APF Jan 2013 Issue by Rohit Vohra

Janâ&#x20AC;&#x2122;13

artphotofeature

INAUGURAL ISSUE Featured Photographer Sebastian Manoury Rolland A. Flinta Of Mt. Everest, Shan Shui and Photography

Street Photography by Portrait series by

Jorge Pozuelo Right of Way Marco Bohr

APF Exclusive Interviews

Inaugural Issue Issue I

CON TENTS

We chatted with Sarah Ann Wright, an accomplised freelance photographer based in London about her latest works and how meeting other photographers via social sites has been a life changing experience for her. p32

We spoke with Vanessa Paxton, a Jamaican born photographer about her Ballerina series p09 Vanessa Paxton

Eight Million Stories by featured photographer Fabian Schreyer from www.shootingcandid.com He uncovers a few of these hidden gems of everyday life in New York p19

Of Mt Everest, Shan Shui, and Photography by Debesh Sharma from India p27

A feeling of home and stability, no matter how fast the carousel is… Memories by Nick Frank from Germany p88 We chatted with Jorge Pozuelo, on how he quit his job as a telecommunications technician to devote his life to photography. He is the author of “Picture Easy” and now runs a photography school in Spain p68

COVER

Vanessa Paxton

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FEA TURED

We spoke with Soumen Bhowmick, a Visual Artist, Writer and Academician about the Art scene in India p65

www.artphotofeature.com

Rahul Vyas is an award winning American artist of Indian origin. He talks to us on how he has been able to keep his art natural p79

Sharmistha Duttaâ&#x20AC;&#x2122;s art is fresh and lively. She specializes in oil paintings, acrylics and her latest venture into digital art p23

Artists

Soumen Bhowmick Rahul Vyas Sharmistha Dutta

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Rohit Vohra, Editor. Street photographer and design consultant. Started APF with the vision to provide a platform for both emerging as well as established artists and photographers to showcase their works. We are an evolving magazine born with an education imperative. Welcome to APF.

Vineet Vohra, Art Editor BFA, photographer with over 17 years of experience in printing and publishing Industry. Pioneer in current and emerging trends in print and online magazine industry. Through APF I aim to offer necessary tools for dialogue and idea exchange regarding Art. Mansi Chopra Media Manager Media planner with diverse experience in research marketing strategy and development of effective, multi platform initiatives.

Kusha Khanna Deputy Editor Worked in the fashion business for over 15 years as a sourcing consultant for some of the leading high street brands in Europe. Now excited to be a part of APF where I have already met and seen some awesome new talent and where every day brings a new discovery and inspiration.

Nick Frank, Contributor Nick is a Senior Art Director in Advertising. He is currently working as "Head of Art Department" at Webguerillas Munich.

DISCLAIMER Views and opinions expressed in the magazine are not necessarily those of APF. All text and layout is the copyright of APF. Nothing in this magazine may be reproduced in whole or part without written permission of the publisher. Although the magazine has endeavoured to ensure all information is correct at the time of publishing, price and availability may change. This magazine is fully independent and not affiliated in any way with any companies mentioned. All photographs are sole property of their rightful owners and has been shared with APF by either submitting or uploading on our site. By uploading, submitting or otherwise disclosing or distributing content for display or inclusion on our site and in print, photographer has given APF unlimited license in perpetuity to the content and the information therein (with due credit to the you at all times). By Uploading You represent and warrant that you own all rights to any content submitted. You will indemnify and hold harmless this site, its parents, subsidiaries, affiliates, customers, vendors, hosts, officers and employees from any liability, damage or cost (including reasonable attorneys. fees and cost) from any claim or demand made by any third party due to or arising out of any content you submit.

Julia Anna Gospodarou Contributor An architect and a Fine Art photographer with distinctions in the most prestigious Fine Art competition, International Photography Awards, Julia lives in Athens and has a passion for both architecture and photography.

Editor editor@artphotofeature.com Be a Contributor contributor@artphotofeature.com FAQS faqs@artphotofeature.com Advertising advts@artphotofeature.com

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Editorâ&#x20AC;&#x2122;s Pick

Ryoma Aoki/ Japan

FEA TURED

Photographer of the month

Sebastien Manoury

The Vespa I was ready to cross the street when this Vespa arrived driving dangerously.

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Parisian Couple A couple was waiting on a bench. I waited until the lady saw me and took this shot.

French Elections: The day after the French elections, I woke up early to take pictures of Parisianâ&#x20AC;&#x2122;s buying newspapers.

Parisian couple 2 This is shot near Notre Dame in Paris, I took this picture as the lady turned and she looked as if she was flying.

Parisian style: The district of Saint Germain des PrĂŠs is famous in Paris. The life is busy here and this is the place to be! I loved the style of this Parisian woman and she obviously did not see me.

Parisian Smoker Everyday charm...a man lights a cigarette with such style.

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PHOTOGRAPHER WEBSITE

“I believe my photographs reflect my own view of Paris.”

We spoke with Sebastian and this is what he had to say, â&#x20AC;&#x153;I came to street photography through pictures from a bygone era, Robert Doisneau, Edouard Boubat, Willy Ronis and Henri Cartier Bresson - the golden age of French humanist photography. When I started out, I did not seek to bear witness to my time, I did not wish to show the harshness of life, neither its violence...this is not my role. I believe my photographs reflect my own view of Paris. As I amble throughout the capital, I observe my surroundings. I see the Parisian soul lives on, its paved streets, colourful characters, bistros, gardens, pictures I like to seize on camera. Paris is also the Parisians! Above all else, I focus on them, as they come and go, as life goes by... I try to seize instants of everyday life, seeking the charm of reality. And of course, that decisive moment, which makes us run, or wait, which pushes us and makes us hope...all the way to the end! So I hike at great length through my hometown hoping chance will offer up a photo in front of me.â&#x20AC;?

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Vanessa Paxton

Ballerina by Vanessa Paxton It usually surprises people when I tell them I was born in Jamaica. I moved to Canada when I was about 12 and took up photography at 14. I started to get really passionate about it in Grade 11 at Marshall McLuhan C.S.S, which was about 8 years ago. I had a great photography teacher who inspired me to pursue it on a professional level. Digital photography was something that was very new for me at that time and I think it just intrigued me. It wasn’t until I hit university that I started to experiment with film. That’s when I knew there was nothing else for me other than digital photography. I use Photoshop CS5 like most photographers out there but I prefer to do things in camera if I can. However, most of my ideas require the help of Photoshop in some way or another. There is a big stigma towards digital photography these days coming from the older generations. I understand where they’re coming from and so I always try my best to stay true to the medium and bring out the best in my subjects.

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The Ballerina The Ballerina is a photographic exploration into the simultaneous freedom and solitude of the dancer. The series was inspired by a dream I had. I wanted the series to have that rhythm of falling into sleep or waking up from a dream, depending on which direction you decide to view the images. The reason behind this decision was to mimic the actual dream as well as to give the dancer a sense of weightlessness and optimism...in dreams anything is possible. Each image was shot in color and converted to black and white. I chose black and white because I wanted to focus on contrast, the lightness of the dancer versus the dark loneliness of her surrounding.

More from the Series

Editorâ&#x20AC;&#x2122;s Pick

Alessandra Manzotti/ Italy

FEA TURED Artist

Sharmistha Dutta

Euphoria series

for more paintings from Sharmishtha

There is pleasure in the unknown. Not knowing about the shape of things to come.Where the paint flows, there can hardly be any control, well maybe just a little! But that is where the excitement lies, little streaks merging to form patches, rivulets and pools of color giving way to puddles. Giving up, surrendering themselves to a bigger force. EUPHORIA!!! Sharmisthaâ&#x20AC;&#x2122;s art is fresh and lively. She has to her credit several group and solos in the span of 3 years. She specialises in oil paintings, acrylics and her latest venture into digital art is being widely accepted and appreciated by one and all.

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Editorâ&#x20AC;&#x2122;s Pick

Mt. Fiji Michael A. de Guzman

Of Mt. Everest, shan shui, and photography by debesh sharma

Photographer Website

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And before anything else, I must confess that I’m just another photographer, another writer, so why should you listen to me, read what I have to say, what then is my claim to fame? My claim to fame is this passion of mine, my burning desire to create images that are an indelible part of the inner me, which are from, and of my soul. My claim to fame is also my openness to share this journey with you through my writings, my trials and tribulations both, my angst and happiness in equal measure, so that you can see the world through my heart but as it appears through my lens. My claim to fame is that I am a voyeur as a photographer but also an exhibitionist because I am unabashedly naked with my feelings in my images and what I have to say here.

YOU CAN SAY I EXPLORE, but I actually wander – not only literally, but also figuratively. At any point of time, there is this entire smorgasbord of seemingly unrelated thoughts oscillating in my mind. Though I must admit there are a few instances when my mind is really still, when my thoughts slow down – when I write, when I photograph, and when I walk in solitude in the shadow of high mountains. When I sit down to write how I feel, I honestly don’t actually know where or how it’ll end. I know vaguely, but not precisely where and how. It happens to be the same with my photography. I recognize my emotions deep within and attempt to capture those in my photographs. I want the images I create to express: “I felt this”, not “I saw this”. Whether I succeed or not is a matter of conjecture really. I create through my photography and my writing because I believe that beauty is in the act of creation itself, and not so much the creation itself. Both writing and photography for me are spiritual – meditative, reflective.

About the end of last year I made a trip to the Mt. Everest and Khumbu region. So why did I head to Everest? Quite honestly, I can’t come up with a one-line answer. Perhaps, I should plagiarize – George Mallory is famously quoted as having replied to the question “Why do you want to climb Mount Everest?” with the retort “Because it’s there”, which has been called “the most famous three words in mountaineering”. Of course, I don’t claim to be anywhere in that league, but my answer is just the same! Without an iota of doubt, there is a powerful mystique, an almost magical and mesmerizing aura about the Khumbu. On this trail, you tread in the footsteps of the greats – mountaineers such as Edmund Hillary, Tenzing Norgay, Reinhold Messner, Ed Viesturs and co. Laboriously (or maybe not so) as you ascend through the foothills of the world’s highest mountain starting from Lukla, the terrain soars on all sides like jagged shards of glass and changes from green, verdant valleys overgrown with pines, conifers, and rhododendrons to a Spartan, barren, almost lunar

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landscape. The trails are steep, often times footstep-wide and vertigo-inducing, and the altitude constantly hangs on your muscles with each belabored breath. But in this rarified highaltitude atmosphere of the Everest region, my brain was oxygen starved, but my soul was satiated. Iâ&#x20AC;&#x2122;ve quite literally traveled the globe, but nothing, nothing really prepared me for the beauty and serenity of Nepal, the graciousness and simplicity of the people, the courage and determination of the Sherpas, the austerity of homes, the smiles despite the hardships, the Zen in thought, belief and life. On a more earthy level, nothing even prepared me for the thunderous roar of the rivers, the groaning of the seracs of the Khumbu glacier, the sounds of avalanches and landslides, the grayish mist enveloping me in just a few minutes

without warningâ&#x20AC;Śand for sure nothing prepared me for the massive earthquake, 6.9 on the Richter scale, that rattled the lodge where I was at in Pheriche so much so that the ceiling collapsed (the adjacent lodge was completely destroyed). All the while as I traveled in the Khumbu heading towards Everest, I couldnâ&#x20AC;&#x2122;t even for a moment forget the presence of a Power far greater than me, than us. Something, someone who created this all. This beauty, this magnificence of immense magnitude far beyond what my words and photographs can even attempt to describe or capture. Of course, it was reiterated by the fact that many mountains are named for deities, murals of Rinpoches dot the mountainsides, gompas, chortens, mani stones map the landscape. Each moment there reminded me of the presence of the Lord. Each moment there reminded me of how

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small and insignificant I am, we all are, in the bigger scheme of things. Which brings me to my wandering mind and rambling thoughts. The moment I put pen to paper as I started writing this piece, I thought of shan shui. I didn’t know why it came to mind, and as I’d said I never know how my story will end when I start out. I don’t rearrange my words. I don’t edit. As it slowly starts taking shape and form as I slow down to write, I understand when my thoughts come into a semblance of coherent order. And I understand now. Shan shui is a style of Chinese painting that illustrates scenery or landscapes using a brush and ink rather than more conventional paints, and in which people and animals are reduced to tiny brushstrokes epitomizing the idea of Chinese philosophy that the environment is far more powerful than any individual. Which is just how I felt. Each and every time I composed within the frame of my camera. Shan shui paintings don’t really conform to the common definition of what a painting is, and refute color, light and shadow, and so are not an open window for the viewer’s eye, but an object for the viewer’s mind. When you find yourself in the shadow of the Himalayas, you will know what I mean. When you stand beneath the overwhelming presence of Everest, you will know what I mean. Shan shui is more a philosophy. So now I know why shan shui came to mind – because my thoughts converged on to the philosophy, the essence of shan shui. Shan shui in its basic philosophy has certain unwavering, should I say, mystical rules which determine composition, form, and balance. As Osvald Siren said, in shan shui pathways should never be straight, but meander like a stream and so help deepen landscape by

adding layers. The path can be the river or a path along it, or the tracing of the sun through the sky over the shoulder of the mountain. Then the path should lead to a threshold, which is there to embrace you, to welcome you. This threshold can be the mountain, or its shadow upon the ground, or how it penetrates the sky. And finally, the heart is the focal point of the painting with all elements leading to it, and defines the meaning of the painting. Isn’t this how life is? As I recollected my “pilgrimage” in the Himalayas to write, I was reminded of this. There are no straight lines between any two points in life ever – our paths meander. We get lost, we stumble, we fall, we walk again. Then our journey leads us to a threshold, a destination, not the end, but a mere milestone, an interlude. The end of one chapter, the beginning of another. All the while we place one foot in front of the other, as we fall in step with the rhythms of the universe and the cadence of their own hearts. As one foot walks, the other rests. Doing and being comes into balance. And in the final analysis, the ultimate meaning, all we need to do is chase our dreams and follow our heart. That makes our story complete, this makes my story complete. of the artic le Top

Debesh Sharma/ India www.debeshsharma.com

Editorâ&#x20AC;&#x2122;s Pick

Photographer Website

Vincent Bourilhon/ France

EXCLUSIVE

INTER VIEW

SARAH ANN WRIGHT How and when did you get into photography? I first picked up an SLR camera studying at college before my degree in 2001. I learnt the basics of photography and film development, but didn’t pick up a camera again until 2004 when I first went to Australia. It was a really early format digital camera, very much point and shoot. I fell in love with documenting my trip and the euphoric feeling of capturing an image that I knew I would love to look at again and again throughout my life. I went traveling again two years later, taking another digital camera which had a few more functions similar to an SLR. With it I could manipulate shutter speed and aperture for the first time, and enjoyed the experimentation and the wider input and control I had over my images. In 2007 I bought my first DSLR on encouragement from my boyfriend, who owned one at the time, and haven’t looked back since. Now I’ve gone through 4 DSLR camera bodies and the love affair that started with my Olympus back in 2001 is still going from strength to strength.

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“The main thing my degree taught me was the fact that having a degree is not a necessity to do the work you love.”

Did your degree in Graphic design help you in your photography? No, unfortunately it was a very poorly constructed degree, and I didn’t learn anything specific from it that I apply to photography now. All the creative rules I learnt from school, and my college BTEC Foundation Art & Design course taught me the basics of photography. Everything else I’ve taught myself for the past 6 years. The main thing my degree taught me was the fact that having a degree is not a necessity to do the work you love. Some people place far too much emphasis on equating having a degree with the ability to succeed, and that’s not the case at all. I know plenty of people who are successful either in an area not related to their degree or with no degree at all. It would be nice if more employers would recognize skills over a qualification on a bit of paper.

BEHIND THE SCENES

You often create Fine art conceptual images, how is your work different from a commercial photographer? In my conceptual work I have the time and the ability to bring a vision and story to life exactly as I see fit. There’s no brief, only the limits of my imagination, and it’s a great feeling to be able to bring an idea I had been toying with for a while to fruition. In my conceptual work I work on a story or inspiration board beforehand if I can, though sometimes just even something simple like a colour or word can transform the way I look at existing work, manipulating it to become more of a storytelling piece. With the majority of commercial work you have to adhere to a set brief and guidelines. Sometimes, depending on the subject, there may be leeway for creativity, but in nowhere near the amount as you can get with conceptual. Conceptual is all about evoking emotion, telling a story, leaving the viewer wondering. You can get really in depth, creating characters and settings. Commercial is generally trying to sell you something, painting that ‘something’ in it’s most attractive and desirable light. I don’t aim to ‘sell’ anything in my conceptual work, only the ideal that imagination is a wonderful thing. When I do do commercial work, if there’s scope to inject some colour and my editing style into the project, I generally will. Sometimes clients are really responsive with this input, and if you think an image could do with a little more ‘jazz’, there’s no harm in asking. I’ve had past clients come to me asking for conceptual work specifically, and it’s a wonderful thing when I am able to merge the two genres.

You often work with other artists and photographers, how easy or difficult is that and how do you make sure the end result is satisfying to both the parties? I find it both a pleasure and a challenge to work with other photographers. To learn from one another and bounce ideas off each other is an invaluable experience though sometimes it might be frustrating to watch a photographer shoot something and wish you’d thought of that idea or taken that shot. But I like to see this as a challenge, to push myself further, to come up with the next great story, to inspire others the way I was inspired. I’m comfortable in knowing that even if I took the same or a similar shot as another photographer at the same shooting time (which sometimes will happen if you’re at a group shooting) that the end result will never be the same. I can’t emulate anyone else, and wouldn’t want to. I trust all my photographer friends to find their own creativity and vision, and be equally as comfortable in their own personal styles. I think having friends who are photographers and constantly meeting new photographer friends either via social sites online or in meetups in reality has been a life changing experience for me. I find their creativity, similarity of interests and willingness to grow and share immeasurable and I would recommend it to anyone. Or even come see me, I like making new friends!

Photographer Website

How often do you find time as a photographer for your personal work? I would say my time is split 50/50 between personal and client, though this can swing in either direction depending on the time of year. I believe itâ&#x20AC;&#x2122;s very important to be able to keep making personal work for your own benefit, so you can learn new skills and keep yourself fresh. Sometimes I just want do a model shoot for fun, to get some relief from a restrictive deadline or experiment with colour. Personal work can often take a lot more time and prep so I often have things bubbling away in the background which I can pick up when things get quieter. Building up a great network of models, artists and stylists is invaluable to me in being able to keep my personal work fluid. ÂŠSarah Ann Wright In Interview with Rohit Vohra

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LIKE A HARP’S STRINGS

PHOTOGRAPHER’S STATEMENT Julia Anna Gospodarou I am an Architect and a Fine Art photographer living in Athens, Greece and my main body of work consists in B&W long exposure photographs, often presenting architectural objects but also seascapes and landscapes.I sometimes touch other genres of photography too as I’m in a constant quest for the best way of expressing myself and my vision about the world in images. Photography for me represents a language of its own and one of the most beautiful languages indeed. Long exposure photography represents the most magical part of this language, the part that allows us to come in contact with our subconscious and with the things we don’t know that we know…What I try do is to speak this language in order to make myself understood, to convey my ideas and feelings and to show to others the beauty I see and the perfection that exists in everything that surrounds us, from an abstract architectural detail all the way to the motion of a wave embracing a rock, or the hint of gesture of a stranger passing in the street.

Beauty and perfection are always there, even in the places that one wouldnâ&#x20AC;&#x2122;t expect them to exist, the only prerequisite in order to see them is to always have your eyes, heart and mind open. I try to find them and when I do Iâ&#x20AC;&#x2122;m happy. I then try to capture them so I can keep them from flying away, I need to afterwards interpret them through my processing so I can add my own self to the equation and finally show the result back to the world. Itâ&#x20AC;&#x2122;s a full circle, I take my inspiration from the world around me and I give my images back to it as a sign of gratitude for the beauty that it showed me. All these steps going through the circle are equally fascinating to me and each one adds something to the life of the image I create. For me the life of an image, this process that starts with the image being conceived in the mind of a photographer and culminates when it reaches and gives emotion to the viewer and also back to the photographer himself, this life always aims as its utmost goal at capturing the time and making it last forever. And this is a fundamental aspect of photography: making things, people and emotions immortal.

PHOTOGRAPHER WEBSITE

Beauty is my statement about the world I live in, it’s what I search for, it’s what interests me when I open my eyes in the morning, when I take my camera and go out shooting and when I sit in front of my images processing them, trying to make them mine, to make them express my own thoughts and feelings about the things I see. Photography makes me happy and this is not a cliché. It surprises me every day and it gives me a safe space where I can be myself no matter what, and this means freedom. Photography, as an art form, is the utmost expression of freedom, because beauty is above and beyond all freedom of spirit.

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Rightof Way

By Marco Bohr

Follow His Blog

Marco Bohr’s new photographic project Right of Way addresses man’s relationship with the urban environment and the failures of a modern project. Photographed in Canberra – an early example of a planned city and the capital of Australia – the series focuses on pedestrians attempting to cross, or in the process of crossing the street. Designed by the American architect couple Marion Mahoney Griffin and Walter Burley Griffin a century ago, Canberra represented a totally new ideal in modern architecture, city planning and transport. Taking natural elements in the valley into account, the main structure of the city as defined by major roads and highways consists of interlinked circles, hexagons and triangles. The city’s embrace of modernity is partially signified by the wholesale assumption that the automobile will be the future form of transport. As a consequence of this ideal in city planning, pedestrians struggle to navigate the matrix of streets and roads in a city primarily built for the automobile. J.G. Ballard’s poignant question ‘Autopia or Autogeddon?’ gives rise to the impression that cities began to suffocate from the dominance of a single mode of transport. Makeshift and often hidden footpaths on the side of the major roads give an indication how the idealistic even utopian design of the city stands in contrast to the functionality of the city as a living space. The photographs

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More photographs from the story

attempt to signify the cracks emerging in the structure of the city, as it is always pedestrians giving way, waiting and adjusting to the constant flow of traffic. The title of the series, Right of Way is a reference to an ancient English law that legally grants temporary access to footpaths on privately owned land. In this project, the ‘right’ to access functions as a metaphor for Australia’s troubled history as an outpost of the British Empire in relation to the country’s increasingly invisible indigenous population. Seeking to address the question of landownership, Australia’s public and private institutions habitually acknowledge indigenous regional groups as ancestors of the land they occupy. The pedestrians making way for the traffic seeks to function as an allegory for a people making way for an aggressive and ever-expanding colonization process. Right of Way is the latest project in an ongoing body of work that explores the clash between nature and culture, peripheral spaces and culturally specific phenomena. Marco Bohr is a photographer and researcher in visual culture and writes a very popular “ Visual Culture Blog”. He is a PhD in Japanese Photography of the 1990’s

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BEHIND THE SCENES

EXCLUSIVE

INTER VIEW

CARLY WONG 1. How and when did you get into photography? I started photography in 2009 after purchasing a cheap compact camera with the simple desire to take some half-decent photographs. My personality is slightly obsessive and I am a perfectionist so I challenged myself to take part in Project 365 on Flickr.com (take and upload a photo every day for a year) knowing I'd either get really caught up in it or give up pretty quickly if I missed a day. Luckily I stuck at it and over 3 years later I'm still loving photography. I'm almost completely self taught and the year long project gave me an amazing kick-start as I forced myself to learn something new or experiment with different subjects every day.

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PHOTOGRAPHER WEBSITE

http://vincent-bourilhon.com/

2. Your photographs have a certain twist, where do you get your inspiration?

4.You shoot a variety of subjects, what's your favourite and why?

Occasionally a random idea in my head can be sparked by something I've seen in my everyday life but generally my inspiration usually stems from one of three things: a particular model, a prop or an intriguing location. Stimulating my mind by flicking through books such as The Art of Looking Sideways or David Shrigley's "What The Hell Are You Doing?" also helps as the bizarre tangents they take me off on tend to fire up the creative side to my odd little brain. I find that this sometimes helps more than viewing photo sharing websites and photography books (though of course I still thoroughly enjoy doing this).

I enjoy the process of expanding my portfolio; picking out creative models and makeup artists to complement unusual test shoots on location. You cannot beat the deep sense of satisfaction of looking at that end result when it's turned out exactly as hoped (and sometimes better!) Paid assignments offer a different sense of satisfaction; I enjoy that look of immense pride on a parent's face when they see a photo I've snapped of their child (not to mention their surprise that I managed to keep the child still long enough to take it - but that hyperactivity is all part of the fun of working with kids.

I guess the â&#x20AC;&#x153;twistâ&#x20AC;? in my photos is my personality coming through. I think you can tell a lot about a photographer by the photos they take so I'm not quite sure what mine say about me? 3. Tell us a little about your photo book, Post Box Portrait. How did that start? It became a mini-series during the year that I was creating my Project 365 set. 8 months into the project I realised that I hadn't attempted to shoot anyone other than myself. I figured that bugging my friends and family to pose would be much easier than worrying about a photo shoot with a "proper" model. My sister, the first to agree, appeared on the day looking stylish in bright shiny red shoes and a matching patent belt. The idea to prop her on the top of an iconic and undeniably British red pillar box seemed so obvious at the time. Having limited access to unique locations and no studio space I thought that practice in the big wide world could come in the form of hunting down different post boxes and posing my subjects with them. The concept snowballed bigger than I could have envisaged and resulted in my photographs being featured by the Royal Mail, in the newspaper and on a famous BBC comedy television programme in the UK called Have I Got News For You. I also sold nigh on 100 copies of a book that was essentially about my family, my mates, and UK post boxes! Bizarre.

5. As per you what makes a good photograph and what makes a good photographer? Ahaa! Now you're asking! This is such a difficult question and I'm sure every photographer would give a very different answer. I really enjoy photographs that have a major impact, in whatever way. For example, I once saw a photo of a polar bear looking innocent, calm and cuddly apart from the fact he had the whole face of another polar bear casually hanging out of his mouth, blood stained in the presumed aftermath of some savage occurrence. I loved it - not because it was pleasant to view but because it was real, and intriguing. Generally I gravitate towards photographs that either show emotion or evoke it in the viewer. I have an insatiably curious streak so any photograph that invites questions can likely stimulate my interest.

In my opinion a good photographer is someone who has developed a recognisable style but can carry that through to different genres of photography. It is one thing to be recognisable but this becomes less desirable when the style has become stagnant and over-done; the subjects stale. Someone who's shooting from their heart rather than towards their bank balance is heading in the right direction, though I know all too well that when the bills are catching up with you that becomes something that's easier said than done!

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6. What would be that one advice you would give aspiring photographers? Start small and avoid complacency. Ok, so that's sort of two bits of advice but I think the two go together to create the right attitude towards constant development. Don't bankrupt yourself for a camera and be disappointed that your photos don't look great. Buy equipment that's within your budget but least likely to limit your requirements. Shoot manageable subjects and don't be overly disheartened by people who are better than you. Compare yourself to those on a similar level to you (and just above). On the flip side, when you're happy with some photos you've taken, recognise you've done well but don't languish in your success. Change the subject, or least alter something in your set up and challenge yourself anew to keep it fresh. There's always someone better than you; aim to be as good as them. Everybody starts somewhere, and EVERYBODY can still learn something. That's the beauty (and curse) of photography, especially when coupled with perfectionist tendencies, never being satisfied means that you'll keep pushing yourself forward.

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Izhar Alam / India

emories M

In the air, a delicate scent of cotton candy. In mind, colorful gingerbread hearts and bright lights, as far as the eye can see. In the heart, a desire for what once was and should remain for ever. A feeling of home and stability, no matter how fast the carousel is... by Nick Frank

PHOTOGRAPHER WEBSITE

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More photographs from the story

Nick Frank is ISO72

Born 1975 in Munich/Germany, Nick is a Senior Art Director in Advertising. He is currently working as "Head of Art Department" at webguerillas Munich. Nick came into Photography late 2010. What is the story and thoughts behind your work? It’s about self-discovery, finding something new or to interpret it differently, change my own point of view, leaving the rhythm and the usual paths. It’s about time, places, moments, but also technology. Are you professional photographer? After a couple of paid projects I was able to breathe into professional life but I would not call myself a professional photographer. I haven‘t been taking pictures long enough, there is still much to learn. Let’s see what the future holds. What are your future plans for your photography? Decisions. Where am I heading? Artwork or themed shooting. Portrait or architecture. I’m interested in both. However, I notice it is difficult to expand in all areas at the same time. My gut tells me I need to place an emphasis on one specific type. As I have some ideas concerning people photograpy all I am missing is the right model.

New Project

About the Project

SUBWAYS Arrivals, departures, meeting of different people...Subway stations are more than just a central location for travellers. In fact, they represent the lively background for everyday life and drama while offering intimate insight: first a heartbreaking farewell, then a joyful welcome...a location that serves as a stage for personal plays. Until the curtain comes down and night falls, when the sound of voices grows silent, when the frequency of visitors falls below a minimum level...Right then and there, SUBWAYS tell their individual stories that come alive with impressive photographs â&#x20AC;&#x201C; creating a scenario that gets under your skin. When dynamics turn into evanescence and silence, you have to capture the moment! Join us on a journey to the subway stations of the world!

Project Video

About Anne Berwanger It’s all about fashion + lifestyle... At least as far as the 36-yearold freelance consultant is concerned. After holding the position of the Editorial Lead Fashion Digital for Condé Nast Publications in Munich, she has been self-employed in the digital media segment for two years, with numerous customers from the fields of fashion, beauty, people and lifestyle. Now a resident of Munich with a wide range of interests, she only becomes interested in a project if it goes beyond the limits of the usual power of imagination and all conventions... About Nick Frank Click, click... The sound of the camera makes the art director of a renowned advertising agency in Munich – his main job – happy and fuels his passion. The 37-year-old autodidact, who has taught himself how to take pictures since 2010, manages to confront objects with an unusual view, giving them a wholly new perspective. His favourite motif? Architecture! Amazing sights!

01.13 APF / P 56

Sowing the Seeds of love

Martin Ksinan

â&#x20AC;&#x153;Within this series I tried to capture my view at our strong efforts to understand our being and how we grope when seeking our fundamentals. We crush our forces in the battle of purity and sin and we do (not) realize how fragile is the border between them. In essence these are the themes that accompany mankind from its beginning. Nevertheless, I repose my trust in the good that dwells inside us. The world around us is full of objects and correlations that offer mutual bridging. Thanks to the shapes, light and colour it is possible to underline these connections and offer them to the viewer. I adore surreal interpretation of a story as it offers more spheres of perception within one picture. Every viewer lives through his own experiences and based on them he or she forms own interpretation of the seen objectâ&#x20AC;?

Martin Ksinan