Hyde Park
photography
the magazine made by photographers
INTERVIEW
ERNESTOBAZAN reportage
TAMARANOLAND PROJECT
ALESSANDROVILLA
Gallery
MONOCHROMEVISIONs WOMAN URBANEYES
+65photographers
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6 /In the Classroom/
8 /Checker Players/
12
/The three pals/
10 /Fearful(fearless)ness/
14
/Granita Big Fun/
H y d e P a r k P h o t o g r a p h y I s s u e n . 1 C o v e r b y M d . H u z z a t u l M u r s a l i n W e b S i t e h t t p : / / h y d e p a r k p h o t o g r a p h y. n e t E m a i l i n f o @ h y d e p a r k p h o t o g r a p h y. n e t
/Contents/
A r t D i r e c t o r M a r c o S a v a r e s e P h o t o E d i t o r A l e s s i o C o g h e Te x t E d i t o r L u c i a n a B o r r e l l i
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19
24 /Project Twentyone/
/Human or animal?/
/Ritualization/
18 /Capitalism/
22 /Afghanistan Voluntary Repatriation/
26
/Why Black and White?/
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28
/White Lies/
36
/Monochrome Vision/
30
/Interview of Ernesto Bazan/
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/Woman/
72
/Urban Eyes/
92
/Tamara Noland/
88 4
/Alessandro Villa/
6 In the Classroom by Gianluca di Santo
8 Checker Players by Roberto Morelli
10 Fearful(Fearless)ness by Ed Hawco
12 The Three Pals by Monia Tartarini
14 Granita Big Fun by Federico Azuni
16 Project Twentyone by Alberto Ianiro
18 Capitalism by Adi Levy
19 Human or Animal? by Vincenzo Pioggia
By Christopher Richey
/HighLights/ 5
/HIGHLIGHTS WORlD/
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in the classroom Children are back to school after more than 20 years of war. School of Hope, Kabul - Afghanistan (2004) By Gianluca di Santo
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/HIGHLIGHTS WORlD/
CHEcker Players Attention and concentration between two checker players in the sticky heat of the afternoon. Hanoi - Vietnam (2009) By Roberto Morelli
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/HIGHLIGHTS WORlD/
Fearful(fearless)ness A police barricade at Rue Ste-Catherine for a suspected bomb scare, revealed later only to be a false alarm. Note the aplomb of the old lady in the foregroud. Rue Ste-Catherine, Montreal - Canada (1991-1992) By Ed Hawco
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/HIGHLIGHTS Wildlife/
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The three pals Three Emperor penguins (Aptenodytes forsteri), endemic to Antartica, stand at the edge of the cliff with the crashing and foaming waves beneath, as if deciding whether to have “a dip� or not. Antartica (2007) By Monia Tartarini
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/HIGHLIGHTS everyday life/
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Granita big fun Slush (Granita in Italian), children and the beach make for a perfect combination. A very spontaneous shot, with a compact camera, and with no specific technical requirements. When luck and intuition reign supreme... Potro Ottiolu Beach, Sardinia - Italy (2011) By Federico Azuni
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/HIGHLIGHTS solidarity/
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Project Twentyone Down syndrome is a chromsomal condition characterized by the presence of an extra copy of genetic material on the 21st chromosome. In Italy the proportion is 1/1000 births, and the people affected are estimated to be around 38.000, 23.00 as adults. Behind Down syndrome lies a complex universe that goes well beyond the negative stereotype, and that talks of people that are members of families and social groups, that do sports, and try with all their strength to live with us, in our society and to lead a normal life. Associazione Trisomia 21 Onlus, Florence - Italy (2010) By Alberto Ianiro
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/HIGHLIGHTS Concept/ Capitalism I called this photograph CAPITALISM as I think that the brutality of capitalism will soon bring us to fatalism. Tel Aviv - Israel (2008) By Adi Levy
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human or animal? This phtograph belongs to a photo series (NEWS IN THE WORLD), focused on playing with the diversity and similarity between man and animals, a game to reflect on the needs and problems of one and the other. Ravenna - Capanno Garibaldi - Italy (2011) By Vincenzo Pioggia
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HYDEPARKPHOTOGRAPHY IN THE WORLD
TOP VISITS
COUNTRIES
+119 20
UNITED STATES 02UNITED KINGDOM 03 italy 04SPAIN 05FRANCE 01
GERMANY 07MEXICO 08CANADA 09GREECE 10CROATIA 06
22 Afghanistan Voluntary Repatriation by Mariam Arzomand
24 Ritualization by Ayan Khasnabis
26 Why Black and White? by Stefano Mazza
28 White Lies by Fabio Liverani
30 Interview of Ernesto Bazan by Alessio Coghe
By Massimiliano Sarno
/Focus/ 21
/HIGHLIGHTS WORlD/
afghanistan voluntary repatri
A
fghanistan Voluntary repatriation / Khalida’s story: Leaving Kabul in fear, returning with hope PESHAWAR, Pakistan (UNHCR) – “I want to go back but I am afraid,” she said, waiting as her mother registered the family of 15 at Takhtabaig Voluntary Repatriation Centre near Peshawar, western Pakistan.
“I am afraid because I cannot forget the way we left Kabul”, explained Khalida, 22, an Afghan refugee who had been living in Pakistan for almost eight years. Recalling the terrifying circumstances that led to flight from Kabul in the pre-Taliban days, when Afghanistan’s capital was being torn apart by different mujaheddin groups battling for control of the city, she continued slowly, “I still remember our last night there. We were sitting at home and talking when my brother burst into the house. He was panting and his face was blue”. He said, looking towards my mother “Today it is our neighbourhood’s turn.’” It was only later that Khalida found out what her brother meant – groups of men working for the different armed factions were abducting women from their houses. Khalida’s family spent the night hiding in the basement, something they had done before when there was shelling and bombardment outside. When we were all in the basement, my brother said, looking desperately towards me and my sisters-in-law “They are coming to take the women; I cannot let that happen. I love you, but for my honour and my family’s honour, I will kill you the moment they enter the house and then I will kill myself rather than hand you over. So, forgive me, your blood, as God knows what will happen.’” “We were shocked but understood him well,” said Khalida. “I wanted to cry and my chest was going to burst, but I thought that by crying, I was going against my family honour. That night we listened to the trampling of feet in the street, shooting and cars moving. Every time I heard a voice coming, I thought that was it. I do not know how I fell asleep that night.” The next day, the family decided to flee for Pakistan. Khalida’s nephew found a getaway car while everyone else hastily grabbed a few items of clothing. The women did not have chadari (an overall worn by some women in Afghanistan) so they covered themselves with bed sheets in the car. “The whole journey was tiring and I did not dare to remove the bed sheets because I had heard stories that if someone takes a fancy to you, he will take you and marry you and you will never see your family ever again. I was very afraid and the whole day we could not eat anything,” recalled Khalida. “The next night we stayed in Jalalabad, and in the morning the journey continued. It was dangerous but I was no longer afraid. I was thinking of reaching Pakistan, where so many relatives have gone before and have never come back.” The family reached the Torkham border in the shadow of the Khyber Pass in Pakistan’s North-West Frontier Province in the wee hours of the morning. They eventually joined an uncle who was living in Hayatabad, a town near Peshawar. “We had nothing to eat or wear,” said Khalida, reflecting on her initial days in Pakistan. After almost eight years in Hayatabad, the family settled in; Khalida worked while her brothers attended school. “But we have decided that it is time to go back home. God will take care of us.” Leaving Takhtabaig with her family, Khalida smiled and said, “See you in Afghanistan”. 22
iation
By Mariam Arzomand Photo By N Behring Chisholm/UNHCRPakistan
u Afghan refugees returning from Pakistan await to receive
donations at the Puli Charki refugee center (UNHCR). Peshawar, PAKISTAN
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/HIGHLIGHTS WORlD/
ritualization By Ayan Khasnabis
u An Aghori ascetic
during the Gangasagar Fair, an annual festival where Hindu holy men and disciples gather from all over the country for their ritualizations. Kolkata, INDIA
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T
he holy man figured in his photograph claimed to be an Aghori. Aghori ascetics, while being devotees of the Hindu God Shiva, are monists who adhere to the common Hindu belief in the liberation (moksha) from the cycle of reincarnation (samsara). In essence, Aghoris base their beliefs on two principles. First, that Lord Shiva is perfect. Second, that Shiva is responsible for everything; every rock, tree, animal, and even every thought. Due to this, everything that exists must be perfect, and to deny the perfection of anything would be to deny the Gods. The Aghori ascetic is himself a symbol of the God Shiva. He goes naked or wears the shroud of a corpse, or even covers himself in the ashes of the cremation ground. The corpse upon which he meditates is a symbol of his own body and the corpse devouring ritual is a symbol of the transcendence of his lower self and a realisation of the greater, all pervading self. The Aghoris distinguish themselves from other Hindu sects and priests by their alcoholic and cannibalistic rituals. The corpses, which may be either pulled from a river (including Ganges) or obtained from cremation grounds, are consumed raw as the Aghoris believe that what others consider as a “dead man� is, in fact, nothing but a natural matter devoid of the life force it once contained. Therefore, while for ordinary folks it may be called cannibalism, for them it’s using what is useless for the rest of the world. In fact, they claim to be scientists trying to discover how matter converts from one form to another. 25
u A child playing with his reflection on the mirror and the
surrounding water, an essential element of life. Note the intensity of the child’s expression in his thirst for life. Bordeaux, FRANCE
26
why
black and white?
W
By Stefano Mazza Photo By Arnaud Bertrande henever we start talking about black and white photography, one often lists the possible reasons why this form of photography still retains such a popular artistic status and why in fact it even seems to have acquired more and more dignity with time, in spite of the modern and highly reliable colour techniques available nowadays for both digital and film photography. By true, black and white photography, or the practice of using monochrome techniques, is a very important part of the entire history of art. It is thus not surprising that black and white has maintained its autonomy as a photographic technique compared to others.
However, let us explain the principal reasons behind the success of monochrome representation and why it is a crucial and indispensable part of the art of photography: Photography was born in black and white: from the first heliography made with bitumen of Judea by NiĂŠpce and the copper plates by Daguerre, up to the 35 mm Leica format, the history of photography has been marked by black and white images. Until 1935, when the Kodachrome system was commercialized on the market on a world wide basis, photographers generally used black and white processes, that could be coloured at the most by toning, painting and post-production techniques, which however did not change the overall monochrome nature of the original emulsions. To be honest, many scientists and technicians obtained some colour processes during the second half of the nineteenth century, although these techniques were not commercially available for the general public until the age of Kodachrome emulsions and other later colour films. Due to the historical heritage of black and white, it makes sense that a large part of photographic language is made of monochrome images even to our days, and that certain photographers focus their work exclusively on monochrome pictures. Many amateur photographers of the past, who were interested in following the whole photographic process, from shooting to final print, resorted to black and white since it was more practical and easier to reproduce in-house than colour photography or slides. Black and white has been known since the origins of the history of art. It has always been used by artists to give a dramatic mood or an interpretive sense to pictures, to the extent that both artists and audience were already accustomed to monochrome or grayscale images, well before the advent of photography. Even the sculpture of materials such as marble, bronze or similars is on the whole a monochromatic representation. Black and white allows the observer to focus only on certain aspects of the image that the artist is able to highlight through the use of light, tonal contrast and composition, which in colour photography would pass in second order since colour itself tends to add variables and visual stimuli that can be distracting to the observer. By black and white we are able to immediately perceive elements like forms, shapes, surfaces, or even create psychological effects such as suspension, awaiting, surprise, and in general that suggest specific atmospheres and particular moods. Black and white and, more in general, monochrome photography has seen an increasing use since the advent of digital technology also thanks to the emerging techniques of digital conversion, which have allowed a more precise level of control of all the phases of the photographic process. 27
White Lies
“Not necessarily being unthruthful means lieing” Sant’Agostino “You, chameleon, bottomless bag of tricks!” Omero “It is in the things not said that the lie is hidden” John Steimbeck
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White lies
By Fabio Liverani
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u A Przewalski horse, also known as Mongolian wild horse and locally as Takhi, photographed in the Bayerisher Wald National Park in captive conditions. In addition to having been taken in “captivity”, this image was performed by “planting” the lower half of the telephoto lens directly in the snow so that the “false fog” generated by the snow itself obscured the unnatural setting where the horse was standing. A small but effective “trick”, a “white lie” which was added to another (i.e. captivity), to tell the tale of the horse, or rather to communicate something through something else. Bavaria, GERMANY
oes photography lie? Of course it does! There are various kinds of lies in photography. Let’s focus here on those which would most probably fall in the category of “conceptual” or “descriptive” lies, linked to the shooting process more than those connected to the dark room or more recent digital post-production for which we could fill a whole 24-volume encyclopedia! Let us divide these lies in two kinds: those in good faith and those in bad faith, apparently easy to distinguish but actually difficult to decipher, where the main difference often lies in the legend, an essential but neglected element of a photograph. In nature photography, or in geographical reportage, for example, lies are our “daily bread”, often lies in good faith... let us analize when we become liars to tell “our truth”. Who focuses on geographical reportage often, if not always, will try to enhance the beauty of the place, the nature photographer will attempt to capture the “essence of wilderness” maybe in places that are not as wild as they seem. The photographer will try by way of the composition, light, and all the visual/ technical tricks up his sleeve to give his/her point of view of the location, animal or action represented, telling lies to communicate the emotion of the moment,or action captured. In nature reserves it is fairly easy to capture the “wild” essence of a wolf or bear, the ultimate totemic animals able to trasmit and communicate “wilderness”. The lie is that that specific wolf and bear are in fact not wild at all! They are surrounded by a fence, albeit large. The truth is that potentially both the wolf and the bear are wild animals, that the carefully composed image of them communicates their wild nature but that the icon picture depicting them does not want to represent that specific wolf or bear, i.e. the individual, but rather the individuals taken together and representing the species. The photograph thus does not depict that bear, but the bear! This is the lie behind the photograph, even if we are telling the truth, our truth! There is of course another school of thought, which is not prepared to tolerate this iconographic process and that is more concerned in representing a wolf or a bear as that specific wolf or bear. In this case, the interest lies in assessing whether the animals represented are truly wild animals and in understanding how the picture was produced and processed, the “backstage” of the photograph, more than the picture in itself. Considering our times, how can we blame this key of interpretation? In ethnic and geographical reportage we continue to be overwhelmed by theatrical representations of human races and tribes that no longer exist, we are anchored to the past, and seek what is there no longer: adventure, wilderness, unknown human races. It is intrinsic in our nature to become narrators through images, liars by necessity, by virtue, or for pure aesthetics. We should learn to write honest legends to our photographs, specifying how and what, and to become more journalists and less esthethes for a better and more ethical photography.
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INTERVIEWof
ERNESTOBAZAN 30
By Alessio Coghe Photographs By Ernesto Bazan
n
“I
had strongly desired Cuba for many years in the same way you desire a woman you meet and are not able to get out of your head. I am pretty certain to have lived there in another life” Ernesto Bazan wrote in the pages of his diary. In Cuba he found the woman of this life, Sissy, whose relationship brought to their twins Pietro e Stefano. Today Ernesto Bazan no longer lives in Cuba, a country he was forced to leave in spite of his own will, but his relationship with Cuba as yet remains absolutely deep and indissoluble, even from Veracruz, Messico where he presently lives. Thanks to his love for the isla, Bazan has won numerous international awards like the W. Eugene Smith Fund, considered as the Oscar of the world documentary photography, the first prize in the daily life category at the World Press Photo awards, and a fellowship of the prestigious Guggenheim Foundation. For the forthcoming publication of his last book Al Campo, which describes the daily proceedings of his Cuban farmers and friends, a work lasting 5 years, he has accepted to be interviewed by HYDE PARK PHOTOGRAPHY. Hi Ernesto, after Bazan Cuba, another book produced on your own. Would you like to talk about it to the readers of HYDE PARK PHOTOGRAPHY? Al Campo is my first book of colour prints focused on the Cuban countryside and my beloved farmer friends. I have again had the extraordinary privilige to rely on the help of my students. The editing as well as the choice of the sequences in the book and the book cover were done by a combined effort between my students and I. They also helped me to finance the book by pre-purchasing several copies of the limited edition, like they did with Bazan Cuba. Eight of my students even accompanied me during the book’s official presentation, which took place in Verona. Is Cuba different if seen by “Cuban eyes”? I believe any country that is seen from “the inside” is more intimate in the end. I had the possibility to live on this island, bright and sad at the same time, for a long period of my life. Fourteen year are many. I’m glad I did it and would do it again tomorrow. The most interesting aspect for me, photographer for profession, was to not worry about what I would have done with my photographs. I just loved getting lost on the Cuban streets, meeting new people, talking to them, getting to know them, play dominoes with them, and even taking photographs of them. Now, the work I’ve done slowly begins to take shape. I believe that there is no better way to work than succeeding, with the passing of the years, to bend, if not break even, that solid almost unbreakable glass that often separates us from our subjects. I think I’ve tried having married a Cuban woman and with twins born in Camaguey. You now live and work at Veracruz. But, I imagine you still follow Cuba at a distance. Do you think the island is always the same or has it changed? How have the last political events with Fidel Castro, more and more sick and tired, changed the people of the island, if they have at all? Since I was forced to leave the island in 2006 I don’t think Cuba has changed a lot nor do I think that much will change in the years to come. People continue to wait, tired and desperate, for something to happen. But for the time being the only thing possible is to escape or to continue to wait while you see your life, the best years of your life, flowing rapidly in front of your eyes. 31
INTERVIEW with ERNESTO BAZAN
You lived very close to the campesinos of the island, becoming friends with them. What would you prefer would be highlighted of this work? The simplicity, ancestrality and poetry of their daily life, which is still deeply and intimately rooted to an ancient world. On your website - which we suggest the readers to visit and maybe even save among their favorites - what had dazzled me are your projects on Mexico and Peru, with photographs performed with panoramic cameras. This kind of camera, in my opinion, is ideal for reportage, and your work is a good example of this... I adore working with a panoramic camera. It has radically changed my way of seeing and feeling for life. I started using this kind of camera the last five years I lived in Cuba. I have recently gone back to all those pictures I had done, which I had almost forgotten. I am now trying to understand where to fit them in place. Your activity as a photographer is linked to the organization of workshops. To quote Rubèn Pax, Mexican photographer: “I like to give classes and what I live on are classes. I live on photography, 32
and for photography”. I fully agree with the words of Rubèn Pax. To have created my own workshops I think is one of the most important achievement of my whole life. My personal and professional life has changed radically thanks to teaching, and thanks to my students, it has given a new impetus to my work as a photographer, my books are maybe the best example of this new way of working. In the last ten years, thanks to my workshops, I have had the incredible fortune to be able to abandon my work for magazines and to dedicate all my efforts to help my students in their growth as photographers leaving me enough time to shoot photographs only for myself. This freedom is priceless. How is life at Veracruz? At Veracruz I live happily with my family. It is still a provincial and sleepy little town, developed on a human scale. One of my best friends, Juan de la Cruz, lives at Veracruz. He is a fantastic photographer, and great expert of software like In design and Final Cut Pro. He was of great help in impaginating my books and in creating the audio-visual interface for Bazan Cuba and for the videos we prepared for the fund-raising on the platform of crowfunding Kickstarter.
Once the work is completed, in the following years, we are thinking of publishing the personal work on Mexico Juan has been carrying out for the past years with the BazanPhotos Publishing. You definition of photography. An essential aspect of my existance. If you have to choose only one camera to bring with you, which one would you choose? An analog camera with a 35mm lens. Digital or analog? Exclusively analog. I like being a dinosaur. Colour or black and white? Lately, strictly black and white. But I hope to resume taking colour photographs. Which is your next project in photography? Most probably the panoramic work in black and white carried out in Cuba.
A photograph in particular that has left a mark... I wouldn’t know. What would you say to who would like to become a professional photographer? To roll up their sleeves, breathe deeply and persist for a lifetime without losing hope, taking pictures that are intimate and revealing and that, at the same time, talk of the subjects depicted and of you the photographer. HYDE PARK PHOTOGRAPHY thanks Ernesto for this wonderful interview and strongly advises all the readers to purchase his last book.
http://www.bazanphotos.com/ http://www.bazanphotospublishing.com 33
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36 Monochrome Vision
“Black and white photography is a perfect lie. We must not let colour destroy this image” (Patrick Summerfield, Photographer).
54 Woman
“Woman I can hardly express, my mixed emotion at my thoughtlessness…” so John Lennon sings. The photographers in this section try to capture the amazing universe of womanhood.
72 Urban Eyes
The artistic flair and creative eye of our photographers express their vision of the urban landscapes through their imagination.
By Thomas Longo
/Gallery/ 35
land of living dead A shot at the beach, the day after a storm: the few people in the fog appear as zombies wandering into nothingness. By Emiliano Grusovin
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MONOCHROME
VISION
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MONOCHROME VISIONS
Rosarno Outskirts of Rosarno, Italy - February 4, 2010 - Some workers have returned. It is estimated they are less than a hundred. They do not live in the ghettos where most were turned away between 8-9th January but in farm houses in the countryside near Rosarno. The inspections by the authorities are many now, and, for fear of fines, few but regular workers are now preferred. By Andrea Scarfò
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Hide and Seek This is a shot of which I am particularly fond of, because when I did it I felt for the first time the thrill you feel when you realize you have created something special. I was taking a photo of an old warehouse, for work, but the children of the owner did not want to stop running and playing, preventing me from taking the picture I needed: an empty environment. However, when I saw this scene, I didn’t hesitate a moment: I set the camera to have a blurred effect of the child at the front, focused on the scene and clicked. Everything happened in an instant, a single click and the thrill of the end result: wonderful! By Omar Biagi
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MONOCHROME VISIONS
Joy Praia de Santa Maria, Ilha do Sal, Africa touched my soul already during the flight: it appeared as a bed of ancient humanity from up there. And at 4000 meters high, sitting on the clouds, I felt like a cloth brought by the wind (Saul Bellow). By Stefania Isabella Massoni
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Nizamuddin Image taken in 2009 in New Delhi, Nizamuddin district, the historical muslim district of the capital of India, where there is the Dargah (mausoleum) of the homonymous saint Sufi (Nizamuddin Auliya). By Michele Vittori
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MONOCHROME VISIONS
Band of brothers They are brothers‌with all the limitless sprit they roam the world... with all the infinite source of happiness they feed the world with life ‌ they are the performers of ecstasy and the lead entertainer. By Md. Huzzatul Mursalin
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The lost children I’m fond of old pictures. I’ve recently found pictures of my family archives and I’m playing with them. This photo had a black hole, which inspired me to dramatize it. The idea that something really terrible will happen soon... By Andrè Fromont
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MONOCHROME VISIONS
Zorros I love kids. They always make for great shots. It doesn’t matter if they are happy or sad, they are always true. In a world where posed and staged, constructed wedding photos still exist and are appreciated, I follow quite the opposite trend and love real people, real emotions... This was actually one of the pictures that never sold to the clients although it has since won various international photography awards. The best pictures are always the ones that are ignored, neglected or criticised. By Edward Olive
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Transparencies Black and white has always fascinated me, the essentiality imposed by black and white, the extreme dilution of the chromatics, the black in all shades of gray and opposed to its extreme, the white. The sole and only scope of this photography project, called STILL and STILL, is pure aesthetic research that develops with the assemblage of objects of different forms, of different materials to be in contrast but also compensate each other, merging into a formal and aesthetic balance that is the result of a careful and passionate study. By Paola Marinangeli
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MONOCHROME VISIONS
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Dreams
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This photo was taken in a ship, traveling from Athens to Heraklion, Crete. What I first saw was the young woman. The window created an excellent frame. The beautiful woman staring at the sea could have been a photo by itself. But what excites me more about photography is the creation of interesting stories. So I chose to tell a story about these three people, an elderly couple and a young woman. The contrast is between the dreamy environment of the exterior and the realistic, down to earth environment of the interior. His woman is sleeping but it seems like the man is having an exciting dream. Some details such as the binoculars and the Exit sign give a more dramatic tone to the shot. By Lukas Vasilikos
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Senescence
Older people, even if silent, often tell us, through their appearance, stories of lives lived and experiences endured. As the bark of old trees their wrinkled skin becomes icon of the hardness of the road. By Attilio Correnti 46
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MONOCHROME VISIONS
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Gea
Children: curiosity always present, a desire to emulate adults but difficulty to use their tools, vitality. These are the feelings I wanted to hold and transmit in a click, along with all the love I have for my first and only niece, the cutest child in the whole wide world (Gea, of course). By Luca Marangon
Flour
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This photograph is one of my 1st packshot and it’s the one I always prefer! I wanted especially to practice to take moving matter in the photograph, and found the association between the whip and the flour to be different from what one can see. By Linard Benoit 49
MONOCHROME VISIONS
Depth Mis-Perception The image belongs to an ongoing series on mirrors, which began as an exploration into illusions, and has continued as such. I called this photograph Depth Mis-Perception as the 3rd dimension in the image is just another illusion. By Sonnie Mason
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The road to blessing What can save us from our foolish tendency to propagate evil? The road to blessing, a light that illuminates the path that leads us from despair to hope, from abyss to grace. By Thomas Longo
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MONOCHROME VISIONS
Children of the quarter Photos from the series “Living in the quarter”, Mea Shearim, Jerusalem, Israel. 2009. The Quarter “Mea Shearim” (Hebrew )םירעש האמis one of the oldest areas of the new city of Jerusalem, which was founded in 1880. Broadly speaking, under the Mea Shearim district are included all the neighborhoods of Makor Baruch, Geula, Beit Yisrael, the Bukhara district, Varsha Batya, Batya Ungarin. In a narrower sense, under the name Mea Shearim we mean a small area with the same name on both sides of the street. The name of the area means “a hundred times” and is an expression of the Bible (Genesis 26:12): “And Isaac sowed in that land and received in the same year an hundredfold, barley ()םיִרָעְׁש הָאֵמ: the LORD blessed him.” To date, it is mostly populated by ultra-Orthodox Jews, among whom also Neturei Karta. By Max Shamota
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Greetings from the slaughterhouse The silence is almost unreal, broken only by a few plaintive bellows that occasionally remind us, my daughter and I, that these animals are alive .. though they were born to be not alive. No humans in the slaughterhouse, only sad gazes, dreadfully direct, a disarming, almost conscious, supplication. Eyes that come straight to the stomach, eyes that I cannot help taking photographs of. One cannot remain indifferent to what we have witnessed, even if most probably this will not be enough to change our eating habits and become animalists, to make crusades or improvise as advocates of vegetarianism. But, from today, we will be more aware of the value of of the sacrifice that lies behind our food, a visit that was worthwhile. By Marco Rilli
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Woman
I'm yours Views from the top. By Fernando de Noguera
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WOMAN
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The future gracious first lady
On October 1, 2008, Michelle Obama gave a speech at a voter registration rally on the Boulder campus of Colorado University. Just over a month later her husband, Barack Obama, was elected President of the United States. I photographed the future first lady from the crowd of mostly college students. At one point a girl next to me let me stand on her skateboard for added height. Through rallies like these the Obamas reached out to younger voters, which helped Barack win the election. Although Barack Obama’s presidency has at times been difficult, I think his initial philosophy of hope still fills his outlook as he guides the nation. His wife has become an elegant and gracious first lady. By Joe Beine
Winter Sprite
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Taken in Northern California in the middle of a walnut orchard. A very relaxed, unplanned shoot with a poet, painter, and photographer. We are all artists on our own but together, we make a new kind of art. By Sarah Hawkins 57
WOMAN
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The boudoir style
The model is Camila Rogel, and the shot was taken to depict the boudoir style in photography. It was for a tv show, to show and talk about the style a little. And because it was for a tv programme, the “sexy” look had to be toned down quite a bit. Also, we were at an antique’s store during working hours, and there were clients coming in and out. By Anna Theodora
Carrè Otis Portrait
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Carre Otis photographed on the Kona Coast beach, Hawaii wrapped in a scarf. By Ethan Allen
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WOMAN
The Benedict Series Taken on June 6, 2011 in Sant Benet de Bages, Barcelona, in a hotel close to a Benedictine Monastery’s Complex. Model: Noemi. By Jordi Clotas
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Forests sentinels wake up early A strong connection between man and nature. By Katiuscia Bayslak
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WOMAN
Cerise Essentia I am a big lover of fresh flowers and it is always sad for me to have to throw them away when they whither. So one day, when the bouquet of tulips at my house was beginning to fall apart, I collected and dried the petals with the hope of finding a creative use for them in the future. Later, when I was working on a new make up look, I took inspiration from the petals to create something that fused nature and fashion together. By Mariya Olshevska
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Light and Shadows This was the very beginning of a shoot. I wasn’t sure about the shadows but decided to play with them and this is one of the first shots I took while doing some test shots. It became my favourite of the day thanks to the light and shadows. By Deborah Barcomb 63
WOMAN
Francesca The hands that hold up my camera are those of Massimo, my boyfriend. I wanted to assume a sad, melancholic expression. I like to convey anguish and often sensuality and femininity through looks and bodily expressions. In a photograph, the face is what I like the most, whether it is a nice or horrible face. This photograph gives me the idea of a girl of the 60s or 70s, it is not particularly expressive, but not even empty, a face that transmits melancholy and a certain sense of inferiority because of the big eyes that stare straight towards the observer. I feel small, yet the person depicted in the photo is me. By Francesca Errichiello 64
KarmaSutra This project, ON MY SKIN, was done in the occasion of the art fair, which took place in Bologna in 2010. The project represents a naked body exposing my beliefs: reading, music, cinema, religion, art. In this picture,I invite people to give the meaning they want to. For me it represents life and death in the blind search of oneself. By Monica Silva
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WOMAN
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Three smart girls
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I took this shot the first week of July with an old Petri 7s camera dated 1963, belonging to a beloved uncle of mine. The shot features the legs of my girlfriend (at the front) and of those of two other friends of hers (at the back). The angle chosen is a bit “street� following a hypothetical guideline starting from the front and up to the black silhouette in the background, with a vintage flavour to it. By Matteo Zannoni
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Bijou
Part of a sequence called HABITUAL GRACE. By Jo Schwab 66
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WOMAN
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Howl
The story of this image is related to Romanian folkloristic stories, I will try to translate it in English. Iar aud lupii cum urla, Aud spirite stinghere, Ca in capul meu e-o surla, Si ma-ndrept tot catre iele. English translation: And I hear the howl of wolves, I hear the spirits perch, Because in my head is a “trumpet” (high noise), And I go to the “iele”. I don’t know the translation for “iele”. They are considered like ghost girls that dance naked in the night to get the attention of young men; every man watching the girls goes into a trance, and becomes crazy. By Florian Ispas
Bangkok 2010
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We are in Bangkok in 2010, at the entrance to Wat Phra Kaew, the Temple of the Emerald Buddha, the most important of the whole of Thailand. Depicted is a group of Muslim schoolchildren visiting the Buddha. A few hundred metres ahead the revolt of the “red shirts” is heating up, which will lead to the coup d’état a few weeks after. By Omar Biagi
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WOMAN
When I Look In the Mirror I See YOU Humans don’t seem to realize the effects we have on each other. Whether it’s a long-term relationship, a family member or a stranger, there are moments that can have a big and lasting impact on us: those moments that get under our skin, stick to our brain and the backs of our eyelids. We will never escape, never be free of some of them as our minds can and do flash back, unbidden, to things from the past whether or not they’re relavant to the situation at hand. A happy dinner can be marred by the memory of a certain dark apartment... someone not saying hello can trigger a taught belief of being worthless. I believe a lot of people walk around really wishing they could scream so loud to shatter the glass of the mirror that keeps showing them these scenes. By Natasha Heredia
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a a g e n c i a e n M e x i c
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Modulo 33 Depto 102 Acueducto de Guadalupe - Mexico, D.F.
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urban eyes
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Streets of Cork While on tour this past March with an Irish Rock band, I had the opportunity to spend a couple of days in Cork, Ireland. I was fortunate enough to have ample time to wander the streets, camera in hand, and really explore the city. Out of all the shots I took, this was one of my favorites. It was shot with a plastic SuperHeadz Ultra-Wide camera on Fuji Superia 400 color film, and then converted and processed in Silver Efex. By David Ingraham
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URBAN EYES
Mesa 0130 Through my shots, I try to capture parts of Mesa that people don’t normally see or notice. Places you have driven by a thousand times and don’t even know they exist. This was shot by the old flour mill off Broadway looking east. Depth, contrast, and geometry are what I am trying to show in this photo. By Mark Nelson
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Strong conversation There is no special history behind this image. I like photographing architecture in a different way, focusing on the combination of elements, so ordinary and generally forgotten by the viewers, giving them a duly importance when they’re put together. This image is pretty representative of my style, which is more likely to be defined as photographism rather than photography. By Zel Nunes 75
URBAN EYES
Former bus depot The photo was taken while visiting a former bus depot in the southern suburbs of Rome, now occupied as dwellings for families of immigrants. I’m often interested in abandoned places, but this time I specifically waited for a silhouette to appear through the glass door before shooting, to highlight the human presence in a seemingly desolate place. By Marco Marassi
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Volere è Volare (Will is to Fly) According to popular belief, the EUR district in Rome is associated to business, offices, hurried employees in suits, becoming a desolate block of buildings on public holidays. A concept far from the truth. You just need a walk to notice that the wide spaces and architectural design of the blocks, typical of the area, make a perfect setting for skateboarding freaks. This photograph is a tribute to their passion and “will to fly” and to the power of dreams. By Barbara Abate
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URBAN EYES
Berlin 2006 The photograph shown clearly depicts fragments of architecture, seen as “architectural skin�, that is captured and interpreted as a composition of interactive forms, colors, lines, materials. Vanishing points towards infinity, inclination of views, the search of a pure geometry converge in the images themselves that become combined, mixed and reassembled according to the sensitivity of the observer. There is thus no predetermined order in the sequence as this depends on the feelings, and on our perception to combine one patch to another in a totally subjective way. By Lorenzo Bracaglia
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Neighborhood #2742 This picture was taken on the way to the local store (Norrkรถping, Sweden, 2011). Although I had been there a hundred times before, it was the first time I noticed the geometry of th scene. For me the challenge is to find interesting pictures in your immediate surroundings. By Jan Zimmerman
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URBAN EYES
FrameWorks This image is part of a series called GHOSTS, a photographic project on the wild urbanization of my hometown and the way the city skyline is changing and collapsing below the weight of concrete. By Fabio Troya
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Church and Factory From the series URBANSCAPES This photograph originates from my search of odd juxtapositions within contemporary urban development that arise out of mis-appropriate land use and haphazard development strategies. As societies march in endless sprawl, land, one of our most valuable natural resources, becomes more of a rare commodity. Urbanscapes attempt to humoruously demonstrate the short term nature of urban development with the hope of raising awareness of a newer, more sustainable allocation of our land resource. By David Welch
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URBAN EYES
Abandoned hospital Another abandoned hospital in East Germany. This has been left alone by the vandals thus far, although it is really falling apart (some parts were very dangerous). It was also quite an achievement to get into most of the bulidings. By Nathan Wright
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Torino, via Livorno This image is part of the series OLIMPIA, a project focused on my journeys through the urban landscape of the new Turin post Olympics. While taking photographs, I always try to have a contemplative attitude in order to reduce and associate the complex set of perceptions caused by direct experience to specific forms. By Fulvio Bortolozzo
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URBAN EYES
Entry of emergency I immediately found the scene in front of me a little funny: the presence of the ladder made me think of an entry of emergency used by thieves... By Luigi Zezza
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88 Alessandro Villa Project of the Month
90 Tamara Noland Reportage of the Month
96 Contributor Index Hyde Park Photographers on this Issue
By Omar Biagi
/Community/ 85
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photo by Alex Coghe
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PROJECT OF THE Month
ALESSANDRO
VILLA
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ortraits are the core of my work. The medium shot and American shot characterize most of photographic production since 2006.
There is no specific kind of person, age, or moment that I prefer taking photographs of: children, adolescents, adults and elderly can equally be intriguing for me.
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The framing of a subject is always subordinated to a characteristic that is common to most pictures: the front shot and the direct glance of the subject in the camera. Front shots have a strong impact on the observer (who ironically feels he is observed); the face and frontal vision always produce an impression of peace, of internal completeness and introspection. These compositional choices produce a desired “symmetrical” and balanced line in the shot, not an image that takes us beyond the limits of the space defined by it, but serves as focal point and axis to the whole picture. The frontal vision mainly shows us the organs representing our intellect and contemplative state: the eyes, mouth and forehead. The eyes, especially, are the major point of interest in my work. The direct glance of the subject in the camera produces images that are very strong. Even the observer (the photographer in this case) feels to be observed; the mechanism of defence that is usually adopted when two people stare at each other (where normally one of the two lowers his/her gaze) indeed fails in this circumstance. Here you have the time to investigate. I invite anyone to look deeply in the face of someone really close-up, at about 40 cm distance. Once you’ve passed the initial embarassment, you will start noticing certain details you had overlooked before, even in people you are accustomed to. My photographs facilitate this “spying”. A. Villa’s photographs are exclusively produced with a digital camera, and post-production is an essential ingredient of his work. 89
PROJECT OF THE MONTH ALESSANDRO VILLA
Vittoria
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The shots depict my niece at various ages; these shots were not originally associated to a particular project (they were mostly images recorded now and again). The ease in photographing her as well as her growing passion to be photographed, allowed me to create a rich archive of images, describing her growth, her changes and different relationship with the camera (aspect that I consider more intriguing).
Brick Top
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Portrait of my father during a break from work. The photograph was taken with a compact camera (a Leica D-lux 3) very close-up, which explaines the slight deformation. The title refers to the vague resemblance to the famous character of the film “The Snatch”.
Smile
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Portrait of my father with a photocopy of an oversized smile on his face.
Samuele
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Portrait of my nephew. During my shoot of the series MONSTER, in which I used various cosmetics, my nephew drew a heart on his chest with the colours of body art (this photograph is a cropped version of the original that I have attached). 90
I’m not blue
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Portrait of my brother; this shot belongs to the series MONSTER, project which portrays “deformations”, and alterations of a grimacing face with an ironic flavour (though sometimes with the production of images that are rather strong) .
Glassman
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Portrait of my father during a break from work. The title refers to his job, he is a glass blower.
Stefano
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This shot was taken during a session of the portraits produced for the series MONSTER in which my brother (the subject) had covered his face with a brick red colouring. Once the work was ultimated, in cleaning the make-up away, the colour struggled to come off around his eyes and hairline, giving him a rather violent appearance; so I asked him to pose for one last shot, which is here depicted (the make-up appears black as it is the result of the conversion of the file in B&W).
Enrico
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Portait of a student of the Art Academy. It’s been 3 years now that I am working on a project called 15/30, a series of medium shots of students aged between 15 and 30. Here Enrico is in the middle of his “cigarette break”.
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Open Open Open 12
Portrait of my dentist’s assistent. The title refers to the persistent and often boring request to open your mouth while at the dentist.
Elena
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Rinaldo
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Portrait of my father. He is the person I love photographing more than anyone else. In this case, the picture of the Madonna, that gives the portrait a nearly “mystic” flavour to it, is not linked to any religious creed; the picture was just there at the side and we decided to play with it.
Portrait of Elena, a friend and photographer. The day I portrayed her was the same day we met; after the first 5’ of embarassment on both sides, we did a hundred shots. Not wanting to do without her eyes in the foreground, or to her tattoo, I asked her to bring her hand to her mouth.
Gianna
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Tedros
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Portrait of my mother, one of the few I was ever able to do of her. This photograph, like many, was done without any premeditation. During a break from a sequence of shots for the project named I AM AN OBJECT (focused on the relationship between people and their preferred objects), I asked Elena (Tedros is her sirname) to follow me on the balcony of the apartment where we were shooting (the wall of the building was the same colour and tone of her skin).
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REPORTAGE ofthe Month
TAMARA NOLAND
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Intensive summer break
This was a rare break in Matilda’s first summer away from home. She was in San Francisco dancing 40+ hours a week for 4 weeks straight. She was 12.
After class
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Two things about dancers...(1) They always have water bottles. (2) They can’t wait to take their hair down after class. 92
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Another soft moment
I realized early on that I wasn’t a big moment, straight on kind of photographer. I like capturing people as I see them in their day to day lives. And with that, I’ll always be glad that my daughter fell in love with dance as a very young girl and stuck with it. Her continued love and passion for it (and the fact that she’s decent at it) has meant that I get to spend my day to day life catching glimpses...and the quieter, more private moments of the dancers on film. I try to shoot people as they really are and the moments as they really happen. And I mean, I do like to shoot the theatricality and glamour of the make-up and costumes as much as every other person...but I still always seem to be drawn to documenting the human being beneath it all. This was a quiet moment, right before the dance, Matilda’s first ever solo. She was about to dance the Sugar Plum Fairy role for 1800 schoolchildren.
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Getting ready to be Aurora..
A dancer preparing is a sacred moment. The role of Aurora is quite demanding both physically and mentally. I wanted to capture the essence of what was behind her eyes...the “nerves and steel” that make up these moments in a dancer’s life.
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Reportage OF THE MONTH Tamara Noland
Fairies in their dressing room
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Sleeping Beauty fairies in their dressing room doing their pre-show rituals and dealing with their nerves.
Snowflakes
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Bird legs
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Snowflakes waiting to go on during the snow scene in The Nutcracker. Stepping into a bird costume for a ballet version of Noah’s Ark. The dancers learned a silks routine in two months even though most of them had no prior aerial experience...explaining the pads in the backround.
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Dancers walking...
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If only they could...
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Serious conversations
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A dad waiting for his daughter to come out after class. Parents of dancers must learn quickly to do a lot of waiting around.
A shot from the wings, during Sleeping Beauty...the fairies are helping the Lilac Fairy (in the background) to put Aurora to sleep.
My daughter and I were talking about what she wanted for her future. She looked so beautiful.
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/Contributor Index/
Md. Huzzatul Mursalin > 1, 42
Fabio Liverani > 28
Gianluca di Santo > 6
Ernesto Bazan > 30, 32, 33
Christopher Richey > 5
Thomas Longo > 35, 51
Roberto Morelli > 8
Emiliano Grusovin > 36
Ed Hawco > 10
Andrea Scarfò > 38
Monia Tartarini > 12
Omar Biagi > 39, 68, 85
Federico Azuni > 14
Stefania Isabella Massoni > 40
Alberto Ianiro > 16
Michele Vittori > 41
Adi Levy > 18
Andrè Fromont > 43
Vincenzo Pioggia > 19
Edward Olive > 44
Massimiliano Sarno > 21
Paola Marinangeli > 45
N Behring Chisholm > 22
Lukas Vasilikos > 46
Mariam Arzomand > 22
Attilio Correnti > 47
Ayan Khasnabis > 24
Linard Benoit > 48
Arnaud Bertrande > 26
Luca Marangon > 49
Stefano Mazza > 26
Sonnie Mason > 50
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Max Shamota > 52
Natasha Heredia > 70
Marco Rilli > 53
David Ingraham > 72
Fernando de Noguera > 54
Mark Nelson > 74
Joe Beine > 57
Zel Nunes > 75
Sarah Hawkins > 56
Marco Marassi > 76
Anna Theodora > 58
Barbara Abate > 77
Ethan Allen > 59
Lorenzo Bracaglia > 78
Jordi Clotas > 60
Jan Zimmerman > 79
Katiuscia Bayslak > 61
Fabio Troya > 80
Mariya Olshevska > 62
David Welch > 81
Deborah Barcomb > 63
Nathan Wright > 82
Francesca Errichiello > 64
Alex Coghe > 86, 98
Monica Silva > 65
Fulvio Bortolozzo > 83
Matteo Zannoni > 66
Luigi Zezza > 84
Jo Schwab > 67
Alessandro Villa > 88, 89, 90, 91
Florian Ispas > 69
Tamara Noland > 92, 93, 94, 95
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photo by Alex Coghe
y o u r a d v e r t i s i n g o n h y d e p a r k p h o t o g r a p h y ? a d v @ h y d e p a r k p h o t o g r a p h y . n e t
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