APRIL 2018 | ISSUE NO.3
COVER: SAPNA KHAN
SAPNA KHAN JULIEN AUTIER GISELLA ESTEVE STEPHANE COJOT-GOLDBERG ISMAEL LLOPIS NAVARRO ANALIA CID SANGBIT SAMADDAR ANA SHUMANSKAIA FLORENTIN COTI ALI ABBAS AGHA KARTHIK JAYACHANDRA
TEAM
PROPAAH is a quarterly published online magazine that aims to provide a platform to young photographers to showcase their ongoing and completed photography projects. It will also serve as an inspiration resource for anyone seeking to further their visual education in photography genres like fashion, documentary, fine art etc. and embark on their personal journey in the complex photography market.
Director - Taushik Mandal Artistic Director - Akashdeep Ghosh Submission Officer - Angelique de Place Advisor - Claire Saint Jean E-mail : propaah.mag@gmail.com Submissions : submissions.propaah.mag@gmail.com
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CONTENTS PAGE 7 IN THE LAND OF THE LOST RIVER An interview with Sapna Khan, an award winning Pakistani photographer.
PAGE 23 STATELESS CHILDREN Julien Autier
PAGE 37 OUR BODIES, OUR TERRITORIES Analia Cid
PAGE 49 THE LONELY SOUL Sangbit Samaddar
PAGE 55 ABSTRACT ATLAS OF THE WORLD Stephane Cojot-Goldberg
PHOTO CREDIT: STEPHANE COJOT-GOLDBERG
CONTENTS PAGE 69 WITH A SUITCASE Gisella Esteve
PAGE 83 PERSONALIZED DRESS CODE Anna Shumanskaia
PAGE 97 FUENTES Ismael Llopis Navarro
PAGE 111 PARIS FASHION WEEK 2018 (FEMME) Florentin Coti Ali Abbas Agha Karthik Jayachandra
PHOTO CREDIT:Â ISMAEL LLOPIS NAVARRO
IN THE LAND OF THE LOST RIVER SAPNA KHAN Interview by: Akashdeep Ghosh
We met up with Sapna Khan, an alumni of Spéos International Photo School, on the day of her exhibition 'In The Land of the Lost River' at the Spéos Gallery. Sapna is a Pakistani photographer who has exhibited her work at the Spéos Gallery (France), Brick Lane Gallery (UK), Art NouMillenni Gallery (Spain), Art Baho (Spain), and Nairang Art Gallery (Pakistan). Sapna has received two honourable mentions in the 2016 International Photography Awards, and her work has been published in Forbes magazine. Here's an excerpt from the conversation that we had.
"What intrigues me is how these people spend their entire lives in the desert living as nomads. I feel that restlessness is very inherent in the people of the desert." PAGE 8 | APRIL 2018 | ISSUE NO.3
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Tell us about the time before you started working as a photographer. I studied journalism at the University of Westminster. Later, I moved to Pakistan and started working in advertising. I worked in advertising for 3 years where I realised that’s not what my heart is into. I always had a passion for photography. I never thought I would pursue it but one fine day I quit my job and started looking for schools in Paris and Madrid. I moved to Paris since I found the course to be practical rather than being theoretical. I wanted to learn by doing.
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Tell us about the time before you started working as a photographer. I studied journalism at the University Of Westminster. Later, I moved to Pakistan and started working in advertising. I worked in advertising for 3 years where I realised that’s not what my heart is into. I always had a passion for photography. I never thought I would pursue it but one fine day I quit my job and started looking for schools in Paris and Madrid. I moved to Paris since I found the course to be practical rather than being theoritical. I wanted to learn by doing.
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Did you start off with something in mind ? I had absolutely nothing in mind. Despite being passionate about photography, I knew nothing about it. I started with a clean slate.
What’s your strongest memory from your time in school ? It has to be the day of one of my shoots called Crimson Red, which was based on a story I had written years ago about identity. It was a huge production and right after I was done with the shoot I got to meet Paolo Roversi at one of his talks. That definitely has to be one of the best days of my life.
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Who is your favorite photographer ? There are a number of photographers when it comes to inspiration but Gregory Crewdson has to be one of my favourites with his single image narratives and attention to detail. I was also following Salgado for a while.
What kind of difficulties/ adversities did you face when you started working as a professional? From things ranging between finding my place in the industry to finding my style. It was a bit of a challenge.
How is the photography market in Pakistan ? What infuriates me is the art market being very immature. Photography is still not considered an art, especially in my city, Lahore, unlike Islamabad, where people are more open. Probably because there are a lot of diplomats living there. We are still very young when it comes to art. Even when you flip through magazines or come across billboards, you can see very mediocre work being done. Also, there’s a kind of a monopoly in the market.
What advise would you give to the new photographers getting out of school? To shoot more. You can learn a lot from the way you shoot every day. The way you look at things and how you can inculcate them in your professional career. Another piece of advice would be: look around. Be observant. You never know what will trigger your inspiration.
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Do you have a favorite photograph ? (Talking about the image she sent of the family).... They were very shy when I met them in the beginning but they opened up a lot more during our second meeting. That’s when that photo was taken. I did not ask them to do anything or sit in a specific pose. But somehow everything came together. So, sometimes you need to let things happen.
What was the inspiration behind your project? The entire series has been shot in the Cholisthan desert where my dad comes from. So it was almost inevitable that one of the first major projects was going to be on the place where my roots are. I wasn’t raised there but as my father puts it, “The desert never leaves you.” River Sarasvati used to flow through the desert at one point in time. So when I decided to do the project I followed its ancient trail. What intrigues me is how these people spend their entire lives in the desert living as nomads. I feel that restlessness is very inherent in the people of the desert.
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Are you currently working on any long term project ? The next project I really want work on are the Rohingya Muslims since I feel it has not been given the kind of attention it deserves. I don’t want to make them an object to pity. I want my project to be kind of a reminder that they are humans too.
What would you like to ask the next photographer we interview? What moves you ? / What do you want to put out there?
http://www.sapnakhan.com/ All photos: Sapna Khan
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THE STATELESS CHILDREN JULIEN AUTIER
Born in 1996 in France, Julien Autier is a freelance photographer based in Paris and member of agency Hans Lucas. His work is mainly centered on photojournalism and portrait. He uses photography as a medium to talk about contemporary social issues. Since 25 August 2017, a massive exodus of the Rohingya Muslim minority, following an ethnic cleansing campaign by the Burmese security forces, has led nearly 688,000 people across the border into Burma to pile up in Bangladesh in overcrowded refugee camps where living conditions are precarious and unhealthy. The Rohingyas have been deprived of their citizenship by burmese authorities , thus becoming stateless in the eyes of the international community. Among those thousands of refugees, a majority of them are children. They are everywhere in the camp. According to UNICEF, more than 520,000 Rohingya children are living in overcrowded camp and informal settlements in Banglasdesh. These children are witnesses and first victims of a situation that is out of their reach, of which they are not responsible.
www.http://hanslucas.com/jautier/photo
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OUR BODIES, OUR TERRITORIES ANALIA CID
Analia Cid was born in 1990 in the city of San Martin, province of Buenos Aires, Argentina. Her first contact with photography happened at high school, when she was doing a specialization in arts, communications and design. Since then she started to attend different workshops connected with the medium. After finishing school, she chose to follow a Sociology degree in the well known University of Buenos Aires (UBA).
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Meanwhile she started working in a collaborative project with three other colleagues, producing mostly portraits for educational and sports institutions. In 2015 she finished her bachelor’s degree and moved to Paris, France, where she stayed for one year studying a Creative Documentary and Photojournalism program offered by the Speos International Photo School and Magnum Photos. Currently she works as a freelancer for independent media in her country and as a social consultant for different NGOs and civil associations.
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Every year in Argentina hundreds of thousands of women decide to interrupt their pregnancies. No matter what the laws say, the need to decide how to, where and with who to be mothers is stronger.
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In my country there is no legal abortion, and the conditions in which those thousands of women abort are plagued by risks and violence, which in the case of poor women are amplified to the point of being in risk of death.
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Who among us has not gone through an abortion or lived a close to one? Friends, family members, partners and even us... but unfortunately our right to decide whether or not to continue with a pregnancy is contaminated with all kinds of prejudices, taboos, myths and silences that spring up in any conversation about it. It is not accidental, and in maintaining this status quo there are powerful forces pledged.
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This series of pictures is just a short photographic record of the force of the feminist movement in Argentina during the last International Women’s Strike in 2018, embodied with the green colors of the National Campaign for Legal, Safe and Free Abortion (Campaña Nacional por el Aborto Legal, Seguro y Gratuito).
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This coalition of political parties, unions, social movements and individuals has been on the streets for more than ten years and has achieved such a legitimacy that nowadays whoever wants to express her/himself in favor of legal abortion will choose to wear green. And by March 2018 the movement has achieved it’s best goal so far: Argentina is about to start to debate the legalization of abortion in the National Congress.
www.analiacid.com analiagcid@gmail.com
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THE LONELY SOUL SANGBIT SAMADDAR
Sangbit Samaddar is a film-maker, photographer and digital video art maker. His interests lie in documentary film making and photography. He has received education from esteemed institutes in India and abroad in the fields of humanities, cinema, photography, visual arts and integrated marketing communications / media management. He has done his graduation from Jadavpur University and his post graduation from CRAFT, New Delhi and Calcutta University. He is currently a student of photography at the prestigious Pathshala South Asian Media Institute, Dhaka. He was given the titles of 'Youngest Filmmaker' and 'The Filmmaker to watch for' at the Kolkata International Film Festival by Times of India in 2008. Having learned the ropes from eminent personalities in film, photography and media, visual arts and literature, it is documentary photography that interests him the most as he feels it gives him the opportunity to travel to inaccessible and forbidden locations to interact with locals and in return enhance his own personality. PAGE 50 | APRIL 2018 | ISSUE NO.3
“Alone in the walks of life, The lonely soul decides Not to die, but to face Life in all it’s hardships. The lonely soul wanders” -- Anto Thermadam ‘Lonely’ is perhaps the only adjective which can be drawn to this remote place Takherghat, in the district of Shylet in Bangladesh. During cold winters, a handful of people cross the sand bed which is a dried up portion of the river Jadhukata, near the Indian border to board boats and cross over to the other side.
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A few pass time by sleeping under the sun, while others are busy collecting stonechips for trade. This is a place where people can barely be seen as the human eye surveys the landscape. But this place never dies and like a struggling lamp in the wind, it finds it’s own solace in the people who live by it – some resting, some collecting stones while the rest merely leaving human footprints to cross and catch a boat. Perhaps it wanders lonely as a vagabond in an endless desert of solitude, in the pursuit of finding an oasis of life.
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The story will continue and the search will not end till nature decides to cover it up with water in some other season. However, only to be met by the same fate during the next winter. During that time, it will always be a desperate lonely soul, in search of breath. The lonely soul will wander again and again and again. It refuses to meet a coward’s death and rises to face the challenges thrown at it by merciless life which is divine, in this particular case, nature.
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ABSTRACT ATLAS OF THE WORLD STEPHANE COJOT_GOLDBERG
God's Day Off - Kathmandu
Stephane Cojot-Goldberg is a Paris based photographer who works worldwide and considers himself a citizen of the world. He trained as a director of photography at the Ecole Nationale Louis Lumière in Paris. After completing his studies, he worked for 9 years in Los Angeles, especially in the field of special effects and at the same time, pursued an abstract photographic research.
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Heartbeat - New York City
In 2008, he set out on his World travels that lasted two years. And in 2013, he published his first photo book 'Mapless, around the world in 800 days'.In 2017, he published his second book 'Abstract Atlas of the World'.
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Eye of the Tiger - Mysore
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Starry City - Hollywood Hills
Early in his life, Stéphane Cojot-Goldberg spent a lot of time painting and drawing. But the loneliness of the studio and the process for the development of a painting was unbearable to him. He enjoyed the outdoor adventures and the contact with others that photography allowed. He then began studies at the Louis Lumière school and various training courses in image making that he still pursues today. His photographs therefore are at the edge of photography, textured, almost the work of a painter, pigments are flush with the paper, colors are like brush strokes on a canvas and then they fly away like an image torn apart.
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Energy Never Dies - Kathmandu
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Morning in Mumbai
The chosen aspect ratio brings the images to the limit of our peripheral vision and their format, like a film shot in cinemascope allows the viewer of those landscapes to imagine the elsewhere. Photography allows him to reconciles the paradoxes of our planet and to show in his images what is universal, transcending artificial notions of regions, nation and even cultural identities.
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Splash - Mexico City
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Make a Wish - Roma
The images presented here are part of a larger project, an Abstract Atlas of the World, that spans over eight years and take the viewer to over 100 destinations on all six continents: a silent and benevolent vision of the sounds of our world. Each location is specified, but the interpretation of the image leaves us in uncertainty about the subject, the place or the time. He tells us that it is in Mumbai or Rome, Los Angeles or Baños, but suddenly we know that it was the place we used to go to during our childhood holidays.
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Hidden Treasures - Banos
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Metropolis - London
Yes, it was the same light, the same solitude, the same encounter. Sometimes the images are more difficult to interpret, they are made of distorted reflections, diffracted transparencies, multiple exposures. We always try to understand, to find a similarity, to anchor ourselves somewhere; it's so hard to agree to get lost. But then the abstract image that we have before our eyes is a photograph whose reality existed somewhere, sometimes, at least at a photonic level. The exact places shown here lose even more of their significance as we no longer care for the specifics: they seem like sunken cities, the vision of a fly with a thousand eyes.
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Calling All Souls - Central Park
Stéphane Cojot-Goldberg captures the meanders of our civilizations and our landscapes, the strange and the marvelous, and offers us a macrocosmic vision of what unites us. Traveling through his land and cityscapes requires no visa, passport, or even a language phrasebook. You are no longer defined nor confined by a birth certificate or an ID. What is recommended however is a borderless spirit to appreciate this boundless vision. Tourism touts the uniqueness of a place, as a way to attract visitors. Stéphane CojotGoldberg challenges this notion. Instead of uniqueness, he seeks to present the forces that unite us, not to be confused with contemporary notions of globalization, but an innate bond at a molecular level.
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WITH A SUITCASE GISELLA ESTEVE
Gisella Esteve is based in Barcelona, Spain. Since the time she was a little girl, she started to see the world through a lens, paying special attention to everything surrounding her. She always been the artist of the family and has been taking photographs of everything, everyone and she confesses to be obsessed with light and colors. She is a very active person who can’t stay in one place or just study one thing and thus after her bachelor in Arts course, she completed a degree in Industrial Design where she used all her manual skills creating and developing different products and objects.
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After this diploma, she moved to London to work and study which made her grow as a person, thanks to all the people she met and all the situations she was exposed to. She returned back to Barcelona in 2017 and started to chase all the goals that she made as an objective while she was in UK. Right now she is studying audiovisuals and professional lighting and, at the same time, she is a freelance, working as a image technician in a start-up company, recording, editing and managing all the audiovisual content.
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“With a suitcase” is my first photography project as it is. I love traveling. Being away from my comfort zone makes me happy, excited and wild. When I am on a plane going somewhere, my mind is flying over the clouds as well. This is one of my fav places to be. Traveling is a fantastic opportunity to capture new places and people as you learn all the same time. This project shows all those landscapes where I’ve been to.
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When I’m in front of a new city or town, my mind is capturing all the smallest details the landscape is hiding. I’m trying to hold on to every single fragment of scenary. I want you to see and feel, to close your eyes and imagine you are traveling with me with each photo. I know this is a huge project as I’m not ready to stop traveling. This has only started.
www.estevemedia.com
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PERSONALIZED DRESS CODE ANNA SHUMANSKAIA
ANASTASIA and CATHERINE Belorussia “We have come with the teddy hares, because they wear national costumes and our national currency is called zaichiki, which is translated as hares.”
SVETLANA - Russia “ What do you want me to wear for your photoshoot? I can put on anything, even a potato sack”
Anna Shumanskaia was born in Russia in an artistic family and always felt the influence of her ancestors, no matter what she did, whether it was while teaching English, translating, interpreting, or taking photographs, she tries to do her best to turn it into an exciting process, full of magic and creation. In own her words, "Photography comprises various notions: an occupation, a vision, a risk, an experiment, a change, a way of life, a choice, etc. But, first of all, it's my great passion, inspired by arts, theatre and nature. And I am really lucky to have a chance to turn it into my profession in Paris, where I had moved from Moscow. I love making portraits. For me it’s like telling a true story or inventing a fiction. Depending on the mood of the model and the photographer. It’s the mutual collaboration, the fruits of which should bring the feelings of pride and fulfilment to all the parties." PAGE 84 | APRIL 2018 | ISSUE NO.3
VIKTOR - Turkey “I live in Paris, but I miss the Turkish people and the Turkish nature. It is so beautiful !”
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CHRISTINA - Germany “I’m a vegan now, so I don’t eat marmalade any longer. But for me the Harribos are associated with my childhood as I used to love them then.”
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ZORANA and UROS - Serbia “Branko Copic is the monument of the Serbian literature. The second book is the homage to our great-grandmother, the only person in our family who loved us just the way we were.”
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ROCK - Slovenia “I’m half Slovenian, half French, but in my heart, I’m Slovenian. They eat a lot of potatoes there and I love potato salad. It’s very tasty and easy to cook.”
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FREDERIC - Guadeloupe “Today I have come to present you one of the biggest prides of my family - the culture of coffee. A coffee bean dark and rude of the aroma, strong and tender at the same time, often resembles us.” PAGE 89 | APRIL 2018 | ISSUE NO.3
MERITXELL - Spain “My hand-embroidered shawl is worn for all the occasions: in every-day life or for celebrations.”
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ANTONIA - Sweden “I chose to bring soil because it makes me think about home, it makes me think about the trees, fields and forests of my childhood, where I spent a lot of time. It is still my favourite place, the forest, to just be, walking around and watch things grow.” PAGE 91 | APRIL 2018 | ISSUE NO.3
FINLAY - France - Scotland “I’m wearing my father’s kilt, a little big for me. But when I go to study to Scotland, I will be obliged to have the one of my size.”
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FLORENTIN - France “What is wine for me? Alcohol and grapes:) But, speaking more seriously, it is the most sophisticated product of the French culture. There is no doubt, that it’s more sophisticated than cheese or baguette!” PAGE 93 | APRIL 2018 | ISSUE NO.3
LEA - Switzerland - Poland “I have dual nationality, Swiss-Polish. I chose the pickles as a strong representative of both cultures. Although pickles are very common in Eastern cultures, ogurki or cornichons can also be found in Swiss food culture: they are usually served with raclette. It was also an invisible link in our family: my (Swiss) father used to love the pickles my (Polish) grandfather used to make them."
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We are all now living in the world of set standards, restrictions and dress codes. To succeed in the modern society one has to comply with certain rules. To be approved and accepted we have to look, act and think in a certain way, which is sometimes artificially imposed. These are the requirements of today, which we are forced to respect. Nevertheless, it is vital to cherish one’s identity, both national and personal. In my opinion, it is essential to remember your roots, to esteem the customs and traditions of your family and country, to be able to share these values with other people thus contributing to the process of intercultural exchange. It is also necessary to be yourself in any circumstance, sticking to your values and bringing your personal touch to life. For the realization this project, I invited to the studio, situated in Paris, people of different nationalities and asked all of them to wear a potato sack, symbolising the dress code. I also requested them to bring anything that they associated with their country of origin. The models were shot with the grey background, representing neutrality, imposed on people and were free to pose the way they wanted to thus expressing their character. It was a fascinating process of mutual cultural and personal exchange, broadening the horizons and leading to new acquaintances and friendships.
www.annashumanskaia.com/
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FUENTES ISMAEL LLOPIS NAVARRO
Ismael Llopis Navarro, b. Castellón de la Plana, 1978, has over fifteen years of experience in photojournalism having worked for an assortment of local and international media such as Rockdelux, Vice, Grupo Z. He is the founder and manager of Momo Magazine.
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The original idea behind this series harks back to when I was 10 years old and I watched The Secret of My Success, in which Michael J. Fox takes notice of a girl who’s drinking from a water fountain. As they came together to drink, her lips seemed to sketch a kiss.
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Back in the day we used to go down to the neighbourhood’s main square to play after school, boys and girls together. There was no need to plan meetings; we simply knew everybody would be there. The public drinking fountain is a space both essential and festive, for kids, teenagers and the elderly alike - in fact for anyone whose natural environment is the park.
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As an adult now I understand the drinking fountain scene in that movie was not random; as a film set in the Reagan era, it does to some degree tackle a corporate world in which a juvenile and carefree spirit could be able to renew things. By drinking from the fountain, the woman became a commonplace character – a character belonging to the streets, to the public square.
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If I run across a public drinking fountain while in the midst of a photo session, I always enjoy taking a moment to capture that kind of image. I feel the models are also reminded of that childhood era as well as infused with a relaxing feeling of playfulness. The effect of the unexpected weighs on their expression: it’s not the most usual of situations, and they are not ready for it.
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In order to drink from a fountain the human body has to twist, and in the ensuing lack of equilibrium each model implicitly manifests her personality. As can be observed in the pictures, their reaction might turn up to be fun, salacious, elegant, prudish or clumsy, but it is always sincere. In many cases the model admits to never having drunk from a water fountain, which is something that never ceases to amaze me and which to a certain extent also saddens me. It brings to mind some sort of overprotected and hyper-technological lifestyle where the square no longer plays a role as a public square.
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Any city suffering from a shortage of public drinking fountains is inherently poor. The drinking fountain is both a traditional element as well as something that ensures a totally free autonomy, which should be a given in new urban spaces. It is a public service that should always be at the disposal of everybody - whether it’s the homeless, travellers, neighbours or even the local pets.
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A public space makes no sense without fountains; in a way, the lack of them shows how un-public it is. Urbanism in cities speaks volumes of the people that live in them; should there be a shortage of fountains, it significantly indicates the pauperism of a city in which the commonplace is no longer trusted and the social classes are poles apart.
www.momo-mag.com/tag/ismael-llopis/
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PARIS FASHION WEEK 2018 (FEMME) FLORENTIN COTI ALI ABBAS AGHA KARTHIK JAYACHANDRA
FLORENTIN COTI is a young photographer, based in Paris. He discovered his passion for photography while he was in Greece, taking landscape images during 3 years of living there.
Back to France, and after a web & graphic design bachelor, he decide to photograph again, and to start a master in studio photography, learning fashion, beauty and portrait. Finally, he become professional photographer in 2017
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ALI ABBAS AGHA is a fashion and reportage photographer. Currently studying at Spéos International Photo School, Paris. He has been in photography for 5 years and is involved in reportage work for PROPAAH magazine.
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KARTHIK JAYACHANDRA is a fashion, still life and and travel photographer. Currently studying at Spéos International Photo School, Paris. He is always on the look out for situations to create magic.
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a big thanks to all the featured artists in issue#3
Issue #4 Submission Call For our next issue which is planned for release in July 2018, we invite submissions in the following genres: 1. Fashion 2. Documentary / Photojournalism 3. Fine Art 4. Travel 5. Interviews 6. Culture / Society 7. Architecture 8. Street Photography The submission guidelines are: 1. Upto 12 images per submission. 2. Images should be submitted in .jpeg format 3. Image dimension should be 1000 px max on the wider side. 4. Images should be profiled in sRGB or AdobeRGB1998 5. Images should be less than 250 KB in size and should be saved for web. 6. Image naming format should be 'firstname01.jpg' (ex. brooklynbeckham01.jpg) 7. Send in a text file with the following details: > Photographer Name > Photographer Bio > Project Title > Project Description (400-800 words in English) > Photography Genre > Image titles and Sequencing of series 8. Send in your files to submissions.propaah.mag@gmail.com as an attachment in .zip format or using wetransfer. 9. Last date to receive submission is June 05, 2018 Follow us on our Facebook, Instagram and Twitter channels (@propaahmagazine). To get featured on our Instagram profile, use #propaahmagazine in your posts.
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PHOTO CREDIT: FLORENTIN COTI