Issue 14 by Snapixel

SNAPIXEL

ARIAN BEHZADI JASON TRAVIS JP DOUBRIN JON DEBOER SNAPSHOP WPO 200 YARDS SF MOMA 111 MINNA GALLERY WHITE WALLS SF PRIDE LA JOLLA ART FESTIVAL FRAENKEL GALLERY

WANT TO SEE SNAPIXEL MAGAZINE COME TO LIFE IN PRINT?

http://kck.st/SnapixelmagDigitaltoPrint

IN THE MAGAZINE 08

SINGLE FRAMES

ON THE TOWN

CHECK IT OUT

POP CULTURE

TECH SPOT

22 28 38

{PERSONA} OH, SNAP THE TROCKS

DETROIT, DETROIT

Q&A: WPO

Image by Arian Behzadi, see more on page 18

EDITORS NOTE

ay was a busy month here at Snapixel Magazine. We come to you in June with two projects very close to our hearts – the SNAPSHOP partnership, and our new Kickstarter Campaign. I first found out about SNAPSHOP from our contributor Nicole Franco way back in September or October of last year. She told me about this program she was involved in to help high school kids realize their potential as photographers. SNAPSHOP teaches photography to hi-risk youths from all over Los Angeles, in a workshop series that takes place annually during MOPLA – Month of Photography LA. Nicole and I started discussing ways to collaborate between their program and Snapixel right when we were getting down to redesigning and conceptualizing the entire magazine. Learning about an organization like this showed us that we could use our magazine not just to show off great photography, but to help bring exposure to really talented people who are just starting their careers in photography. So I’m really proud to present the product of that partnership, an article on the work of the amazing photographers who participated in the SNAPSHOP workshops. Check it out on page 28 Like I said – there are two big deal projects this month. The second is a Kickstarter campaign to bring Snapixel Magazine to print. If you’re reading this, you’re probably a regular Snapixel consumer and know that we’re primarily an online magazine. But being print magazine junkies, we want to bring our magazine out of the computer and into the real world! The tactility is so alluring. So we took it upon ourselves to move into that direction, and created a project on Kickstarter – the site where artistic projects go to find support. Here’s the link: http://kck. st/SnapixelmagDigitaltoPrint. Please take a look! And spread the word to everyone you know, it’ll really make a difference for us. Your support is what keeps us going! Please enjoy the issue this month – we’re looking forward to coming to you in print one day soon! -Kaitlyn

CONTRIBUTORS editor

KAITLYN ELLISON content editor

KELSEY FRAZIER

marketing and advertising director EMILY SANDS art director

ADAM OLIVER

staff writers

KELSEY FRAZIER, ALEXANDER HENSON, ROBIN LAM, EMILY SANDS

contributing photographers

EMILY MALAN, JASON TRAVIS, JON DEBOER, J.P. DOBRIN, RACHEL REBIBO, REN ROX SNAPSHOP photographers

Image by Emily Malan, see more on page 8

AJANI FLOWER, ALEJANDRO MEJIA, ALEX SOELTER, ALEXIS SIMPSON, ALMA MARQUEZ, APRIL VIDAURRE, AZIA ADAMS, BRAYAN CECENAS, CELIA MOLINA, BRENDA MORONES, CAROLINE TENORIO, CHRISTOPHER TRUJILLO, DAIJA JEFFERSON, DAVID JARAMILLO, DEBORAH SOCOP, EILEEN HSU, ESVIN ZUNIGA, EVELYN THOMPSON, FAITH CASSELL, FAITH EARLEY, FATIMA ALI MUKHTAR, GENESIS GARZA, HELEN LEMUS, ISABEL FONG, IVAN MODRANO, JENSEN N. ANKA, JESSY DALESSANDRO, JIMMY REAZA, JOHANNA FLORES, JUAN HERNANDEZ, KARLA PEREZ, KEVIN LOZANO, LEONARDO RODRIGUEZ, LUCENDA DE LEON, MADELYN ORELLANA, MARK LAMAS, MAYA MCHENRY, MELANI MATTSON, MUNEERAH COOK, NIA THOMPSON, NORTHIA REYES, ROSY VELIA ZEPEDA, SAMANTHA ARREOLA, STRONSHAY L. WASHINGTON, YADIRA ALMARAZ, YULIZA ROMERO cover photo by Arian Behzadi contents photo by Emily Malan back cover photo by Jon Deboer

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SINGLE FRAMES

HAAS BULDING, LOS ANGELES

EMILY MALAN HTTP://EMILYMALAN.COM/

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SINGLE FRAMES

UNTITLED

REN ROX HTTP://WWW.RENROX.COM/

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SINGLE FRAMES

UNTITLED

RACHEL REBIBO HTTP://WWW.RACHELREBIBO.COM/

SNAPIXEL.

ON THE TOWN

RICHARD LEAROYD: Nancy, Nude White Chair, 2010. Unique Camera Obscura Ilfochrome 58” x 48” (image, sheet, and mount)

FRAENKEL GALLERY RICHARD LEAROYD: PRESENCES MAY 5 - JUNE 25, 2011

111 MINNA GALLERY LIFE IS A WAVE JUNE 10, 2011

We love nudity in photography and frankly, we don’t have enough of it in our pages. But if you head over to check out British artist Richard Learoyd’s work, you will get your fill of beautifully done, artistic nude portraiture. You should also go if you’re into alternative processes - he uses a camera obscura to create direct-positive images (no negatives!) So cool.

Check out the Social/Ocean/Environmental Bash of the year! A Benefit for Save the Waves Coalition, this party’s got it all - music, art, film, and auctions! And it’s at one of San Francisco’s best venues - 111 Minna. Get your info here: http://www.111minnagallery.com/

David Claerbout, White House (still), 2006; singlechannel video projection, dual mono over headphones and speakers, 13 hours, 27 minutes; Rennie Collection, Vancouver; © David Claerbout

More: http://www.fraenkelgallery.com/

SF MOMA DAVID CLAERBOUT: ARCHITECTURE OF NARRATIVE MAY 21 - SEPTEMBER 6, 2011

“The ambiguous relationships between photography and cinema, stillness and motion, historical past and perpetual present are the subjects and substance of David Claerbout’s contemplative video installations.” - SF MOMA. Crazy. Info: http://www.sfmoma.org/exhibitions/426

Photo by Tom Hwang

LA JOLLA FESTIVAL OF THE ARTS JUNE 18 & 19, 2011

SF PRIDE JUNE 25 & 26, 2011

It’s festival season here in California! The La Jolla Art Festival is a non profit event held annually since 1986. Explore more than just photography with over 200 artists presenting, including works of music, literature, food, and all of your favorite visual arts. Support the arts! And have a good time doing it.

Do we even have to say anything about this event? Ok, we will, but just for you non-San Franciscans out there. Pride is an epic and fantastically huge festival and parade representing the Lesbian, Gay, Bisexual, and Transgender communities. There are more photo opportunities at this event than there are for the rest of the year combined in SF. Well, that’s an exaggeration, but you get the point. It’s frickin’ sweet.

Info here: http://www.lajollaartfestival. org/

See more here: http://www.sfpride.org/

Art by Adam Caldwell

WHITE WALLS GALLERY INTERSECTION: ADAM CALDWELL & JONATHAN DARBY JUNE 11 - JULY 2, 2011

Bay Area artist Adam Caldwell and UK’s Jonathan Darby present an intersection of very different work. Caldwell presents the American side, and all the excesses it includes, while Darby portrays Brazil’s most impoverished slums - the Favelas. Two disparate things combined to create one amazing exhibition. Mas Informacion: http://whitewallssf.com/

SNAPIXEL. 15

CHECK IT OUT

200 YARDS

COFOUNDER GENEVIEVE ROBERTSON OF LIGHTBOX SF TELLS US A LITTLE BIT ABOUT HER PROJECT WITH BUSINESS PARTNER SHELLY KERRY. IMAGE BY ANN SIMMS.

CAN YOU TELL US A LITTLE BIT ABOUT THE FOUNDING OF 200 YARDS, AND WHAT INSPIRED THE PROJECT? 200 Yards was started as a project to garner some publicity for our business Lightbox SF where we coach creative businesses on marketing, publicity, and generally succeeding with an art-based business. It was also just something fun for us to do. My business partner Shelly Kerry and I love photography and I really wanted to curate a show with a specific assignment. I’m not sure exactly how the idea for the 200-yard radius came up, but it did and we ran with it. WHO CHOOSES THE LOCATION FOR EACH EVENT, AND HOW IS IT DONE? Both Shelly and I scout for locations. We’re generally looking for a space that is a non-traditional gallery so that we get a broader exposure, however we want good light (not the easiest thing to find in alternative spaces). Generally we look to a neighborhood that we haven’t had a show in and start asking around, searching on the internet or just wander to find a space. Dickerman Prints actually came to us though. We’ve got a few places on our hopeful list, but have yet to secure them. Madrone Art Bar and Hotel Biron being two of them. So far we’ve done 3 in the Mission so we’re definitely looking for other neighborhoods, but we’ve also hit Upper Haight and just lined up the Tenderloin. ARE YOU PLANNING ON EVER PRESENTING ALL OF THE WORK TOGETHER SOMEHOW - MAYBE IN A BOOK OR A LARGER GALLERY SHOW We would love to do a retrospective show at some point that shows a few pictures from various neighborhoods that becomes San Francisco in 200-yard glimpses. We would also love to do a book. Additionally we’d love to see 200 Yards move to other cities. We have plans to build a website that is a national photography community where photographers can post portfolios and they would be searchable by location. There would also be resources and forums for photographers to get advice and feedback. We’d also love to “package” 200 Yards in such a way that others could license it from us and hold their own 200 Yards shows. All of this is still in the planning stages, but we are working towards it. TELL US A LITTLE BIT ABOUT THE UPCOMING EXHIBITION. The upcoming exhibition is at Dickerman Prints Photo Lab which puts the center of the radius just off the corner of 17th and South Van Ness. The show will consist of 22 images taken by 15 different photographers, only 3 of which have participated in a previous 200 Yards. This particular show is a collection of more abstract, color based images and while the grittiness of the micro-neighborhood is definitely present, there’s a surprising beauty that shines through. It’s two square blocks seen through the eyes of 15 different photographers. The call is also open for our 5th show that will be at Cafe Royal on the corner of Post and Leavenworth. The deadline for submissions is June 30th. The rules for the show and the map can both be found on our website, http://200yards.com/guidelines and http://200yards.com/map respectively.

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POP CULTURE

ART

BOOKS

FILM

MUSIC

RETAIL

ARIAN BEHZADI. What was it that first prompted you to combine science and art? Leafing through old textbooks, I often come across diagrams that inform my use of certain color palettes and styles. The muted tones and brushed colors that I often incorporate into my work all have roots in the pictures I was exposed to when reading through these old books. I also love the apparent simplicity and elegance in both of these subjects.

Can you tell me a little bit about your process? Your work is multi-media, what do you use to create it? I usually begin by isolating certain elements that catch my eye (whether they be from found images on the internet or from an old magazine). I then play with repetition and symmetry to get the final image that I am satisfied with. Scanned pieces of ripped paper and magazine also come up a lot in my work, incorporated with the use of Photoshop. I am finally satisfied with a piece of work if I find myself constantly going back to look at it.

http://cargocollective.com/arianbehzadi

It seems like you have a ton of influences - even music. Can you tell us a little bit about your radio show? Do you ever see yourself combining sound with your design work? As my classes have grown more and more time consuming, I’ve had to cut back on certain things I enjoy—one of them being my radio show on KDVS. I used to love going to the studio to pick out records for my show from the stacks (the second biggest collection of vinyl in California). Other examples of ways that I’ve incorporated music and art can be seen in a blog I started in early 2008, thelion.tumblr. com. Each post had a song that fit a certain picture. Music is almost always playing as I work on pieces, so subconsciously I am sure certain moods from the music are expressed in all my work.

What are your plans for the future? I plan on attending medical school after I finish my undergraduate work at the University of California at Davis. I will constantly be working on art and commissions during my down time between classes. Selling artwork will also hopefully pay for a portion of the tuition.

SNAPIXEL.

TECH SPOT BY ALEXANDER HENSON

1 SIGMA SD -1 Fun facts first. The 47-megapixel Sigma SD-1 will go on sale later this June for the list price of (as of press time) $9700. Just in case you dropped your laptop / magazine / tablet after uttering that string of expletives, let me repeat that: Forty. Seven. Megapixels. NINETY-SEVEN HUNDRED DOLLARS. Forget some experts’ claim that Sigma is wildly overstating the camera’s actual usable resolution. Forget the whole pixel-count vs resolution debate. Somewhere out there, there’s an ultra-rich boob sitting in his Bugatti Veyron, reading Snapixel magazine on his solid-gold iPad 3 that Steve Jobs himself assembled and hand delivered that’s trying to figure out what camera he should buy to impress his friends. Well, Richie Rich, if you’re reading this, buy one of these and let us know if it’s any good. Available late June for - you guessed it - $9700.

3 KATE SPADE POCOMO GWEN HANDBAG This isn’t technically a photography “tech” update – but screw that. This bag is too damn cute to ignore. Crafted with buttery, caramel-colored cowhide embossed with an outline of a vintage-ish rangefinder camera, this bag reminds me of something you’d see in those old photos of your mom when she was twenty-something vacationing in Italy with her friends. Pretty adorable. And while it’s not advisable to try and stash your 5D Mk.11 and some extra glass in this thing, it’s definitely big enough for a walkabout pointand-shoot – maybe even a Fuji X100. Perfect for that fashionista photographer that you feel like spoiling. Available now from katespade.com for $225.

21 LOMOGRAPHY LC-WIDE I’m not here to tell you what “lomography” is. You’re a photographer! An intuitive, intelligent human being! And you’ve got access to Wikipedia! While you look that up, we here at Snapixel will continue beating our own drum to the “Photography is fun” parade. The new Lomography LCWide uses 35mm film to shoot photos at up to 103-degree angles. The ultra-wide 17mm lens lets you choose from half frame (17x24mm), square (24x24mm), or full frame (36x24mm) shots – and shooting on the half frame setting lets you fit twice as many photos on a single 35mm roll. From distorted images to super-saturated colors, ultra-wide panoramas or all-up-in-your-grill macros, the LC-Wide dares to take on them all. Lomography can be a roll of the dice – but the thrill of opening up a fresh mystery batch of drugstore prints is, nowadays, a rare treat. So treat yourself. Available now from select Lomography stockists for $389.

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{PERSONA} THE DEEPEST DARKEST SECRETS OF EMMA, DAVE, DANNY, CASSIE, STANLEY, AND MR MONKEY BUSINESS?

{ JASON TRAVIS} WRITTEN

EMILY

SANDS

23 SNAPIXEL.

t is often that which we cannot see that strikes us as most intriguing. The desire to reveal what remains hidden, a common driving force amongst the artistic community. Thus, it comes as no surprise that photographer Jason Travis’s series ‘Persona’, a voyeuristic look into the contents of strangers’ bags, captures viewers attention by revealing what would otherwise remain unseen. In allowing an insiders look at what lies buried in another’s bag ‘Persona’ casts a glimpse at our lives and the items that define us. Travis is fascinated with other peoples’ stories, a curiosity that is reflected in his work as an exploration of humanity and manifestation of connection. “People create their own connections by what they carry on them. They immediately think about what’s in their bag

as well. It’s like a hidden glimpse. I’m endlessly intrigued. A lot of times I ask why they carry the things they do. Hearing their answers immediately forms a conversation and from that I learn a lot about people. I look for those connections.” Beyond expressing who the individual is, ‘Persona’ also paints a larger picture of our generation—pop culture and technological advancements included. Separate bags, different in their individual contents, speak to the similarities between us as well, painting a larger picture of who we are as a culture. “ In a way ‘Persona’ will serve as a time capsule for technology and devices, but will also tell the story of an individual at a certain point in their life. I’ve photographed a few of the

SNAPIXEL. 25

for CNN at SXSW in Austin this past March I met so many amazing people from all over. I think I photographed around 130 people in 4 days and nearly 750 people went through the booth I set up at the trade show. I’ve also photographed strangers that appeared to be interesting subjects and a few in several different countries. That’s something I would love to do more of. Location and profession really play a huge part in People’s items.” The lack of limitation not only serves for interesting photographs, but creates a more widespread picture of humanity in terms of the objects we carry with us each day. same subjects at different intervals and the contents of their bags vary. People will graduate school and take a job and their belongings change. For the most part, every shot is on the fly and no chance to edit what’s in their bag, so on that day, it’s true to them. It’s what is important to them at that moment. Could be that they have a DVD to return, or a bill they have to mail. You never know.” Jason Travis studied photography in high school but didn’t really get into it on a professional level until 2007 when his father gave him a Nixon DSLR for his college graduation from Ernest G Welch School of Art and Design. From this point on Travis learned the techniques of photography on his own, an exploration which would lead to the creation of the ‘Persona’ series. Crucial to the series is the choosing of subjects, a factor that he approaches by photographing people from all walks of life. “ I tend to photograph creative types, but I don’t want to limit it. If someone is kind and has the time I will photograph them. If anything it helps me to get to know someone I may otherwise not know very well. When I was taking Personas

It is of course the items connected with each individual that really make this project outstanding. “ I am usually surprised by what people have on them. I can’t ever judge a book by its cover. I’ve been surprised by a few people I know that carry guns. Its also interesting to see how your age and location determine what you carry. I was recently in Costa Rica and the hotel owner carries a machete and a surfboard everywhere. Wouldn’t have a reason for that here in Atlanta.” His favorite photographs in the ‘Persona’ series are usually the ones that are the most colorful and unique, those that really show the connection between the person and their items. Lately, Travis has been playing with the idea of characters—making up types of people such as a serial killer and the objects that could be used to define them. This new concept of make believe has helped the ‘Persona’ series evolve, revitalizing it with a new spin. There is no precise formula when taking photographs for ‘Persona’. Travis maintains an emphasis on spontaneity and multiplicity, engaging with subjects from all backgrounds. His

aim is to keep the process as creative and unique as the subjects it portrays. Currently he shoots with an EOS Canon 5D Mark II, each shot coming out a bit different than the last. “ Sometimes I will shoot the items first, sometimes the portrait. It’s really about making the subject feel comfortable and sometimes it takes one shot, sometimes 50 to get the right one. Sometimes it takes me a really long time to organize the contents. I’ve been very critical about that part recently.” This sharp attention to detail in combination with his spontaneous attitude and well-rounded subject matter create the overall aesthetic of intrigue that ‘Persona’ has become known for. Recently the ‘Persona’ series has seen some notable success, with features in recognizable publications such as the New York Times, USA Today and Marie Claire. As previously mentioned, Persona’s even garnered Travis a gig working with CNN at the South by Southwest Festival this past March 2011. Together, Jason Travis and the ‘Persona’ series are on target for some serious fame and although Jason is thrilled to be recognized for his hard work, he is always trying to find the next great idea. “Getting recognized for something I have created is really wonderful. On the flip side, I’m very driven to thrive and evolve by trying out other ideas. Experimenting with new projects is always on my mind. I will continue to photograph personas no matter what else I have going on, but I’m really looking forward to taking it new places and keeping it interesting.” And he’s not limiting himself to photography either. When asked where he hoped his career would go in the next ten years he replied “ I really want to get more into film and editing, as well as continuing to push photography as far as I can. I have a few projects in the works and I’m very excited about them. I would love to create something on the scale of ‘Persona’ but we’ll just have to see in time if lightning can strike twice!”

{

}

To see more of Jason's work head to his website http://www.flickr.com/photos/jasontravis/

SNAPIXEL.

OH,

SNAP TEEN PHOTOGRAPHERS TAKE OVER LOS ANGELES

HE ART SCENE

going down in LA right now is pretty sweet. I mean it – there’s a lot going on. Along with one of the Snapixel team members, Emily, I got to experience the best LA has to offer. We flew down to LA on the last week of April to check out SNAPSHOP, a program created to teach photography to at-risk youth in Los Angeles. SNAPSHOP is part of the larger event series MOPLA, or Month of Photography Los Angeles, dedicated to celebrating the vibrant photographic art scene of the greater Los Angeles area. The participants could choose to study one of six genres of photography over a four-weekend series of workshops: documentary, fashion, music portraiture, fine art narrative, low-fi/analog, or animal photography. The event culminated in a group show at the Broadway Art Space in LA. That’s where we met them. A group of around 60 students, most of whom were experiencing their first

art exhibition – certainly the first one that they were showing in. It was part of a month of many firsts for some of them – not everyone in the program had ever really seriously pursued photography before. The Broadway Art Space is a large, open building, which that night was full not only of high school photography students, but their teachers and guest speakers, and a collection of other MOPLA attendees – checking out the SNAPSHOP work is the culminating event of the entire month. Arriving a couple hours early, we were able to be behind-the-scenes an experience that few others get the chance to be apart of – the actual workshop taking place. After each work was hung in the gallery, the entire group toured through the collection images while each instructor gave a final summarizing critique of their students’ work. They didn’t have one negative thing to say. The entire session was infused with pride, as was

pretty much the entire night. In every conversation I had with teachers, students, or students’ families, there was nothing said but effusive amazement over the experience. It was uplifting. And a little gross. But mostly uplifting. SNAPSHOP began in 2009 as a one-day workshop, with the goal of connecting students from schools in LA with professionals who could teach them in a one-on-one environment. This year it was coordinated by Kellee Matsushita, a photojournalist with a history of working with non-profit educational programs like Step Up Women’s Network and Venice Arts in Neighborhoods. She got help from Program Advisors and instructors Natalie and Nicole Franco, a team of talented sister photographers and alumni of Snapixel Magazine (see issue 6 for some of their stunning work), as well as Cat Jimenez, MOPLA cofounder and executive director. Each student applied to be in the program, and once chosen, selected their photographic genre of interest. Then away they went on a whirlwind of a month, shooting from the very beginning. From their instructors they learned

everything from digital to analogue technology, basics like composition and lighting, conceptual elements, how to shoot on location and in a studio, how to work with models (animal and human), and the history of the genre. But far from being overwhelmed from the sheer volume of information coming at them, the students thrived, producing work of far higher quality than anyone could have ever expected. Then off to the exhibition to show off all of their hard work to their fellow classmates and families. We’ve brought that work to you, Snapixel readers! The following pages hold a photograph from all of the participants who exhibited at the show. We think there’s some pretty amazing stuff in there - and hopefully you’ll agree! Written by Kaitlyn Ellison Find out more about SNAPSHOP at http://luciefoundation.org/education/snapshop/index.php

31 SNAPIXEL.

MUSIC

PORTRAITURE “DURING THE FINAL EXHIBITION, I WAS TALKING WITH ONE OF MY STUDENTS AND HER PARENTS. HER MOTHER ASKED WHY WE CHOSE TO SHOOT ON A 4X5 AND MY STUDENT RESPONDED, “I LIKE THE 4X5 BECAUSE OF THE SHALLOW DEPTH OF FIELD, PRECISE FRAMING, AND FOCUS CAPABILITIES.” I WAS SO IMPRESSED WITH HER PHOTO TERMINOLOGY! I WAS ALSO PROUD THAT WHAT I HAD TAUGHT DURING THE WORKSHOP HAD ACTUALLY RESONATED WITH HER.” -INSTRUCTOR TIFFANY ROOHANI

CLOCKWISE FROM TOP LEFT: DAIJA JEFFERSON, FAITH CASSELL, EILEEN HSU, KARLA PEREZ, DEBORAH SOCOP, CHRISTOPHER TRUJILLO, ALEXIS SIMPSON, ISABEL FONG, AJANI FLOWER

FASHION

PHOTOGRAPHY

“I BELIEVE THE WHOLE EXPERIENCE WAS REWARDING. THE HIGHLIGHTS WERE SEEING THEM WRAP THE CAMERA STRAP AROUND THEIR NECK AND TAKING CONTROL OF THE PHOTO SHOOTS. I LOVED SEEING THEM SMILE WHEN THEY WOULD LIFT THE CAMERA UP AND VIEW WHAT THEY JUST CAPTURED. I ENJOYED SHOWING THEM THEIR FOLDERS OF ALL THE IMAGES THEY SHOT DURING THE WORKSHOP AND TOGETHER SELECTING THEIR FAVORITE IMAGE FOR THE SHOW.” -INSTRUCTOR NATALIE FRANCO

IN COLUMNS FROM TOP LEFT: FATIMA ALI MUKHTAR, STRONSHAY L. WASHINGTON, KEVIN LOZANO, ROSY VELIA ZEPEDA, JOHANNA FLORES, JENSEN N. ANKA, YULIZA ROMERO, SAMANTHA ARREOLA, ALEJANDRO MEJIA, ESVIN ZUNIGA

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FINE ART NARRATIVE

“I HOPE THEY END UP USING THEIR CAMERAS TO MAKE A STATEMENT THAT WILL REALLY HAVE AN INTERESTING EFFECT ON THIS WORLD THAT WE LIVE IN” - INSTRUCTOR DAVID HEALEY

CLOCKWISE FROM TOP RIGHT: CAROLINE TENORIO, DAVID JARAMILLO, MARK LAMAS, ALEX SOELTER, JIMMY REAZA, APRIL VIDAURRE, FAITH EARLEY

DOCUMENTARY PHOTOGRAPHY

“AT THE SNAPSHOP! EXHIBITION THERE WAS AN INQUIRY ABOUT PURCHASING ONE OF MY STUDENT'S IMAGES. WHEN I SHARED THE NEWS WITH THE YOUNG PHOTOGRAPHER, THE OUTPOUR OF EMOTIONS AND TEARS FROM HER, HER MOTHER, AND MYSELF, WAS A MOMENT THAT I'LL ALWAYS REMEMBER. LISTENING TO HOW THE MOTHER HAD SEEN A CHANGE IN HER DAUGHTER NOT ONLY AS A YOUNG ARTIST, BUT AS A PERSON THROUGH THIS EXPERIENCE WAS THE ONLY AFFIRMATION I NEEDED TO KNOW THAT WE HAD DONE IT RIGHT.” - INSTRUCTOR NICOLE FRANCO

FROM TOP LEFT: YADIRA ALMARAZ, AZIA ADAMS, MELANI MATTSON, JUAN HERNANDEZ

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ANIMAL PHOTOGRAPHY

“SEEING THE EXCITEMENT ON THESE KIDS FACES AND WATCHING THEM GROW AS PHOTOGRAPHERS WAS COMPLETELY PRICELESS. BUT IT WASN'T UNTIL I ATTENDED THE SNAPSHOP BENEFIT THAT I REALIZED WHAT I WAS ACTUALLY A PART OF. AT THE BENEFIT/GALA THEY PLAYED A TWO MINUTE VIDEO EXPLAINING SNAPSHOP! THAT INCLUDED INTERVIEWS FROM SOME OF THE KIDS AND THE WONDERFUL PEOPLE THAT MADE IT ALL POSSIBLE. I WAS STANDING WITH ANOTHER INSTRUCTOR, TIFFANY ROOHANI, AND HER FRIEND/ASSISTANT NICK MURILLA, AND AFTER THE VIDEO ENDED I TURNED TO TIFFANY WITH TEARS IN MY EYES AND ALL I COULD SAY WAS “WOW! YOU DON'T REALIZE WHAT YOU'RE A PART OF WHEN YOU'RE IN THE MIDDLE OF IT. WE'RE ACTIVELY CHANCING THESE KIDS LIVES.” JUST KNOWING THAT I HAVE ENABLE AND INSPIRED OUR YOUTH TO GO FOR THEIR DREAMS IS INDESCRIBABLE. AT THE FINAL SHOW, I HAD SEVERAL PARENTS, AUNTS, AND STUDENTS HUG AND THANK ME FOR EVERYTHING! IT WAS PRETTY MAGICAL” - INSTRUCTOR KORI STANTON

IN COLUMNS FROM TOP LEFT: CELIA MOLINA, LUCENDA DE LEON, NIA THOMPSON, EVELYN THOMPSON, ALEJANDRA ZARAGOZA, MAYA MCHENRY, BRAYAN CECENAS, MUNEERAH COOK

LO-FI

/ANALOG “THE NIGHT OF THE MOPLA CLOSING EVENT WAS ALSO THE SNAPSHOP EXHIBIT SHOWING THE WORK OF ALL OF THE STUDENTS FROM THE DIFFERENT WORKSHOPS. BEING THERE WITH THE KIDS FROM THE CLASS AND SEEING THEIR FACES GLOW WHEN SEEING THEIR IMAGES NOT ONLY AS A AN INDIVIDUAL, BUT PART OF A GROUP. A GROUP THAT LEARNED TOGETHER, WERE INSPIRED TOGETHER, WHO CREATED TOGETHER AND EXHIBITED TOGETHER AS A GROUP. SEEING THAT TRANSPIRE, BEING A PART OF IT, THAT IS A REWARDING PART OF THIS EXPERIENCE THAT YOU ALMOST HAVE TO EXPERIENCE YOURSELF TO UNDERSTAND” -INSTRUCTOR ASTOR MORGAN

CLOCKWISE FROM TOP LEFT: IVAN MODRANO, JESSY DALESSANDRO, HELEN LEMUS, ALMA MARQUEZ, LEONARDO RODRIGUEZ, NORTHIA REYES, GENESIS GARZA, BRENDA MORONES, MADELYN ORELLANA

SNAPIXEL. 37

THE TROCKS

LES BALLETS TROCKADERO DE MONTE CARLO

PHOTOGRAPHS BY J.P. DOBRIN WORDS BY KELSEY FRAZIER

Duality—the coexistence of two entities in close proximity. Everything contains duality—life and death, the seasons: hot and cold, emotional states: happy and sad,--yet how often do we forget to notice the beauty in difference, the necessity of duality, and instead demand a single, simplified standard which we then cling to as ‘normal’. ‘The Trocks’, a series by photographer Jean-Philippe Dobrin, explores a world that calls these notions of normalcy directly into question: that of the male transgender ballet company. Dobrin started his photography career at the young age of fourteen, “I took a traditional black and white photography class and was hooked after that. I spent much of my high school photographing, developing and printing with B&W film in the darkroom.” But what started in high school developed over the years into a full-blown occupation. After receiving his BFA in photography at the Academy of Art in San Francisco Dobrin held many different jobs in the photography world- an assistant and digital tech, and studio manager for a variety of commercial photographers to name a few. Today Dobrin works as a photographer full time in San Francisco, California. Characterizing his own style as classic, authentic and quiet one can’t help but note a certain editorial or expository element to Dobrin’s photography as well. ‘The Trocks’ is the perfect example of this. The series features the infamous Les Ballets Trockadero de Monte Carlo, a ballet company founded in 1974 starring professional male dancers “for the purpose of presenting a playful, entertaining view of traditional, classical ballet in parody form and en travesti.” Since their founding the group has made quite a name for themselves performing at festivals,

making television appearances, and touring worldwide. What’s perhaps most striking about ‘The Trocks’, as they’ve come to be known, is the grace and elegance embodied by these male dancers, traits most commonly linked to their female counterparts. This duality of traits, masculinity and femininity, strength and grace, caught Dobrin’s attention and inspired him to contact the company in hopes of photographing their performance. In 2010 Dobrin was granted access to photograph them both backstage and during their performance at the Marin County civic center theatre in San Rafael, the results of which make up the photographs you see on these pages. ‘The Trocks’ as a series documents pre-performance preparation—the application of makeup to masculine features, fastening of wigs into tightly knit buns, lacing up of delicate costumes and awaiting the curtain call from backstage. Dressed in full ballet drag, the performers captivate viewers as they move across the stage en pointe, the grace of their movements captured in each photo. And yet we find ourselves faced with the constant reminder that these are in fact, male dancers, performing a ballet with an elegance and strength unfamiliar to us. Dobrin commented, “Although they maintained their poise at all times, I was particularly surprised to see how the dancers carried on throughout the performance. It was almost as if boxers were taking breaks during fight rounds. I never realized how strenuous a ballet performance could be. There was an interesting contrast of make-up, elaborate costume and gracefulness with sweat, grimaces and gasps for air.” This returns us to the documentary aspect of Dobrin’s photography. By taking us inside the performance of Les Ballets

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Trockadero de Monte Carlo we’re exposed to something otherwise unfamiliar, an occurrence the photographer hopes leads to a growth of acceptance, and an appreciation of duality and difference. “The Ballet Trockadero performances glorify drag-queens and bring them to a mainstream audience. I feel this plants the seeds for tolerance in communities where this might not be accepted yet. I hope my photography can have a similar effect.” This is a philosophy that Dobrin carries with him beyond ‘The Trocks’ and into his other work as well, serving as a reflection of his ultimate desire to inspire. “My friend J.C. once told me that it's the job of an artist to show something different than what's been done before. A photographer can do that by having unique visuals, but also with the stories and subjects they pursue.” In choosing what some would consider atypical or unconventional subjects, Dobrin brings to the forefront what may have otherwise remained in the shadows. This unveiling of sorts serves as a platform for educating, informing, and spreading positivity, all steps towards what Dobrin hopes will make the world a better place through his photography.

So what’s next for Mr. Dobrin? Based on the way things have been shaping up in recent years he’s definitely one to keep your eye on. Some of his most recent successes include being awarded the distinction of ‘emerging pro’ by Digital Photo Pro magazine and receiving a first place in the 2009 International Photography Awards. Currently he’s working on a behind-the-scenes look at Major League Soccer, documenting the rise of soccer in the United States. To add to this, he’s also in the process of completing a project documenting the rise of waste in America via over consumption, waste management and exports, while also highlighting individuals who live low-impact lifestyles. ‘The Trocks’ is only a glimpse into the world of one male transgender ballet company, but its implications are far greater. The series is a call for recognition of difference, and the necessity of embracing the abundant dualities that exist in society. Jean-Philippe Dobrin is not one to shy away from the uncommon or expository, a characteristic that transforms his work from mere photographs to a window unto the unfamiliar, a call for appreciation of difference and the possibility of transformation. See more of JP.’s work at http://jpdobrin.com/

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Detroit, Detroit.

photography by Jon Deboer http://jondeboer.com/

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Q&A

QUESTIONS & ANSWERS:

Abi Winder

OF THE WORLD PHOTO ORGANIZATION

Q: When/where was the WPO founded? By whom? A: The World Photography Organisation (WPO) began life as the World Photography Awards back in 2007, founded by Scott Gray our Managing Director with its head office in London. Our primary programme in the early days was the annual Sony World Photography Awards competition, but as we evolved to launch more programmes, we became the World Photography Organisation. Q: What is the World Photography Organisation and what are is its missions/initiatives? A: WPO is a global platform for the photographic industry to communicate, congregate and cultivate. Our mission is to support photography and photographers of all levels, providing a wide variety of year-round cultural and educational programmes. The WPO programmes provide photographers with the ability to have their work exposed to a worldwide community, as well as to share ideas and be inspired. Our international audience includes photography enthusiasts, amateurs, students, semi-professionals, professionals and industry leaders from over 200 countries across the world. We offer three levels of Membership to WPO, free Basic Membership, Advanced Membership (£14.95/pa) and Premium Membership (£49.95/pa), all with a host of fantastic benefits.

Q: What are the different programmes that the WPO has started/is involved in? A: WPO has started and delivers various programmes annually across the global photographic community. These include the Sony World Photography Awards (the 2012 competitions open on June 1st 2011), the Student Focus programme, the World Photography Festivals, the World Photography Collection and the Focus Award, which this year is in partnership with Save The Children. Q: In particular the Student Programme, Student Focus, seems on par with some of Snapixel’s motives of empowering up-and-coming artists on a larger scale, offering “an international platform to support and connect the next generation of photographers.” What is it that this program does? A: The Student Focus programme is the global education programme created by WPO, as you state, offering a platform to support and connect the next generation of photographers. The programme includes a competition, which has over 200 academic institutions around the world to participating each year. Within each participating university, students submit an image based on a set brief, and a winner is chosen by their tutors. The winning photographs from each university are

then judged by a carefully selected jury of photography industry experts, who select a shortlist of 10 images. The 10 finalist students participate in a live competition at the annual World Photography Festival in London, after which the overall Student Focus winning university is announced at the Sony World Photography Awards Gala Ceremony. Q: Can students from institutions around the world participate in the Student Focus programme? If yes, how do they go about this? A: Yes, all students aged 18-28 who are studying an element of photography as part of a higher education course are encouraged to enter. Their university must be registered with the Student Focus programme, and students can nominate their institution if it isn’t already registered. More information can be found here: http://www.worldphoto.org/the-awards/ student-focus/. Q: You recently had your annual World Photography Festival in London (April 26th-May 1st). What goes on at this festival? A: The World Photography Festivals bring to life WPO’s many programmes with exhibitions, talks, presentations, debates and portfolio reviews for photographers of every discipline, all tastes and levels of experience. Photographers are invited to be inspired and get involved by sharing their work, meeting other photographers and learning new skills, and by so doing we are able to help bring together this international community of image enthusiasts. Q: How can photographers get involved in next years festival? A: Photographers can register their interest in all the upcoming World Photography Festivals on the WPO website, where they can also buy tickets for all the events. Photographers will be welcome to join us to participate in all the events, but we also encourage our wider audience who aren’t attending to get involved with our Festivals through interaction on our social channels and on our website. Q: What are WPO’s next events? A: The next big event we have is the World Photography Festival in New York, which will be taking place in October / November time. After that, we will be returning to Shanghai and Sao Paulo for more World Photography Festivals. We’ll then be back in London next April for the Sony World Photography Awards 2012 gala ceremony, as well as the World Photography Festival at Somerset House. Q: Could you name a few photographers involved in WPO that we should keep on our radar? A: Well our 2011 Sony World Photography Awards L’Iris d’Or winner Alejandro Chaskielberg is certainly one to watch, as well as all our Professional Competition category winners,

including the likes of Liz Loh-Taylor, Javier Arcenillas and Renhui Zhao. The 2011 overall Open Competition winner, Chan Kwok Hung, is a fantastic amateur photographer who we also hope to see great things from in the coming years. Q: WPO partners with Sony and is involved in the annual Sony World Photography Awards. What are the different categories of awards? How do they work? How are they recognized internationally? A: Wow, what a question! We now have several Sony World Photography Awards competitions, all with a wide variety of categories. These are the Open Competition, Professional Competition, the Youth Award, the Moving Image Award and the Student Focus competition. For full details of all the categories within each competition, go to www.worldphoto. org/competitions. The Sony World Photography Awards are recognized internationally as the most comprehensive international photography awards in existence today and receive a vast amount of global media coverage. Q: Who are the judges for these awards? How do they go about selecting winners? What are the awards? A: Each year we select the Honorary Judging Committee, made up of 12 photography industry experts from the World Photographic Academy. This jury select the Professional Competition category winners, the L’Iris d’Or winner and are involved in the final stages of judging for the Open Competition. Each year in January, the jury come together in London and spend at least three solid days going through all the Professional Competition entries. For the Open Competition, iStockphoto work on the preselection rounds and the winners are selected along with the Honorary Judging Committee. For the Youth Award, the Moving Image Award and the Student Focus competition, there are specific judges selected for each. The winners are all awarded at the Sony World Photography Awards gala ceremony in London, with varied prizes for the different awards, the most prestigious being the L’Iris d’Or which goes to the Sony World Photography Awards Professional Competition Photographer of the Year, who receives $25,000. The Open Competition winner also receives a cash prize of $5,000. Q: Is WPO involved in any programmes in San Francisco/ the Bay Area? If yes, explain. A: Last year, we launched our US World Photography Festival in San Francisco with great success. We are now moving the US World Photography Festival to New York, but hope to continue our established relationships with our audience and partners in San Francisco. Who knows, maybe one day we will be back there with another Festival or exhibition! To find out more about WPO visit www.worldphoto.org

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