS

245

EYE CATCHING MOMENTS Sébastien Bordes ©, Model Cédric Juste 246

247

EYE CATCHING MOMENTS Antonio E. Ojeda © 248

249

EYE CATCHING MOMENTS Jose Silva Pinto ©, pictures with people inside... behind freedom 250

251

EYE CATCHING MOMENTS 252

Jose Silva Pinto ©, pictures with people inside...

253

EYE CATCHING MOMENTS 254

Aslan Sarızeybek ©

255

T INDEX ARTIST INDEX ARTIST The index is sorted chronologically according to the submitted date of the pictures and not in alphabetical order!

• Claudia Hunter www.facebook.com/claudia.hunter.90 • Shai Peri www.facebook.com/shai.peri.3 • Tomasz Stankiewicz www.facebook.com/dzyngis • Sheikh Kabir www.facebook.com/sheikh.kabir • Klaus Wegele www.facebook.com/artclassics • Dragos Ioneanu www.facebook.com/dioneanu • Loh Soo Mui www.facebook.com/lohsm • Mei Bakker

www.facebook.com/profile.php?id=100014886582561

• Zohar Ferro www.facebook.com/zohar.ferro.9 • Debarghya Mukherjee www.facebook.com/debarghya.mukherjee • Ausra Barysiene www.facebook.com/ausra.barysiene • Cyrille Despierres www.facebook.com/cyrilledespierres • Marzio Toniolo www.facebook.com/marzio.toniolo.7 • Alina BeeArt www.facebook.com/alinutza.albinutza.18 • Wolfgang Schmitt www.facebook.com/spiegelwelten • Yves Papageno

www.facebook.com/profile.php?id=100010567412293

• Anita Palceska www.facebook.com/anita.palceska • Ivana Zadro www.facebook.com/ivana.bellazadro • Jos Erkamp www.facebook.com/jos.erkamp.3 • Sandrine Cohen www.facebook.com/sandrinecohen22

256

T INDEX ARTIST INDEX ARTIST • Erhan Kalkandelen

www.facebook.com/profile.php?id=744970948

• Frank Bräutigam

www.facebook.com/profile.php?id=100001444148919

• Alexander Heine www.facebook.com/alexander.heine.35 • Piotr Dochniak

www.facebook.com/profile.php?id=100005585897237

• Jürgen Luger www.facebook.com/jurgen.luger.5 • Olavo Azevedo www.facebook.com/olavo.azevedo.1 • Matilde Rubio www.facebook.com/matilde.rubio • Yap Kh www.facebook.com/yap.kh.96 • Cees Buitendijk www.facebook.com/cees.buitendijk.39 • Mirjana Kovačević

www.facebook.com/mirjana.kovacevic.16144

• Olga Merrill

www.facebook.com/profile.php?id=100010674911832

• John Gill www.facebook.com/john.gill.1420 • Zarko Kuljanin www.facebook.com/zarko.kuljanin.7 • Kubrik Kudo’s www.facebook.com/hendarto.kramadibrata • Vicente Muñoz Romero www.facebook.com/vicente.munoz.167 • Ines MadDel

www.facebook.com/profile.php?id=100028160950621

• Sébastien Bordes www.facebook.com/sebastien.bordes • Antonio E. Ojeda www.facebook.com/AntonioEOjeda • Jose Silva Pinto www.facebook.com/jose.silvapinto.1 • Aslan Sarızeybek

www.facebook.com/AslanSARIZEYBEK

EYE-Photo Magazine is an independent, online magazine, providing a platform to talented and enthusiastic photographers from all over the world to present their work, regardless their genre, to an international readership. All images and text, published in EYE-Photo Magazine are the sole property of the featured authors and artists and subject to copyright! EYE-Photo Magazine shall not be liable for the content, quality, relevance or accuracy of any materials used in this issue. Without written permission of its legal owner, no photo or text can be reproduced, edited, copied or distributed in any form.

EYE-Photo Magazine © - all rights reserved www.eye-photomagazine.com office@eye-photomagazine.com

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EYE-Photo Magazine is an independent, online magazine, providing a platform to talented and enthusiastic photographers from all over the world to present their work, regardless of their genre, to an international readership.

All images and text, published in EYE-Photo Magazine are the sole property of the featured authors and artists and subject to copyright! EYE-Photo Magazine shall not be liable for the content, quality, relevance or accuracy of any materials used in this issue.

Without written permission of its legal can be reproduced, edited, copied or EYE-Photo Magazine Š - all rights reserved

owner, no distributed

photo or text in any form.

EYE-PHOTO MAGAZINE - EST - 2013

IMPRINT: EYE-Photo Magazine © - Club Magazine of EYE-PHoto Club ZVR 1299861057 https://eyephotoclub.weebly.com Founder, Managing Editor:

Stefan CIMER

Editor and Proofreading:

Gerri McLAUGHLIN

Editor and Columnist: Thomas FÜNGERLINGS Online Editors: Helena COSTA, Markus BRANDSTETTER All rights reserved. ® Copyright by Stefan CIMER ©

E-MAIL: WEB:

office@eye-photomagazine.com www.eye-photomagazine.com

Y EE EYE PHOTO MAGAZINE

association’s journal of EYE-Photo Club eV