Issue 15 by Snapixel

SNAPIXEL

CAITLIN TEAL PRICE ERNST COPPEJANS GIANNI GIOSUE JOHN HENRY BALITON PHOTOLUCIDA SNAPSHOT AFRICA MITZI

IN THE MAGAZINE 08

SINGLE FRAMES

ON THE TOWN

CHECK IT OUT

POP CULTURE

TECH SPOT

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HUMAN BEING GIANNI GIOSUE MR. LOVERLOVER CAITLYN VS. KAITLYN

THANKS!

Q&A: PHOTOLUCIDA

EDITORS NOTE

Snapixel Magazine

issue 15 is has the theme “Provocative,” and it is my duty to announce, is the final issue that we bring to you. A lot of thought went into this decision, and though we wish we could go on making this magazine for a years, it has come to a point where the magazine has to be put to rest. It’s been a great year (plus) of publishing - I’ve been exposed to the work of so many talented photographers and amazing organizations. I’m hoping that all of you readers also share that feeling of discovery. There’s always more though! There are dozens of magazines and organizations out there dedicated to highlighting the work of new and emerging photographers, and I encourage you all to go out and find them. Keep supporting the young, talented artists who are trying to break into the art community. This issue certainly contains a lot of those talents - we tried to pack as much material into our final issue as we could! Provocative can mean so many things, especially in relation to imagery. We’ve done our best to bring multiple interpretations of the word into this issue, not only focusing on what is outwardly provocative, but images that are subtly so. I know I say this for every single issue, but I truly hope you enjoy this! It is a very special one. Also, before I go, I just want to give a couple of shout outs to our staff contributors: Emily, Kelsey, Robin, Alexander, Jeremi – Thank you guys so much for your hard work! You were the backbone of this magazine. -Kaitlyn

CONTRIBUTORS

editor KAITLYN ELLISON content editor KELSEY FRAZIER marketing and advertising director EMILY SANDS

staff writers KELSEY FRAZIER, ALEXANDER HENSON, ROBIN LAM, EMILY SANDS, JEREMI DICKSON contributing photographers ASRUL DWI, CAITLIN TEAL PRICE, DANIEL TRAUB, ERNST COPPEJANS, EVITA WEED, GIANNI GIOSUE, JOHN HENRY BALITON cover photo by Asrul Dwi contents photo by Gianni Giosue this page photo by Evita Weed back cover photo by Daniel Traub

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SINGLE FRAMES

A BITTERNESS, HE’S LEAVING

ASRUL DWI HTTP://ASRULDWI.DAPORTFOLIO.COM/

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SINGLE FRAMES

THE SWAMP

EVITA WEED HTTP://EVITAWEED.TUMBLR.COM/

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SINGLE FRAMES

CHINA MIGRANT COMMUNITIES

DANIEL TRAUB HTTP://WWW.DANIELTRAUB.NET

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ON THE TOWN

Lion barong (barong singa), approx. 1900–1925. Wood, pigments, rawhide, horsehair. H: 11¾ in; W: 21¼ in; D: 27¼ in. Tropenmuseum, Amsterdam, 740-43

ASIAN ART MUSEUM BALI: ART, RITUAL, PERFORMANCE FEBRUARY 25 - SEPTEMBER 11

The Asian Art Museum in San Francisco has a knack for picking out ridiculously compelling themes around which to create giant, vibrant mixed-media exhibits. Their latest is no different, focusing on the art and culture of Bali in photographs, sculpture, painting, dance, music, and more. Don’t miss out on the fun! You still have several months, and various special events to see. More at http://www.asianart.org/Bali.htm

Courtesy Pier 24 Photography / installation image: Tom O’Connor. Larry Sultan, Creek, Santa Clara, 2007 (From the series Homeland)

PIER 24 HERE MAY 23 - DECEMBER 16

Pier 24 has got to be one of the coolest galleries around - it’s located right next to the San Francisco Ferry Building, and right beneath the Bay Bridge. The current exhibition is called “Here,” and focuses on works produced by contemporary Bay Area photographers, celebrating San Francisco and it’s surroundings with over 24 artists and 700 images. See what makes us so great here in San Francisco! There’s a lot, for real. More info: http://www.pier24.org/exhibition/current.html

Image: Lena Verderaeno Reynoso

THE COMPOUND GALLERY GROUP SHOW AND OPEN STUDIOS JUNE 11 - JULY 17, 2011

The COMPOUND is an artist run gallery and studios in Oakland - created to teach art without the institutionalization of art school. In June and July this year they’re opening up their 20+ studios to show off printmaking, woodworking, metalworking, cement, jewelry, and more. Support local art! And check out more at http://thecompoundgallery.com/

Photo: Jackie Kimura

NATIONAL GEOGRAPHIC EXPEDITIONS WEEKEND PHOTOGRAPHY WORKSHOP: SAN FRANCISCO JULY 21 - 24

Are you sick of going to photography events, and ready to participate in one? National Geographic organizes photo weekends all over the world, include on in San Francisco. Learn from a real National Geographic Photograph and spend your weekend shooting North Beach, Fisherman’s Wharf, Russian Hill, and more! Not ready to go in July? Check out more dates (and other locations) at http://www.nationalgeographicexpeditions.com/expeditions/san-francisco-photo-workshop/ detail

Image: Risk & Cooz

111 MINNA GALLERY THAT WAS THEN, THIS IS NOW JULY 7 - 30TH

The first major collaborative exhibition by Kelly Graval and Nathan Ota, aka RISK and COOZ. RISK is a famed graffiti artist, and COOZ is a celebrated painter (perfect collaboration!) Their history goes back 25 years to high school, when they worked together for the first time - now after years apart they are creating art together again! Definitely a must-see, plus 111 minna has got a great bar. http://www.111minnagallery. com/2011/that-was-then-this-is-now-july/#more-6153

Photo: Renegade Craft Fair

FORT MASON CENTER RENEGADE CRAFT FAIR JULY 9 & 10

In their 4th run in San Francisco, the Renegade craft fair returns to show off the sweetest handmade goods from the Bay Area in a “celebration of indie-craft culture!” Bring your wallet - it is going to be hard to resist some of this stuff. And if you don’t life in SF, don’t fear! They also show in LA, Chicago, London, NYC, and more! They’ve got all the details here: http://www.renegadecraft.com

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SNAPSHOTAFRICA

CHECK IT OUT

EDITOR KAITLYN ELLISON INTERVIEWS TRACY HANFORD AND FOUNDER JOHN NOTT OF SNAPSHOT AFRICA Q: Can you tell us a little bit about Snapshot Africa - what is your goal? A: Snapshot Africa was started as a result of my intense interest in wildlife photography. The intention of the site is to expose people to the beauty of African wildlife and instill a sense to people that there is a great need to conserve these animals and the environments they are in. We hope to provide digital services offerings to our customers, and while every business focuses on the bottom line, we do hope to create awareness about tourism in South Africa and the need to sustain and preserve the African wild life. Q: How was it founded? A (Hanford): Snapshot Africa was started by John Richard Nott, an avid photographer with a love for the bush, and a heart for Africa. He has worked and traveled in places all over Africa, amongst his favorite was his time in the Okavango Swamps – it was an opportunity to capture a flawless moment in time! John has spent time in Botswana and Namibia. He could write a book with the experiences he has had in each of these countries. And this is why he decided to start Snapshot Africa, to share but a glimpse of the beauty that Africa has to offer. Beside the wild life and hustle and bustle of the city, Snapshot Africa hopes to share the reality of what it is like to live in Africa from day-to-day. As a game ranger, coworkers refer to him as Johnnie Walker, not because of the brand Johnnie Walker, because he loves to WALK in the bush. When we asked John to explain his career path and reason for starting Snapshot Africa this is what he had to say: "As a young child I was fortunate to have a good eye, and my sporting success was archery. I always managed to aim for the target and shoot a bull’s eye. I believe that my archery, along with my love for the bush, guided me to where I am today. With the practice and training of having a steady hand and looking through the lens of a sight and the desire to get out into nature, I’ve transferred these two passions into my career in photography. I can

only hope that my photography career will be as successful as my archery was.” Q: Can you tell us about your photoshoots - What is it like to go out with you guys "On Safari"? A (Nott): Going out on a safari is unexplainable; many who have been will understand this. It is an amazing experience to be out in the African bush on safari searching for wildlife… the thrill of the hunt, so to speak, tracking game through the bush, following tracks and signs of game, not knowing if the animal will be found or not. This is what makes the photo shoot so riveting! More often, than not, we are able to locate what we are looking for… each safari is designed to fit the interests and needs of the guests on the safari vehicle. Very often many of the guests have an interest in photography or would at least like to get good photographs of the game they are seeing. My enthusiasm for photography and knowledge of previous photo shoots has helped me to pay particular attention to factors that make taking photos favorable. The need to position the vehicle in the right place, relative to the sun or background areas is very important, along with the most important factor of being able to interpret the animal’s behavior. You need to be listening to the wildlife callings, know where you came from, what you spotted earlier on in the day, which way they were moving, and study the surrounding sights provided on the sight maps in the morning. This enables me to put us (the guests and myself) in the right place before the animal moves into the ideal position. When safaris are done as specific photo shoots or dedicated to professional photographers a whole new approach is taken… we all know that taking good wildlife photos can often come down to being in the right place at the right time. It is my job to put us there by using my experience and knowledge, very often we will spend a large amount of time with a specific species following it off road or just sitting with it taking a number of photos while waiting for it to move into a spectacular position. Q: Tell us a story - what interesting experiences have you had while shooting in Africa? A (Nott): I have been fortunate enough to be exposed to a number of experiences, some funny,

some sad, and some scary. From being chased by an elephant, charged by lion and having seen many kills, to witnessing a mother and her cubs. I think the story that most resounds with me is the story of a female leopard known as Rhulani and her cubs. It was during a morning safari that Alfie (game tracker) and I had followed fresh leopard tracks in an attempt to find Rhulani. As time passed Alfie and I lost the tracks and had run out of time, we had to return our guests to the lodge for breakfast. While the guests enjoyed their private game lodge breakfast, Alfie and I decided to return to the area where we lost the tracks and search for them on foot. Camera and rifle in-hand we followed the tracks for a second time, it took us over two hours and after we covering a large area of ground, the tracks finally lead us down into a riverbed that was enclosed by Jackalberry trees, along its banks. It was here that we found, Rhulain, the mother leopard and her new cubs. At first she came out charging and snarling at us to ward us off and away from her cubs. We decided to back off and give her some space; we took up a position on the opposite side of the bank and sat down. By sitting down we reduce our body profiles, so that we were seen as less threatening by Rhulani. After a while she began to relax, allowing her new cubs to join her. Sitting with camera inhand I just began snapping away at this beautiful sight. Watching Rhulani clean and play with her cubs in the riverbed was amazing to see on foot and at ground level. What was more special was the fact that Rhulani allowed us to share this with her and accept us as part of the environment, no longer seeing us as a threat to her and her cubs. Alfie and I left her after a while, returned back to the lodge to invite the guests to experience this sighting. Overall it was an amazing experience and an amazing day! It is interesting to note that the name Rhulani means â&#x20AC;&#x153;The relaxed oneâ&#x20AC;? in Shangaan a very appropriate name for this particular female leopard. Alfie and I still speak of this occasion on a regular basis with fond memories.

Get more information on Snapshot Africa a http://www.snapshotafrica.com/

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ART

BOOKS

FILM

MUSIC

RETAIL

POP CULTURE

MITZI’S ALL I NEED.

Mitzi are a fourpiece get-up consisting of Dominique Bird, Jad Lee, Charlie Murdoch and Cale Suesskow. They all hail from Australia's most laid back and sunny city Brisbane, and that shines all the way through to their music style. Mitzi comply with a classic pop sensibility. Entwined by a backdrop of moving disco beats, syncopated guitar and capturing bass grooves, laid back vocals and vintage analog warmth. After playing in various accomplished bands such as BMX (2009 unearthed Parklife winners), Comic Sans (2010 unearthed St. Jeromes Laneway winners), Charlie Why! (Bang Gang 12 inches) and The Gallery Kiss, the four have brought their own unique traits to the table, creating a sound that is smooth, warm and full. Mitzi recently released their debut ‘All I Heard’ EP through Sydney label Future Classic. They have played both the

Parklife and Stereosonic music festivals in Australia as well as supported the likes of ‘Metronomy’ (UK), ‘Neon Indian’ (USA), ‘Little Dragon’ (Sweden), ‘Bag Raiders’, and newly hyped Modular signing ‘The Swiss’. After listening to a track by Mitzi, you’ll be ready to pack the car and start road tripping. To help you get on your way set these guys on continuous loop, put your head out the window and crack your first beer. Remember to drink responsibly and turn up the sound, oh so very loud. Want to hear why these guys are causing so much fuss down under? Check them out on the iTunes store with their ‘All I heard’ EP, and forthcoming remix 12" with remixes by The Revenge, Joakim, Softwar and LTJ. -Written by Jeremi Dickson

TECH SPOT

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SNAPIXEL.

HUMAN BEING PHOTOS BY JOHN HENRY BALITON WORDS BY EMILY SANDS

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can be said that everyone has an interesting story to tell, and photographer John Henry Baliton has mastered the art of capturing people's true essence through his photography. Each one of Baliton's pictures is not only an expression of an individual's identity but also speaks to pop culture, subcultures, generational depictions as well as Americana in its true state. With each picture a story manifests, intoxicating, influential and utterly outrageous. It is these characteristics that are at the heart of Baliton's series “Human Being”. Baliton started pursuing photography late in his studies. After beginning a nursing degree at a local community college in his hometown of Antelope Valley, he decided two weeks prior to his graduation that art and film making were his true passions. He dropped out and pursued his dreams, receiving his masters in Fine Arts at the Art Center College of Design. The rest one could say is history and Baliton

has been following his artistic and creative endeavors ever since. Baliton's series “Human Being” is inspired by the people that Baliton meets on a daily basis. The title of the series as well as the inspiration behind the series was motivated by Marlon Brando. “ The title 'Human Being' actually came from a Marlon Brando interview. Someone had asked him what he would be if he wasn't an actor, and he replied, ‘I'll always be a human being first and an actor or whatever second.’ That statement stuck with me and affected my approach to my process. I try to shoot my subjects with compassion and authenticity and to depict them in a sincerely, beautiful way. I never want my work to come off as exploitative.” Although Baliton's work jumps around, sometimes being documentary and at other times portraiture and fashion, the series itself is meant to be viewed on a continuum. “ I intend for my work to be viewed

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as one series in sort of a narrative timeline of what I’m interested in at one particular time in my life. The fashion, documentary, and portrait work should be in unison with one another and not be categorized. Showing the different aspects of who I am and eventually the world.” Each picture shows off a unique experience, both of the subject as well as the photographer. The relationship between the two is not created before the pictures occur but rather is grown from the interactions that take place during Baliton's photographic process. “ I like my projects to be as intimate as possible to me and to the subject. I want this deeper more profound connection while working. Most of the time I don't know who my subjects are personally but like to discover who they are while working. I make a point to be a part of the subjects world and not to come off as an outsider using pictures for my advantage.” Baliton's work has taken him to some amazing places and has allowed him to experience people in all different states. These unique situations that Baliton puts himself in is what makes his work so fascinating and special. “ I've seen a lot of strange and interesting things shooting, from desert lingerie parties to shooting my grandma after finding out her brother had just passed away. They all should be strange in some sort of way.” The process Baliton uses while shooting is “fail as much as possible”. To Baliton it is about the risks that he takes, the unknown and the unsuspecting is what makes his work so intimate and anomalous. Currently

Baliton is working on a new project. One that looks at his hometown Antelope Valley. “ One of the current projects I am working on, is examining why I left the Antelope Valley and why a lot of my friends decided to remain there even though they claim to dislike it.” Baliton, although exceptional, is quite modest. When I asked him “What his greatest accomplishment in his photography career was”, he stated, “ My biggest accomplishment in my photography career is still being passionate about my work and having the opportunity to take risks. In ten years I hope to see myself still passionate about work but also with my head on straight. It's a miracle on it self, to be in the industry and not be a sleazebag.” To see more of Baliton's work check out his website at http://www.human-being.us/ and stay tuned for his Antelope project as well as his Youth project which analyzes the turning point when “life has to get serious.”

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INTERVIEW: GIANNI GIOSUE

CONDUCTED BY: KELSEY FRAZIER Q: Where are you originally from? What brought you to Tokyo? A: Although I feel comfortable in many places I feel mostly European with a tinge of Central Asia. I have been traveling around for some time and I wanted to explore Asia so I chose Tokyo as my base. Q: Tell me a little bit about your photography background - how did you get started in photography? Where did you go to school for photography? A: I phoned up the local newspaper and asked to tag along one of the photographers. Andy Bush, a freelance photographer who later became my friend took me under his wing and taught me the ropes. I have never been to photography school but simply devoured any book I could get my hands on that treated technique and composition. I kept looking at the best photographers around me. I analyzed the way they made photos. Q: Is photography your primary occupation? Tell us about how you made your way to being a professional photographer. A: It would be fantastic if I could tackle projects every day because it is really important to keep taking photos to keep

having in your heart the same intensity; a kind of fever that allows you to keep producing and questioning yourself. At the moment I have several jobs to self finance my projects, I teach languages and I also translate and proofread documents. To get to where I am, which is basically nowhere, I have taken photos, contacted photo editors and attended photo events. A little bit like self scarification really, just less painful. Q: What's your favorite part of the job? A: I love to dance around my subjects, to listen to the rhythm in the air, to be with the people, to stretch myself and leave the comfort zone, every time is like the first one. I get stage-fright which I believe is very important. It is a slow process. You need to tiptoe into your story and then take a position. You need to respect the people you meet. They give me so much, the least I can do is to make sure that I do a proper job. Q: A lot of your series are in black and white - is this your favorite medium to shoot in? What other mediums do you experiment with/prefer? What kind of equipment do you use? A: I started to take photos in black and white, then I moved to color and lately

I am going back to the origins. I see things in black and white, I am interested in shapes, movement and content. I get the feeling that by using B&W I can achieve stronger images, I can achieve photographs which go beyond the limits of the rectangle/frame. Having said that I also enjoy the color challenge. Some photos are better in color, others in black and white. I would like to work more with the 6X6 format. The eye is less constrained by a square than a rectangle shape and there is more space to play with. I use film and digital cameras. Q: You photography is primarily documentary style, was it always this way or did your photography develop over time into this particular genre? Tell us a little bit about why you like documentary photography. A: Time is important, our lives are too short so we might as well use them effectively. News photography has the intensity of a peck on the cheek, while documentary photography has the profundity of a true love story. You fall in love and you are so happy that you barely touch the ground, then sometimes you argue and fall apart. Sometimes you see yourself reflected in the person you love and that might scare you away.

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Finally you let go and the warmest feeling of love embraces you. You are at peace with your ghosts and fears. It is a cycle that involves nights and days; silence and long walks with yourself. There is a lot of Zen philosophy in documentary photography, there is also music and loads of magic. When I take photos I am in a different dimension where time slows down and becomes more meaningful.

Some people said that my photography reminds them of Eugene Richards’s photos; the truth is that he is in a league of his own. For sure we both need to get close to people. And what about Edward Weston, have you ever seen a more sensual pepper? Simply visual poetry. Monsieur Antoine D’Agata? A wonderful story teller with the eyes of a child. Sebastiao Salgado? A legend.

Q: Who are your inspirations in the photography world? Anyone you'd consider an influence on your own photography style? A: I was transfixed when I saw the “Albino boy” in Biafra by Donald McCullin, blown away from Josef Koudelka series on the gypsies, intrigued by Gueorgui Pinkhassov, and fascinated by Alex Webb’s composition. He simply gives me a bad headache! His composition is out of this world. Really there are so many; Elliott Erwitt and Gary Winogrand attitude to life is stimulating. They are great photographers able to listen to the music of reality. Alex Majoli is simply inspiring.

Q: All of your series seem to be ripe with social commentary-from bombings, to protests, to the tsunami in Japan. Are there particular messages you try to get across to your viewers? If so, what are they? A: I always wonder if I am able to communicate something with my photographs. For me is important to get to know myself; photography is a great medium for healing. Bruce Chatwin said once, “walk long enough and you will find your God”. I guess I need a new pair of shoes. On a less philosophical side, I guess I am trying to remind people how lucky we are. In

most of our countries there is no war, we have jobs, friends who do not drop like flies. We can sleep with our loved ones and have coffee together in the morning. Can it get any better than this? If you live in Kashmir maybe your sister might disappear and will be found in the gutter with her throat slashed. If you live in Afghanistan you might be blown up while cycling to work. If you were in Japan at the wrong time, in the wrong place you will have no more memories. Your house, family and sanity washed away by mother nature. Q: In the long run, what do you hope to accomplish with your photography? A: I was told several times to develop my own style; I thought about it and realized that probably 5 photographers managed to do this in the history of otography. Elliott Erwitt said “ it is not important what you see but how you see it” I am working on this simple mantra. But also I really enjoy going for a walk in the forest on my own. Sometimes I am alone and there are already too many of us.

IMAGE LOCATIONS: PAGE 26 IN JAIPUR, PAGE 28 CLOCKWISE IN AFGHANISTAN, AFGHANISTAN, JAIPUR, JAPAN, PAGE 29 IN AFGHANISTAN, OPPOSITE PAGE IN RUSSIA. Q: Do you think photography has any particular advantages/benefits as a medium of exposing events in countries worldwide? A: Eugene Smith said “Photography is a small voice, at best, but sometimes one photograph, or a group of them, can lure our sense of awareness.” We have to keep working on our stories, images, lives. Q: With multiple series in locations such as India, Japan and Russia, what was your most memorable shooting location and why? A: Going back to India meant to me to close a circle which I opened in 1999; at that time I was seriously sick and I almost met the grim reaper. I was young, naive and not ready for India. A child next to a giant. Finally in 2009 I managed to see its true colors. While taking the photos of the Japan Tsunami I was finally able to get close to the Japanese nation. A very sophisticated society which eluded me for a long time. I hope I was able to express part of what they have to endure. I barely scratched the surface in my first attempt. I need to go back and produce more. Even though the victims of the Tsunami no longer appear on the news, they will experience problems for the next 5 years, at least. Russia represents a part of my heart. A country which combines the harshest winters with romantic and meaningful literature. The warmest summers with the most poetic folk and classic music. A country of contrasts which accepted me and nurtured my love for beauty. I think I have travelled and lived in Russia in one of my past lives There is no other explanation. There isn’t a more memorable shooting location. They are all great and next time I go they will be even better. Q: Tell me about the India, JKSMS Activity In Jaipur series. What's going on in the series (who are the kids, what are they doing, etc.) How did the opportunity to shoot this series come up? What do you hope to get across with this series? A: I was going to India and I wanted to work with some NGOs. They accepted my proposal. Unfortunately I could only work on this story for less than two days.

Almost non-stop. These children come from all over India to Jaipur lured by the myth that they can find work. Others were asked by their parents to leave because the family had too many mouths to feed. Other left because their parents were too strict or abusive. Some of them come with their parents or at least with one of them. They live in the train station because it gives them shelter, they can find water and wash themselves. They jump on the trains arriving in town and collect pet bottles which then sell to get some money. JKSMS is providing shelters, counseling and education for them. I wanted to express the lethargy that these children feel. Nothing to do except wait for the next train and collect the bottles. They sleep whenever they can because they also work during the night, some other times they simply sleep out of boredom. Q: Tell me about the Afghanistan Bomb Attack series. What's going on in the series? How did the opportunity to shoot this series come up? What was it like to be in Afghanistan while this was going on, especially considering you were in the middle of all the activity with your camera? What do you hope to get across to viewers with this series? A: I was in town when the bomb exploded, I reached the area and started to take photos of what I saw. I wanted to show the fact that the civilians are the first ones to pay the brunt for these bombs: 6 Italian soldiers were killed together with 10 Afghan civilians. But dozens of Afghan civilians were wounded. The people working inside the small shops on both sides of the road were shell shocked and their business was severely affected for a long time. The windows and the walls were blown in, children were injured. Q: Tell me about your Russia series. What's going on in the series, how did you get the opportunity to shoot the series, and what do you hope to get across to viewers with this series? A: I spent one year living in Russia and studying the language. That gave me the chance to get under the surface and break stereotypes. The winters are cold but the

summers are really hot. At first sight the Russians might not seem friendly but actually they have a great sense of humor together with excellent knowledge. I wanted to show the audience all these different aspects/facets of the coin. Q: The theme of this issue of Snapixel Magazine is Provocative. How do you think your series fit into this theme? A: With my photos I aim to captivate the audience, I don’t want to give answers but especially I want to ask questions. Of course I want to provoke a reaction with my composition, angles and timing. Q: I see on your website that there are numerous publications your work has been featured in-any of particular note that you'd like me to mention? This goes for award nominations as well! A: Taking photos is only 50 percent of what I do. My responsibility is to show these photos through different mediums and try to produce a change. In April 2011 my Tsunami photos were exhibited in Milan, Italy during the “Salone del Mobile” Trade Fair and raised €5,464.15 (7,719.01 USD) for the city of Ishinomaki,Japan. http://forsmilesjapan. com/ Also the “One year in Russia” series was nominated for a prize at “Visa pour L’image Photo Festival”. These photos had never been exhibited and I was happy that they received some exposure. Q: What's next for you? Any projects you're currently working on? A: if you are really serious about it, you cannot separate life from photography. I would like to progress to my next stage in photography. I will probably try to read a lot, not just about photography but literary books as well, create my own world, forget about rules and just let it come. I am working on finding myself. That could be a life time project, maybe the sweetest.

For More on Gianni Giosue see his website at http://gianni-giosue.photoshelter. com/

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IMAGES BY ERNST COPPEJANS WORDS BY KELSEY FRAZIER

MR. LOVERLOVER Sexuality: perhaps the most obvious of provocative topics. Sexuality is everywhere, in advertisements, films, literature, fine art, and basic human nature. And yet when presented with obvious works of sexual expression, we often feel the need to turn away, which is ironic considering most of the time, we don’t. Instead of turning away, we stare even longer and look even closer, all in the name of denying sexual repression, art or any other excuse we feel the need to muster up in order to feel better about our cultural voyeurism (Foucault’s ‘The History of Sexuality’ anyone?). The fact of the matter is that sexuality exists, sex is everywhere and until we stop categorizing and labeling it, it can never truly be addressed. The work of photographer Ernst Coppejans is a step in this direction. With the majority of his work focused on topics of sexuality his work strips sex of its taboos, stereotypes and prejudices and shows it for what it is: an element of life.

Before delving into the world of photography Coppejans worked as a product designer and interior stylist for a major Dutch design company creating department store products for seven years. But a loss of interest and a desire for something new soon drew him to photography. “I needed freedom. I quit my job and went to the Photo Academy in Amsterdam. It was a big step but the best thing I ever did. My initial goal was to become an interior photographer and work for magazines like Elle Decoration. I actually never shot an interior, but became fascinated with shooting people.” Citing photographers such as Erwin Olaf and Billy & Hells, a German duo known for their stunning portraits, as major influences on his own work, Coppejans transformed this passion for shooting people into a career. The result? A number of photo series surrounding the topic sexuality. One in particular, ‘Mr. Loverlover’, features portraits of male prostitutes in their places of work

in Amsterdam, the body of which is displayed on the following pages. How exactly did Ernst Coppejans discover the world of male prostitution and turn it into a photo series? “I heard about it in the scene, about guys who did it as a side job. Guys that work as flight attendants and work as a escort while on stop in another country. About students who did it for the extra money. I also saw a lot of guys online on gay chat sites that would offer sex for money. I became curious as to who these guys were and the more I started looking into the subject the more interested I became.” Out of this interest grew the idea for a photography series. Coppejans contacted the men by responding to their ads in magazines, newspapers and online with a message stating his interest in shooting their portraits. “I wanted an hour of their time, an hour because they charge by the hour. The deal was that in that hour we would talk about how and

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why they started working as an escort and I would take their portrait. It took me a while to really get in contact with them, most were sceptical at first and wanted me to pay them for it. There were also some guys who said yes immediately. I was surprised to find out that many of the guys I contacted did not care about putting their face out there.” When asked to share with us details about the men photographed, Coppejans was surprisingly forthcoming with information. “I found out that many of the guys who worked in Amsterdam were there for shorter or longer periods of time. They worked in Amsterdam, London, Paris, Berlin, etc. Some even had clients in the U.S. They stayed in hotels or rented an apartment with some other escorts and worked from there. There were also some locals but the majority did not live here permanently.” Amsterdam is a city known for its liberal attitudes towards many things other countries (particularly America) deem illegal, prostitution being one of them. Prostitution in the Netherlands is both legal and regulated, with its capital city Amsterdam containing perhaps the largest and most well-known red-light district in the world. Thus it comes as no surprise that Coppejans based his series out of Amsterdam, and that the men featured in the series

would be open about their work. But one thing stands out about these men: none of them share a background story. All of the men featured in the series have different life stories, fall into different realms of society and work as escorts for different reasons. “Some had lost their jobs and houses because of the crisis and started having sex for money because they were having sex a lot anyways....then they found out it was a good living. They can travel, party, buy designer clothes. They lead the life they want to live at this moment. Others did it to support their family, those were mostly the Eastern Europeans. Their families thought they worked in a bar or restaurant in Amsterdam when in reality they flew to Amsterdam to work in an old office building in an industrial area outside of the city that doubled as an working place/apartment. They worked there for a few months and then went home again for a while with a lot of money. Those stories were a bit saddening. On the other hand, some already had a good life, were very handsome, had sex all the time and thought it would be a waste to give it away for free.” The stark contrast of background stories serves as a testament to prostitution as an occupation not relegated to any particular background or lifestyle. These men from all walks of life came to prostitution as a means of income. “The overall picture I got was that

most loved what they were doing, loved their international lifestyle, the attention, and the money.” Whether or not every male prostitute loves his occupation, the ‘Mr. Loverlover’ series is of particular interest for its straightforward representation of what some might call controversial subject matter. Featuring portraits of male prostitutes photographed in the rooms where they conduct their work, the series is provocative while at the same time eliciting our prudish nature. We’re drawn to look, but feel as if we’re seeing something we shouldn’t be. This paradox is illuminated by Coppejans work, all of which forces viewers to come face-to-face with their own opinions towards sexuality. “These are not shocking portraits. These are portraits of real men, with feelings and hopes and dreams, with goals in life. With families and friends. They happen to be escorts. I have the most respect for all the guys that posed for me, it takes some guts. It’s still a subject that’s sort of a taboo I think, but the guys I shot are proud to be who they are, they don’t hide. And why should they?”

You can find more of Ernst Coppejans work at his website: byErnst.com.

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CAITLIN VS. KAITLYN

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PHOTOGRAPHER CAITLIN TEAL PRICE ANSWERS EDITOR KAITLYN ELLISON’S QUESTIONS

Q: Can you tell us a little bit about yourself, and how you got started in photography? A: I grew up in Washington DC and started taking photographs in high school. It was the only thing that really got my blood pumping, so I stuck with it. I moved to New York City to get my BFA in photography from Parsons School of Design and then five years later to New Haven, CT to get my MFA from Yale. I feel lucky to have found something I love so young. Q: How would you describe your style of photography? A: I look at what the world gives me and figure out a way of making it my own. I never think of my photography fitting neatly into one style. I approach each project differently. Q: What inspires your work? A: Light and shadow, skin, scars and age, fantasy, presentation, props, the airport, the train station, the bus station, waiting, watching, women, sometimes men, mystery, the unknown, brutalist architecture, overpasses, parking lots, malls, Las Vegas, travel, being alone, hair do’s, makeup, facelifts, wardrobe, dreams, life and death, power and vulnerability, the beach. . . Q: Tell us about "Washed Up" - Did you get to talk to your subjects in the photographs? Who was your favorite to shoot? A: The series started with my inability to stop staring at sunbathers while sunbathing myself. Luckily, the next day, my camera gave me some courage to stare. I have had very limited interaction with my “Washed Up” subjects. I find them while walking back and forth along the sand. When I come across someone that is both visually arresting and in the position I want, I stand over them and usually startle them by waking them up - it’s scary for both of us. More than half of the people I approach tell me to piss off while the others are so relaxed they don’t mind being photographed. If I had to choose a favorite, it would be a woman with platinum blond hair because we became friends that day and I ended up shooting her in my next project “Annabelle, Annabelle.” Q: What kind of equipment do you use? A: I use a Mamiya RZ 67 and Kodak Portra NC See more of Price’s work at http://www.caitlintealprice.com/

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Jonathan Harris Jessica Caisse Kevin Bauman

D. Yee

Renee Peck

Marcus Koppen

Rachael Ashe

Arian Behzadi

Ren Rox

Gabriela Hasbun

Simon Hoegsberg

Cyrille Weiner

Edward Olive

Ian Baguskas

Yeondoo Jung

Amel Kerkeni

Thank you so much to all of our wonderful contributors! Also: CSLR, A&O, MOPLA, and SNAPSHOP Kickstarter Contributors (Even though we didnâ&#x20AC;&#x2122;t make our goal, we appreciate your support so much!): Kelly Maddern, Kevin Huynh, Noel, Giles Smith, Nancy Chaffin, RA Friedman, Donald Sands, Elizabeth Sands, Jake McKee, William Acheson, Sol Erez, Dave Hacker, Kate & Rich Sands, Nikki Wybert, Brian Katzeff, Bora Baysal, James, Tina Newsome, Roger C. Jon DeBoer, Lisa Church, Eric Schawbel, Lauranne LoSalluto, Ahmadreza Barazesh-Morgani, Irving & Harriett Sands, Laurie McConnell

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Sofia Ajram

Julia Comita

Rachel Rebibo

Johan Thornqvist Ontoshiki Jose Javier Serrano

Emily Malan

Louis Lander Deacon

Gregory Kaplowitz

David Gibson

Charlotte Rutherford

Cecilia Austin

Jason Travis Jon Deboer

Phil Oh

Esmeralda Ruiz

Erina Shimoda

Youngna Park Ashley Adams Joseph O. Holmes

Devin Yalkin

Janet Delaney

JP Dobrin

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Q&A

Q: Can you tell me a little bit about the history of Photo Lucida? How was it started and where did the name come from? A: Photolucida is now in it’s second decade as an arts non-profit - it started out as PhotoAmericas in 1999. A group of Portland photography people thought it a great idea to start a Portfolio Reviews Festival in the Northwest. Critical Mass was added to the programming in 2004, and subsequently, the book publishing program. The word “lucida” means bright, luminous, suffused with light. It is a reference to the photography medium, but also a reference to a part of our mission – to give exposure to great work. Q: The deadline for your program Critical Mass is coming up in July. What exactly are the participants getting themselves into? A: To our knowledge, Critical Mass is simply the most effective way to get your work in front of people in the photography world who are using it in their programming. One must submit an evolved body of work (10 images) along with print information and an artist statement. All the work submitted goes through a pre-screening process where about 25 jurors rate the work and the top 175 entries goes on to be juried by the larger group of 200 jurors. So if one makes the finalist group, there is potential to receive the book award. We are collaborating with Blue Sky Gallery on a solo show award, and we are doing a third year of a touring exhibition for the Top 50 photographers – this year the exhibit is curated by Darius Himes, and it will travel to Seattle, Portland, and San Francisco next spring. Even if one does not make the finalist group, they will have had their work seen by the pre-screeners, included on the CD sent out to everyone, and receive the books once published.

seems it is, but the program as a whole is more about different degrees of exposure. Our various awards, including the book award, are part of the deal, but the main intent is exposure for photographers who enter. But, since you ask - to have a book published adds validity to one’s career. If an organization believes enough in someone’s work to publish it, this is a great affirmation. It is something tangible that a photographer can hand to someone in varying contexts, which is a great career boost. Photolucida also sends books all the jurors who gave us their time as a way to thank them for their time and for making the award possible for the winners. And subsequently, the fact that we send published book to the 200 jurors is great marketing for the book award winners. Q: How can people participate in Photolucida? A: Photolucida does two things: first, we organize a bi-annual Portfolio Reviews Festival every other April. One can register to attend the four day event, which includes four days of reviews with top notch reviewer,

QUESTIONS & ANSWERS:

Laura Moya OF PHOTO LUCIDA

Q: How do you select the Jurors for Critical Mass? A: We chose international jurors (curators, publishers, museum directors, gallerists) that come from all facets of the photo world, with different photographic aesthetics. Ideally, we would like jurors who can offer tangible opportunities to photographers, but at the same time we respect the opinion of writers and academics in the field. We bring new people onto the list by doing our own research, and also asking for suggestions from both professional peers and photographers.

plus a multitude of lectures, exhibits, and social events. One’s work must be at a certain level to attend, as it is a big commitment financially and energy-wise – one should be ready professionally for the experience. Last year kept registration open for 24 hours and ran a lottery for the 160 spots. We had over 400 people register in that period of time, so it is a competitive event. Second, we do Critical Mass every summer – one must register and enter a portfolio of work along with an artist statement, etc. All entrants go through a pre-screening process and we have the work of the top 175 people go on to the final round, where over 200 jurors look at their work. Everyone who enters receives a CD of the work of all who submitted, and copies of the book award winner(s) book once it is published. Again, Critical Mass is structured to be less of a “contest” and more of a program about exposure and community-building.

Q: The winner of this contest receives a book deal - so why books? A: Critical Mass is not really a “contest” - in a sense it

For more information on Photolucida, check out their website at http://www.photolucida.org/

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