CONTENTS
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Welcome to the first ever edition of SHUTTER magazine. SHUTTER is a monthly magazine, designed for young and aspiring amateur photographers. This is not your traditional photography magazine - we are not catering for professionals or hardcore amateurs. We simply hope to inspire and excite all you photographers who want a magazine full of creative, fun, inspiring and interesting photography. We believe there is a calling for a magazine just like this. There is nothing currently available similar to SHUTTER, and we were so excited to get the first edition to you all, that we had enough inspiration for articles to cover the whole year! Our articles will range from quirky how-to’s, to updates on the best photo bloggers, to interviews with photograhers we think you will love and be inspired by. Perhaps you just bought your first DSLR camera, and want to get shooting. You could be a keen photographer already, looking for inspiration you just don’t get from other magazines. Or maybe you just love photography. Whatever your reason for picking up this magazine, we are positive you will find exactly what you are looking for, and more. Get those shutters clicking!
-AMELIA PEARSON
04 08 12 16
INTERVIEW: ALEX KESSELAAR We talk to photographer, Alex Kesselaar about his iPhoneography and what inspired him to photoblog his latest project.
FEATURE: LIGHT GRAFFITI We delve into the stunning world of light graffiti, with a look at Light Art Performance Photography by Jan Wollert and Jorge Miedza.
COVER STORY: LOMOGRAPHY Vintage film photography created by toy camera’s are the newest trend. We look into the history and future of this creative form of photography.
PHOTOGRAPHY SCAVENGING How to re-light the spark of creativity and keep your relationship with your camera strong and exciting!
ALL PHOTOGRAPHS COPYRIGHT TO ALEXANDER KESSELAAR
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............................................................................................................................................................................. Amelia Pearson delves into the intrigueing world of iPhoneography with Australian photographer Alexander Kesselaar, and looks into how mobile technology may be changing the face of creative photography for good.
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ave you ever considered that your mobile phone could produce visually stunning photography? No, nor had I. For many people, the camera within mobile phones is simply for random daily snapshots or photo messaging. The quality of the camera’s are very low, purely designed fo spur of the moment shots, where the topic being photographed overrides any desire for the creative perfection we seek when using expnsive camera’s. It is this exact principle, of purely relying on instict and content, that has made iPhoneography something that German-born, Australian photographer Alex Kesselaar is passionate about. An amazing commercial photographer in his own right, Alex is full of talent. Though his iPhoneography projects are so stunning, that it is sometimes difficult to believe that these photo’s didn’t come from a fancy camera. His photo’s are vivid, raw and compelling. They’re full of life and meaning and is a reminder of exactly what makes a good photographer: Not an expensive camera, or top notch photoshop skills, but raw talent and an eye for the perfect image. How did you get into iPhoneography? I was always one of these photographers who really liked the idea of always carrying my SLR Camera around everywhere I go. However, in reality I really couldn’t be bothered. It is bulky, obtrusive and very obvious when you use it. I got my first iPhone around 2 years ago. And probably took the occasional photo here and there which I then shared on facebook. I never really considered the iphone as a serious image capturing device until I started discovered all these nifty little apps, like Camera Bag and Mill Colour that gave me some tools to edit my photos on the phone. I started experimenting with different settings and
filters and thought that although they lacked the high resolution of my professional gear, they still were beautiful and had artistic merit. I think using the iphone as a creative tool has taught me, that it really doesn’t take a ten-thousand dollar Camera to take a great photo. Where do you draw your inspiration from? My main inspiration comes from everything that surrounds me. I usually don’t go out to shoot something specific. It is usually fairly intuitive. I just notice a certain scene unfolding and try to capture it. It’s more about finding beauty in the simple, mundane things. Which is really contrary to my professional photography work. I always try to look at everything as if I am seeing it for the first time.
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THIS IS THE BIGGEST THING SINCE THE INTRODUCTION OF THE FIRST DIGITAL CAMERA, MAYBE BIGGER.
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I believe that there is beauty everywhere we look. That makes it very easy to find inspiration. This is also something that was confirmed when I started my Iphone 365 Project, where I post one iphone photo everyday for 1 year. I also like to check out some of the great Artists in the iPhoneography Community on applications like Instagram and websites like Life in LoFi & EYE’EM. .................................................. MAY 5TH 2011
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What inspired you to start your 365 project and blog and how do you keep this constantly fresh and interesting? I started the iPhone 365 Project, because my good photography friend Michael Sutton challenged me to take, edit and post one photo on my iPhone, everyday for one year. That was over one and a half years ago. I’ve just passed the 600 mark. I think the whole nature of the challenge keeps it fresh and interesting. It is a way of training your eye to see things in a different way. Posting a photo a day forces me to be be creative and to think outside the box. I always try something different, from shooting through the viewfinder of my old Nikon FM2 to using my sunglasses as a filter. What do you think makes iPhoneography stand out as a fresh and authentic form of creative photography? I think iPhoneography really brings photography back down to basics, because of the limitations of the Camera you are working with you have very little control over depth of field and exposure. Which leaves the two most important things that make a great photograph: Content and Composition. It has turned everybody that owns a mobile phone in to an artist and journalist. It gives a lot of people a voice and a platform to show their talent and tell their story. What applications do you us to edit your photo’s on your iPhone? I use a lot of different Apps and I am constantly looking for the best new thing out there. From a technical point of view I love Camera+, because it gives me a little more control and also the ability to sort through my images straight after shooting and get rid of the junk. Camera Bag and MillColor have some great Filters and Monochromia is probably the best B&W app. What is your advice for somebody wanting to get into iPhoneography? Anyone can hit a shutter. Try and find a scene or a subject that interests you or something you have a strong connection with. Instagram is a fantastic app, which limits your images to a square format at only 600x600px, but it really captures the spirit of
iPhoneography. It has some nice filters and an awesome community to boot, with the ability to post to all your major social networking sites. If you are thinking about getting into iPhoneography this is the app to get and make sure to follow me: @alexkess
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PEOPLE THINK ‘WOW, IF HE CAN TAKE PHOTO’S LIKE THAT WITH AN IPHONE, WHAT CAN HE DO WITH A REAL CAMERA?
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How do you think social media and blogging has influenced current photographic trend? This whole movement or trend would not have happened if it wasn’t for social media, networking and blogging. Otherwise the iPhone would be just another digital camera (a pretty ordinary one at that). Because of the ability to share and promote the images you take immediately makes all the difference. I definitely am getting a lot more work enquiries for my professional work, because of the iPhoneography. It is like a door opener. People think “Wow, if he can take photos like that with an iPhone, what can he do with a real Camera.” Where do you see iPhoneography going in the future and where are you planning on taking your own work? The ability to take, process and share your images instantaneously is a real novelty factor that will probably heavily influence professional photography in the future. Obviously the Cameras are getting better and we will see smart cameras as well as even smarter phones. Camera Bodies that have an iPhone Docking Station, iPads that are being used by on the spot photo retouchers and Applications that are geared more towards professional use. At the moment I am just riding the wave even though I don’t quite know where it’s going to take me. But I do know that if you are not on the wave, you should be jumping on soon, because otherwise it is going to miss you. This is the biggest thing since the introduction of the first Digital Camera, maybe bigger. You already have a book available, do you plan to release more? Do you have any other projects planned for the future? The feedback for the first book has been huge. I have been invited to international exhibitions and a showcase at the Sydney Apple Store. I definitely am planning to release more books in the future. My new project is simple. I am aiming to get to a thousand iphone photos by the end of year. Alex’s book iPhoneography 365 is available now from www.blurb.com. You can view his iPhoneography 36 at sydney-iphoneography.com. His commercial work can be found at alexkess.com
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ALEX’S FAVOURITE SHOTS ............................................................................................................................................................................. We asked Alex to show us two of his favourite shots of his own work and explain why. These two stunning images were his choices. Both are recent updates of his iPhoneography 365 projects, as Alex said “I believe you are only as good as your last photo”
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When I shoot my images I often don’t look at the screen, by now I have a pretty good idea what area framing instinctively. For this image I was sitting low on the ground near a busy esplanade along Cronulla Beach. I probably took around 20 photos in this spot. This was the best one of them. I really like the juxtaposition of the Jogger and the young girl on the wall. I used Camera+ to take edit and crop the image. The Filters I used are called clarity & Fahion.
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This was taken on a very rainy morning at Wanda Beach. I think using an iPhone you usually are a little less concerned using it as you would be with your professional gear. I took this image using the normal camera app and then edited it with Monochromia. .................................................. MAY 5TH 2011
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............................................................................................................ BY AMELIA PEARSON All photography copyright to Jorg Miedza & Jan Wallet.
Light graffiti is more than just lights being painted infront of a lens. It’s about creating a moment that can only be captured once. It’s about creating something that only exists in photography, that we cannot experience in reality. The world runs on senses, but sight isn’t strong enough to see visuals like this. Nothing but these images can convey emotions and feelings in the way that they do. They’re unique, striking and spine-tinglingly evocative. Welcome to the world of light art performance photography - where reality meets creativity in explosions of colour.
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Light graffiti, also known as light drawing or light painting, is a new form of street art which involves the use of LED lights, flashlights and other forms of neon and blinking lights, to paint images straight onto the lens of a camera. The use of long exposure allows the artist to create a unique and striking image that never exists in the physical world. Light art has become an integral part of the urban art movement, changing street art into something more vivid and exciting than it ever has been before. Whether it be light exhibits, projections or drawings, more and more people are working creatively with light. The latest, state of the art technology is allowing artists to make art that seems magical and otherworldly, in a way that traditional street art never could.
“We like to be the sparks who start a fire in other people’s heads.” - Jorg Miedza --------------------------------------
Light art, as a type of photography, takes many different forms. The form of graffiti, where images are taken usually in an urban environment as if the artists are “tagging” or decorating buildings with the lights in the same way a traditional graffiti artist would. This can also be taken into rural landscapes and other areas where there is little to no ambient lighting. He lights can be used to light up, and draw attention to landmarks there, such as tree’s fences, flowers or buildings. The other type of light art within photography, is called Light Art Performance Photography. This involves more than just moving lights infront of an open shutter, but it involves lasers, fire, and strapping
Jorg and Jan manage to create images that reach out to the viewer physically, emotionally, spiritually and intellectually. The colours, the atmosphere and the composition of all the photographs convey a humbling and beautiful feeling. Depending on the photograph, you may feel serene, nervous, excited, disturbed or uplifted. Each image, carefully considered and planned out using specific lights and scenery is aimed to convey emotion and a sense of grandeur. None of LAPP-PRO’s photographs disappoint. Each one evokes a different emotion or feeling, like you’re looking into a piece of fine art that has a narrative, a reason and story behind each brush stroke.
LED lights onto your body and “performing” for the lens. The pioneers of this are German photographers Jorg Miedza and Jan Wollert. Neither men specialise in photography – both have careers. Their hobby, however, is creating these images featured in this article. Not one photo has been retouched after the shot. It’s incredible to believe that they do not do this for a living. They’re a fine example of amateur photographers being so talented, passionate and care free, having such a genuine love and enjoyment for what they do, that they create something absolutely extraordinary.
These photographs have a reason and story behind each movement infront of the camera. Each decision made regarding colour, depth of field, illumination and intensity is carefully chosen and crafted in the air to convey those feelings to the viewers. Even images that seem to follow a recurring theme, such as their use of the light balls by watersides, show a coherent decision to force the viewers to contemplate the meaning behind the beauty they have found in something that only exists in than image. The scene you’re looking at in each of these photo’s never actually existed, except for one very brief moment in time that the naked eye cannot see. That’s what makes them so powerful. It is also Jorg and Jan’s passion that literally shines through in these photo’s. They work with the nature of their surroundings, the nature of their tools and the essence of each other to create stunning visuals. They combine these things to uncover more brief, but astounding discoveries in the world around them. Jorg and Jan seem to understand inexplicably what light art means. Merging “reason” with emotional and artistic rigour. Because of their personal expertise and their outstanding talent, Jorg and Jan have released a gook called “Painting with Light” to help apiring light artists create images as evocative as their own and can continue spreading the beauty of light art. Jorg describes the reason they wrote the book was “Someone has to invent the guitar. That was
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“The only limit is your own creativity - Let it out!” - Jan Wollert -------------------------------------the job done by LAPP-PRO. But now, we can all play on that amazing new instrument. Everyone shall start to make music. One day, there will be music all around the world.” However, Jorg and Jan stress that this book is not a “cookbook” of instructions on how to create photo’s like their own. Instead, it presents more as a gallery of their work, designed to fuel inspiration and creativity. The aim of the book is to ignight the spark in others to create their own style, and feeling of light art, which reflects themselves and what they want to convey. “Enjoy it. Those nights are the birthplace of your own style, your
own piece of your light art future.” It is very clear, that for LAPP-PRO this is more than just a creative endeavor, but a deeply personal and spiritual one. Their desire to inspire and keep fuelling the fire of their work is strong. Jorg expressed how “We like to be the sparks who star a fire in other people’s heads.” and Jan encouraged the readers of his book to think outside the box and find your own calling. “This book shows you what you are able to create in your own head, if you get involved behind or infront of your camera. The only limit is your own creativity - Let it out! It is for all the people who like to be more active in making photo’s.” The book is available on Amazon now.
TOP TIPS ................................................... 1. When taking long exposures, your camera absolutely cannot move. Make sure that the tripod or surface holding your camera is strong and sturdy, or the slightest bit of wind or movement may result in your photo’s being out of focus and blurred. 2. When chosing your location, the best spots are those with dark backgrounds for you to “paint on”, but with surrounding that you can draw attention to with your lights. E.g trees, fences, posts, water. This makes your image feel more ‘graffiti’ like and lesslike something that could be re-created on photoshop. 3. Mark our your viewing area carefully so you know exactly where you are in and out of shot. It seems simple, but knowing this could make or break your perfect shot. 4. Use coloured plastic as makeshift filters. This can give your photo’s intresting effects. Youc an also do a “see through” effect by leaving the shutter open longer than you need to let the background shine through.
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Photo by: Amelia Pearson
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LOMO GRAP HY LOMOGRAPHY is a form of photography that encourages the artist to record every detail of their life using vintage-style striking images. The emphasis is on spontaneity and unpredictability to record a honest and memorable narrative of the photographers life, recording lives smallest and biggest events equally, and celebrating lifes every detail through raw images. This is the newest craze to hit photography communities and with an emphasis on enjoying the recording process, it is something you do not want to be left behind on!
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ALL PHOTO’S COPYRIGHT TO SIANEYE MERREDITH
ilm photography is making a comeback. In a world where digital photography is considered the industry norm, film has a retro and almost novelty feel to it. The process of producing film is extremely out-dated and, very expensive, meaning that very few modern photographers delve into the world of film. Digital photography is deemed “better” because photographers can shoot a photograph as many times as the feel necessary, without worrying about the cost of each extra snap. Being able to pick the best of the bunch is one of the most benefiting aspects of modern digital photography. Some people may say it calls for lazy photography, because with the added bonus of editing software, slight mistakes can be corrected with ease, and a feel or look of the photographs can be altered on an individual basis. Film strips photography back down to basics, forcing any modern day photographer who is used to dealing with the “perfection” delivered from their DSLR camera, to consider each shot much ore carefully and in depth than they currently do. This may sound like a step back, but for many this back-to-basics- approach is exciting. Many big photographers are choosing to pick up film camera’s and experiment creatively, leaving the superclean, HD images of their commercial work behind, to find that spark again. Lomography is a unique area of film photography, unlike no other. A technique which is as simple as “point and shoot”, but with beautiful results, was obviously going to catch the eye of those looking for something fresh and exciting. Lomography may not be a term everyone is familiar with, but they should be, because it’s the newest trend to sail through creative photography communities. Taken on “LOMO” or “Toy Camera’s” these small, cheaply made, plastic camera’s are known for producing photo’s that professional photographers would now consider flawed. Leaked light, off-kilter exposure, grain, blur, lack of focus, lens flares, sharp contrasts and over-saturated colours, are all commonly found on Lomography photo’s. They’re seen as “Happy accidents” or part of the technique of Lomography. In the past, they were aimed at children, (as becomes obvious when you notice how little control you have over settings) but now they represent a whole new genre of photography that continues on with the vintage comeback we are seeing in other area’s such as fashion, music and film. Whilst we strive to get perfection in our digital products, there is still a deep want to try and re-create the atmosphere of oldfashioned photography. The visuals of this are becoming increasingly familiar, and Lomography is only one of the many forms. There are many different types of Toy Camera’s available, and can generally be purchased cheap (or check out your grandparents house!) from vintage stores, online or charity shops. The beauty of Lomography is that absolutely anyone with a passion for photo’s can pick up these camera’s and have a go. These camera’s are easy to use, and produce beautiful results. Depending on what camera you get, some photo’s will be printed in square format, others in a rectangle shape, with the brackets of the film still visible, which gives for a great vintage feel. The way in which the photo’s are processed is what makes them unique. They are developed using a process called “Cross Processing” which is where you develop them in a chemical solution deliberately intended for a different type of film. This gives the photo’s that extraordinary, striking colour cast. Lomography is also famous for
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the use of multiple exposure or “ghosting” which is when the lens is subject to repeated exposure (two or more) to light, on more than one subject. You can see the photo’s on this page use this technique, by Lomographer Sianeye Merredith. The motto of Lomography is “Don’t think, just shoot.” This sums up Lomography perfectly as an art form and as a photographic technique. Emphasis is placed on content, artistic merit and visual appeal, rather than on formal technique or clarity of focus. The whole ethic of the art is that spontaneity is key, and it bases itself around casual snapshots and everyday beauty. Lomographers believe that their photographs are a narratve of their life, the most honest and true form of photography because of its integration into everyday life. The following are the 10 rules Lomographers swear by, in order to get their perfect shots. 1. Take your camera everywhere you go. The best photo’s come from spontaneous and impulsive situations. Open your eyes to the most vibrant parts of your life and search for your inner voice wherever you go. 2. Use it any time - day and night. Every part of the day reflects your feelings and memories. Take photo’s at every moment you can find so that you create an authentic view of yourself and your life. 3. Lomography is not an interference in your life, but part of it. Make your camera your best friend. Your photo’s should become a powerful sighn of your existence and you should slep, eat, breath your camera. 4. Try the shot from the hip. Looking through the viewfinder limits you to a certain physical distance from your subject. Break free from conventions and take photo’s from other levels. The hip is a great place to start. 5. Approach the objects of your Lomographic desire as close as possible. Build relationships with your subjects. Get talking and get inside of everything you wish to record. Don’t be afraid to laugh and love. 6. Don’t think. Throw caution and intellectual socialisation to the wind. Let everything flow freely and you will find yourself with wonderfully honest and true photo’s. 7. Be fast. Hold your breath, be brave and take the chance. The world moves fast - don’t miss it! 8. You don’t have to know beforehand what you captured on film. Have fun. You don’t have to know the reults beforehand to get a great shot. Spotenaity is key. 9. Afterwards either. The excitement of getting the prints back is one of the best parts. You may never understand some of them, but thats the beauty - it’s authentic! 10. Don’t worry about any rules. Follow your own voice and forget everything else. .................................................. MAY 5TH 2011
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t is not uncommon for us hobbyist photographers, who do not have any clients of briefs of what to shoot, to have our creativity wells run dry. Even surrounded by inspiration, it can be easy to have a mental blockage of what to shoot. You’re stood there, camera in hand, and your brain is completely blank. It happens to the best of us. Sometimes it is just a few days, but other times you can find yourself not touching your camera for weeks because you feel like you have “photographed everything possible.” Well, we both know that is not true. There are hundreds, thousands of things right in front of your eyes just waiting to be captured. Begging to be noticed. You just can’t see them because you’re not digging hard enough. You’re looking so hard for someting “new” or “exciting” or “perfect” that you’re missing the beautiful things close to home. This is when you should start your own Photography Scavenger Hunt. These hunts, force you to dig deep into your creative flare, and force you to actually take a photograph, even if it is not what you would normally shoot. You can make your own list. They can be absolutely anything: feelings, sounds, colours, items, textures, even whole sentences, somgs or books. Anything that could inspire you. Just make a list and stick to it, that is the only rule. Some hunts last a day, some a week, others a year. These details are entirely up to you and what best fits your life. One great way of letting off that pent-up creativity is to group together with friends for a day in the city, countryside, or just your local area. You can separate individually or into groups and take one photo for each prompt on the list. When you return, you can share your photo’s and compare how to interpreted the prompt. With groups, you can add fun promps such as “The group with a stranger” or “The group somehwere they shouldn’t be”. They’re great ice-breaking activities, too. Alternatively, you could make a personal list of 52 (like ours on the right!), and vow to complete one prompt per week giving you constant inspiration for the whole year. All these details are up to you, and however you decide to do it, the creativity will come flowing once you’re forced to find beautiful or creative shots in typically un-inspiring situations. We have made a lists of words for you to use - one we have already completed! They’re random, but all evoke some kind of emotion or feeling from the participant, and that is what makes them perfect. Aim to create prompts that are ambiguous, or could be interpreted in many ways, otherwise, you may just stick to what you know. For example, the prompt “Apple” isn’t as good as the prompt “Fruitful”, because with the apple prompt, if you’re not feeling very creative, you may settle on an un-inspiring photo of an apple, whereas “Fruitful” could be a fruit tree or bush, an orchard, a basket of berries. Or it could be something you would describe as fruitful, but not neccessarily fruit at all. Try and be as adventurous as possible and put yourself outside of your comfort zone. Afterall, photography is meant to be fun, not a ..................................................
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12. Eyes
THE LIST .............................................................................. 1. Hello 27. Dawn 2. Reach 28. Forget 3. Nowhere 29. Neon 4. Open 30. Lonely 5. White 31. Home 6. Sharp 32. Vertical 7. Faith 33. Spots 7. Mundane 34. Double 8. Truth 35. Moving 9. Lines 36. Laugh 10. Distorted 37. Green 11. New 38. Extraordinary 12. Eyes 39. Closed 13. Horizontal 40. Food 14. Water 41. Childhood 16. Dark 42. Soft 17. Hate 43. Purple 18. Wish 44. Distamce 19. Opposite 45. Inspiring 20. Sleep 46. Hope 21. Urban 47. Love 22. Lights 48. Hands 23. Journey 49. Old 24. Jump 50. Remember 25. Reflect 51. Innocent 26. Cry 52. Goodbye
WORDS AND PICTURES BY AMELIA PEARSON
SCAVENGE FOR INSPIRATION
20. Sleep