#PHOTOGRAPHY Magazine - Issue 24

#PHOTOGRAPHY The online photography magazine

#24

Issue 24

march 2020 Editors Genea Bailey Daisy Ware-Jarrett Design Daisy Ware-Jarrett Writers Kelly Bryan Cover Artist Jean-Mathieu Saponaro

inside this issue...

Nick Prideaux

Alp Peker

Diana Takacsova

Jean-Mathieu Saponaro

book review: flesh

Andrei Shapran

Collin Pollard

Franรงois Madelin

book review: Ghosts Are Real

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56

104

12

64

110

18

72

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Fergus Coyle

Luca Tombolini

Paula Vรกzquez Guisande

Sarah Anne Wu

Stefanie Langenhoven

Gaisinglung Kamang Gangmei

Gavin Hoskins

Maxim Dondyuk

issue index

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Nick Prideaux My name is Nick Prideaux and I am an Australian photographer and visual storyteller based in Paris, France. After completing my degree in Film Production and Screenwriting, I discovered my passion for photography. I relocated to Tokyo to pursue this and have worked extensively in Melbourne, Beijing and S.E Asia as a freelance photographer. I capture scenes from my life in a diaristic manner.

My approach is guided by my intuition, rather than preconception and the camera gives me a way of looking at the everyday in a more conscious light and a way of surfacing thoughts and feelings that are otherwise difficult to access and express. Photography is a conduit for me to try and understand the worldnaround me, whether that be clear or undefined.

Parts of this series are from my forthcoming book ‘Present Nostalgia’ which will be published in Paris later this year. It’s a document of my personal film photography diary from 2012 to 2019 taken in Japan, Turkey, Thailand, Vietnam, and Australia.

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Alp Peker Rejections

Art is how I stand up against life.

We are born into a world of societal norms & double standards. Art is a universe and I create my own world in it, which is free of inhibitions, and much more trustworthy.

‘Sweet Life’

I’m a Turkish photographer and a medicine student living in Izmir, Turkey.

I reject standardized beauty. I reject the classical sense of pain. I reject the correct form of family and relationships. I reject to see genders. I reject having fun the way I should have. I reject humanity if humanity is so specifically stereotyped.

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These photographs, half taken in Turkey, half in France, resemble a mockery of modern world, politics, traditions and societal norms.

‘a bride in eastern turkey’

‘hierarchy’

‘hierarchy’

fixing’ ‘hierarchy’

‘a fun religion’

Diana Takacsova Sweet Are the Waters

I am a Slovak/Hungarian photographer exploring questions of identity, physical and emotional connections to places and human relationships to nature and environment.

The Ogiek are one of East Africa’s last hunter-gatherer populations. With a distinct culture and traditions tied to their natural environment, the community has a long history of resistance, fighting both eviction from its ancestral land and lack of political power. ‘Sweet Are the Waters’ documents the Ogiek of the Mau Forest, facing numerous layers of pressure as their home is a land in the centre of economic interests and a political power play.

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Fergus Coyle Weston Beach Race

I’m a portrait, documentary and commercial photographer based in Bristol, UK. Since I was a kid, I’ve always been into riding bikes; BMX, MTB, Road and even a knackered old Suzuki scrambler that we’d raz around the streets and fields near my house in Bristol. This obsession with all things two-wheeled would send me and my friends on a yearly trip down to Weston Super-Mare for the infamous beach race. It’s been something I’ve wanted to revisit for some time, so when the opportunity recently arose, I jumped at the chance. The sound of 1000 riders flying down the sands was nothing less than thunderous!

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Luca Tombolini

An Anthology of Landscape Studies (2012-2014) I was born 1979 in Milan. I completed classical studies and then a degree in Sciences of Communication, with final assignment on visual rhetoric in Cinema. While studying I met with photography and started experimenting with a large format camera.

This is an anthology of my series LS I, IV and V (2012-2014) on desertic landscapes. My work starts from a pre-photographic fascination for deserts, while taking pictures became a self-analysis of that early feeling. Notwithstanding our limited perceptional possibilities, these pictures are the mirror of this personal process of contemplation/suspension over Time, Space, Existent. Framing and composition rely on combination of symmetric shapes found inbetween natural patterns, which I unconsciously found myself to choose; possibly looking for a unifying and simple principle, lying beneath what we are part of.

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Paula Vรกzquez Guisande Summer Collages

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I am a photographer and filmmaker raised in Galicia, Spain. My desire to leave my comfort zone, my enthusiasm for knowing different places, people and live different experiences, has led me to study in three different countries in the last 3 years. These experiences abroad in Portugal and California, travelling and meeting people from all around the world, have changed my perception of life and have inspired me a lot and changed my visual art as well. I like to mix reality with fiction, pay attention to the little things in life and to human behavior.

Summer Collages is a mixture of analog photographs taken in two of my favorite places; my hometown in the Northwest of Spain, called Vigo, and Lisbon, the capital of Portugal, which has become my second home. This series is, in a way, the feeling of comfort, a place called home. The colors of summer and the warmth of the sun make this time of the year my favourite; nature, family and friends.

on the cover

Jean-Mathieu Saponaro

The Photographer Palette

From my childhood in a Provence in the South of France, to Brooklyn where I live now and roam the streets. I first immersed myself in photography to escape the lines of code in my daily work as software engineer. I see photography as a quest to transform what surrounds us into art, a quest for aesthetics in the simplest fragments of life, yet often ignored.

Between scenes frozen in time and mesmerizing colours, I want to take the viewer on a journey, on a US road trip, or simply under the sun.

Just like a painter gradually creates their own unique palette by mixing up colours like never before and never after, the photographer can steal the colours that are around them: on people, on bricks, on nature. These colours can be found in a discreet ray of light, tones coming from winter’s sun, a shadow... These fragments in space and in time were and will never be the same again after the moment captured by the photo.

This series is about stealing those fragments that most people wouldn’t even notice, mix them to create a colour palette and express the art in them.

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photobook review

flesh by Inuuteq Storch

WRITTEN BY KELLY BRYAN

Flesh, created by Greenlandic photographer Inuuteq Storch and published by Disko Bay, takes the viewer on a journey of discovery.

Storch’s upbringing in Greenland during the 1990’s made him accustomed to vast, open

spaces and picturesque landscapes, all of which changed once he moved to New York City. In order to understand his transformed lifestyle, Storch used photography as a tool to discover commonalities between his cultural heritage and the eccentric city.

The sizeable publication holds seventy-two colour photographs within its sombre covers; it is clear each image was carefully chosen to depict the diverse and extraordinary sights that form Storch’s new life. The photographer’s captivation with his peculiar surroundings can be experienced through-

ney taken to become more acquainted with his new home. The subject matter and sequencing of the photographs play a vital role in this expression; less regard seems to be given to their aesthetic construct. Accordingly, his younger sister’s pink, plastic, analogue camera seemed to adequately document his surroundings, and in using this equipment the viewer is provided with grainy, out-of-focus photographs which hold an abundance of interpretations. The unforgiving grain, blur and vibrant colours only strengthen the intensity of the mysterious undertones that conceptually form these harsh visuals.

“Being from Greenland, where nature dominates everything, my body, unlike my soul, missed being close to nature. Those feelings together created a very specific way of looking at my surroundings. I started finding images that represented familiarity in this unfamiliar place … In my need for nature, I found a different nature, nature of the city with its own laws, paths, landscapes and people” – Inuuteq Storch out the book, yet there remains a yearning for elements that resemble his Greenlandic home as he attempts to find nature in the concrete jungle he now inhabits.

The pages of Flesh are filled with candid photographs hugely diverse in subject matter, which help to build a flamboyant yet intimate, bizarre yet strangely familiar representation of life in New York City. Storch utilises the communicative power of photography to explain of the initial unease he experienced when living in the American metropolis and the personal and artist jour-

There is no doubt these images are conceptually and aesthetically stimulating, which is only enhanced by the carefully considered sequencing presented in the publication.

The narrative is made even more dynamic and animated as Storch appears to have created humorous, photographic pairings based upon visual likeness, whether that be subject matter, colour or composition. The photographer’s sense of humour can be witnessed throughout Flesh, especially through the pairing of an elderly lady with intensely

camera seemed to adequately document his surroundings, and in using this equipment the viewer is provided with grainy, out-of-focus photographs which hold an abundance of interpretations. The unforgiving grain, blur and vibrant colours only strengthen the intensity of the mysterious undertones that conceptually form these harsh visuals.

There is no doubt these images are conceptually and aesthetically stimulating, which is only enhanced by the carefully considered sequencing presented in the publication. The narrative is made even more dynamic and animated as Storch appears to have created humorous, photographic pairings based upon visual likeness, whether that be subject matter, colour or composition. The photographer’s sense of humour can be witnessed throughout Flesh, especially through the pairing of an elderly lady with intensely orange hair, dressed in a leopard-print coat positioned alongside an irritated feline with a similar haircut.

The rich subject matter and conceptual importance of Flesh absorbs its reader in and threatens to never let go. The publication could be read over and over and still new interpretations would arise each time. Its mystifying imagery encourages an intimate insight not only into Storch’s life, but of New York City itself; these intriguing accounts of the location would otherwise be hidden to outsiders. Flesh is definitely a spectacle to behold and one to add to the photo book collection.

Find out more: inuuteqstorch.com/flesh

Andrei Shapran survival School / Living face to the sea

I’ve lived and worked in the far North, in the Arctic, in the far East, in Eastern and Western Siberia, in Central Russia and Southeast Asia.

This project is about the sea hunters of Chukotka - “school of survival”. The work was carried out for one year in remote Chukchi villages (Neshkan, enurmino, Inchoun, Uelen, Laurentia, Lorino, Akkani. Expeditions-2008, 2015, 2016/17). These are the stories of the people whose way of life and traditions have been associated with marine fisheries, hunting grey whales, Pacific walruses and seals for thousands of years. Harsh life in difficult conditions and dependence on the influence of modern civilization has significantly changed life for these people. Climate change, which is particularly acute in Chukotka, has also had an impact on the lives of local peoples - Chukchi and Eskimos.

My observations are a documentary account of these changes.

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Sarah Anne Wu The Feeling of Nothing

I am a visual creative and art director working in the photographic language to depict stories of dreams and emotions. My practice is continually evolving to unite the often-segregated worlds of fashion and fine art media in today’s commercial industry.

I wanted this story to focus on the feeling of emptiness one experiences from an environmental perspective, whether that is from being alone in a sparsely decorated room, or simply leaving one’s old habitat during times of change. There are feelings of loss and confusion, but also a mental lightness as room is cleared for rebirth.

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Photography: Sarah Anne Wu Styling: Yang Wu Model: Julia Whitney

Stefanie Langenhoven Strange Dream

I am curious about how self-image, body image, and perceptions of the feminine self becomes distorted through what is being mirrored to us in a society that is so obsessed with the female image. I am hoping to touch on the intangible and allow the imagination to find space to not just see and be fed an image, idea or belief but be drawn into, feel and discover something more meaningful.

Sadly our relationship with nature is mostly of dominance. If we look at human beings we all consist of masculine and feminine energy.

Each person has a responsibility to heal themselves. In this series, I’m exploring this “part of the psyche which is directed inwards” this intangible space, rich with feeling and imagination.

Looking at the idea that outside reality is the illusion “the dream” and our inner experience, especially our dreams, tells us more about what is real. In this world of dreams is where we discover and find healing through our Anima.

Mirrors are significant in this series. Our dreams reflect ourselves. We mirror our shadow to each other.

Nature is within us; we are a part of nature.

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Gaisinglung Kamang Gangmei I am from a small town in India, Tamenglong. Most of my works are inspired or directly influenced by my upbringing around this area, images are intentionally created from what I have seen or what I could visualise around or about particular scenes. Photography or visual designing is part of a hobby, my actual profession is fashion designing.

This work is based on imaginative scenes which might be considered as dreamy composition or surrealism.

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Collin Pollard I am a visual artist that lives and works in the San Francisco Bay Area. While my work ranges from photography to painting to sculpture, my current practice is heavily focused on critically engaging with ideas surrounding color theory, advertising, as well as mass production and mass consumption. I was born and raised in San Jose, California and attended the University of Southern California (USC) in Los Angeles before moving back up to Northern California. While attending USC I studied art history and graphic design.

I am currently an Master of Fine Arts (MFA) candidate at the San Francisco Art Institute scheduled to graduate May of 2020. I have exhibited work throughout San Francisco, Los Angeles and Kansas as well as had art and culture media outlets from China, France, Germany and others write about my work.

This work is heavily focused on emphasizing the colors, compositions, lines, shapes and textures of our everyday surroundings. These unique landscapes are reflective of my personal way of processing our fast paced and ever changing world. I break down contemporary landscapes, isolating individual forms and colors, to change their intended purpose. Finding my inspiration from our immediate surroundings, I set out to highlight the colors and shapes that already exist; challenging the viewer to re-define their meaning of beautiful. These works are not only exercises in composition, but are also studies in color and texture; in particularly, how they interact with one another. Using crisp lines, my work creates a unique narrative between the viewer and our world. It is not what you see, but how you, as a person, choose to see it. I create new contexts for these average spaces to thrive in. Most of the photographs I set out to create are intended to find the meaningful moments out of the seemingly disposable.

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François Madelin Jardins Invisibles (Invisible gardens)

I am currently working in the advertising industry. I found my way into analog photography because it removes the bias of the screen (which can be good though), allowing me to really bury myself into the shot and composition. Film brings a lot of deliberate creative choices and it also makes me ‘feel’ my shot and captures my mood at this instant which is something I want to spread on each shot as much as I can.

Through the project ‘Jardins Invisibles’ I wanted to interrogate the temporality of a monument and its projection into a different artistic form than what we can usually see from it. The castle of Versailles is a special place to me, as I live in Paris, I often get there to take a walk. I have stridden along Versailles’Castle’s gardens for a long time, losing myself into these magnificent sanctuaries. For rendering this emblematic place under a mysterious and enchanting mood I have decided to use the Kodak Aerochrome film. It is a rare color infrared film with a very particular story and very intricate to manipulate but very sharp when correctly used. I had to choose the season and the perfect weather for this project, waiting all along the year for the perfect moment to produce such magical infrared colors. Compositions in this project are simple they also reflect my mindset: methodical and symmetric, which is inherent to my photographic style. Finally, I want to pay tribute to all great works made by many photographs on Versailles’ Castle and I hope I bring a new outlook to it.

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Ghosts Are Real by Philip J Brittan photobook review

WRITTEN BY KELLY BRYAN

The self-published book Ghosts Are Real by Philip J Brittan presents a mystical exploration of memory and loss through a narrative of seventy-three aesthetically enchanting photographs.

The publication was created during a particularly difficult period in Brittan’s life; his mother had recently passed away and the distribution of her estate had fractured his familial structure. To escape this trauma, the photographer took long strolls at night with only a camera to accompany him. In this process, photography acted as coping mechanism and provided the opportunity to reflect and rejuvenate, whilst simultaneously celebrating life itself and the beauty within the ordinary.

“The night walks became a sort of haven, a place to recuperate from the troubles of the day. Walking, a different route each time, and often suddenly prompted by a particular place, I regularly experienced the emotional ambush that can arrive in the small hours with the past erupting into the present” – Philip J Brittan Brittan embraced creative freedom as he allowed his emotions to take control and influence the aesthetic construction of his photographs. Subsequently, the viewer is

presented with an explosion of shapes, patterns and colours, demonstrating not only the natural and man-made spaces documented, but Brittan’s fluctuating emotional state. The narrative attempts to explain the unexplainable in which the diverse range of artistic methodologies used to create these aesthetically captivating visuals, mimic the rush of memories, thoughts and emotions experienced during the production of Ghosts Are Real. At first it may seem as though the photographs purely depict the artist’s personal experience, however, their ambiguity transports the reader into an internal world inspiring reflection on one’s own life. Accordingly, Ghosts Are Real has the ability to resonate with an abundance of individuals, acting as a stimulus to recognise and consider personal memory.

The documentation of Brittan’s urban and rural surroundings follows a theme of fine art photography and should be considered abstract; some photographs depicting a remnant of the original sight documented, others so far from reality they mimic

paintings. The majority of imagery within the publication is devoid of people, all but one, a photograph of a young girl playing; possibly a subtle reminder that with death, comes life. The multitude of understandings which can be taken from the book transports the reader into a dream-like world. A rainbow of colours fill each page; deep reds, soft pinks, vibrant blues and energetic greens work collaboratively alongside the monochrome images, arousing the senses and creating a pathway into the reader’s own mind.

It is utterly fascinating how Brittan has succeeded in creating such an individual account of memory and loss, whilst preserving the photograph’s ability to be universal and connect with its viewers on a personal level. The imprints of nature and urban spaces within the photographs, form an exotic world in which the audience can explore their own memories and emotions in a magical process. Ghosts Are Real is truly thought-provoking; each image provides an endless amount of interpretations, a predominant reason as to why Philip J Brittan’s publication is so powerful.

Gavin Hoskins Words have never been my strong point, I prefer to express myself creatively.

My photography is an expression of how I see the world, all the thoughts and ideas in my head. I use a mix of digital photography and Photoshop to create my work, I like to get outdoors with the camera but equally spend the same amount of time on editing.

Music is a big inspiration for me. When I connect with a song, this is when I feel most creative. I try to capture the feeling from the music and let it resonate into my art work.

I don’t want to see an ordinary landscape I want to see mood, weather, feeling. I want to challenge the landscape digitally and create an alternative environment, one which only exists in my artwork.

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Maxim Dondyuk INTER VITAM ET MORTEM

I’m a photographer, documentarist and visual artist.

Each my project is an in-depth study of the theme. I prefer to be a direct participant while shooting. Among the issues I had raised were the problem of tuberculoses in Ukraine; military patriotic upbringing of children in the secret camp in the Crimea mountains; the revolution in Ukraine and the aftermath of the war in the east of Ukraine. Recently I’ve been working on an archival project about Chernobyl, where I’m exploring the restricted areas before they were absorbed by the radioactive cloud in 1986.

War lets loose all the destructive forces of mankind against itself. What kind of insanity is this? War takes any meaning and breeds emptiness, that burns everything leaving just ruins. A person’s mind, traumatized after the war, reminds me of these deserted landscapes, that continue its existence misunderstood and forgotten.

This project is an exploration of territories of Eastern Ukraine devastated by the war.

It’s about scars that wars leave in human souls, about emptiness and loneliness.

To convey feelings more deeply, I’m using landscape photography, a more intimate approach. Sometimes thoughts of the past and the scars of war are much more painful for the people and the country that survived the war than the battles themselves. These feelings will never stop; they will remain for their whole lives.

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index

Check out the sites for all photographers featured in this issue for more inspirational work.

Fergus Coyle ferguscoyle.com Maxim Dondyuk maximdondyuk.com Gaisinglung Kamang Gangmei instagram.com/singsinggangmei Paula Vรกzquez Guisande paulavguisande.com Gavin Hoskins 500px.com/gavinhoskins21 Stefanie Langenhoven instagram.com/singsinggangmei Franรงois Madelin fmdphoto.com Alp Peker instagram.com/alpqwerty Colin Pollard collinpollardphoto.com Nick Prideaux nickprideaux.com Jean-Mathieu Saponaro jmsaponaro.com Andrei Shapran shapran.photoshelter.com Diana Takacsova diatakacsova.com Luca Tombolini lucatombolini.net Sarah Anne Wu sarahannewu.com 138

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