The ANALOGUE STREET COLLECTIVE
3
ALSO BY THE ANALOGUE STREET COLLECTIVE novem II novem
Magazine No. 1 - No. 3
THE ANALOGUE STREET COLLECTIVE | No. 2
7
INTRODUCTION In 2017 the digital version of the TASC Magazine #2 was published. Two years after, the paper edition comes to life. As you will surely notice there are some differences between both versions. In this paper edition, besides the seven collective members, we have nine featured photographers, covering three continents: North America, Asia and Europe.
I.
From North America are invited Don Springer and Jochem Schmidt, from Philadelphia and Long Island, respectively. Don introduces us to his world with an interesting article called "Reflections on Photography". He is one of the founders of the much-respected street photography magazine "Inspired Eye". Jochem is another photographer from the same generation as Don Springer. He went to art school in Germany as a teen and in this issue he writes about New York where he immigrated to, how it was in the 70’s and now – references the classic street photographers, his relationship to film and how people and the city have changed over the decades – in an article called "New York – a personal journey" and he is featured with a selection of photographs and then his Coney Island Series. Gathering her two passions - Law and Photography - Aurora, from Portugal, writes an article titled "Is Photography Art?", reflecting about street photography in relation to GDPR privacy regulations. Collective member Marie-Pierre Lambelin interviewed Eric Frot, a French Photographer. We have an Exclusive Feature of the Portuguese architect, sculptor and painter José de Almeida Araújo who published in Jan 2013 a book of his photographs entitled "London, Remains of the ‘50s". The book was a limited edition of 300 copies. Accompanying his photographs is a copy of the introduction from the book which is written by Marcello Duarte Mathias. The selection of photographs, have been reproduced from the book keeping the copies as close as possible to the original prints. Finally, the Collective member Dirk Vogel writes on "Photography with Leica M Cameras and Film".
II.
Featured Photographers ERIC FROT DON SPRINGER MATTEO ZANNONI ESES MOTO JOCHEM SCHMIDT TOBY HARVARD JOSE DE ALMEIDA ARAÚJO AURORA MARCO GIUSFREDI
III.
The Collective DIRK VOGEL MANOLO L B MANTERO . CYRIL JAYANT FRIEDER ZIMMERMANN LARA KANTARDJIAN MARIE-PIERRE LAMBELIN PAULO ABRANTES
This printed edition is the biggest collective publication until the present day, and contains 128 more pages than the digital version available in 2017. All the photographers featured in the digital version were invited again. A few will be published in printed paper at a later date. In this respect some of the content varies between both versions.
COLLECTIVE PROFILE | ARTICLE DIRK VOGEL Dortmund, Germany
THE ANALOGUE STREET COLLECTIVE | No. 2
17
DIRK VOGEL
THE ANALOGUE STREET COLLECTIVE | No. 2
19
DIRK VOGEL
THE ANALOGUE STREET COLLECTIVE | No. 2
21
DIRK VOGEL
THE ANALOGUE STREET COLLECTIVE | No. 2
23
DIRK VOGEL
THE ANALOGUE STREET COLLECTIVE | No. 2
25
“...there is a story behind every Leica I own.” ____________________________________________________________ Photography with Leica M cameras and film by Dirk Vogel
I started photography at the age of 13 with my grandfather’s Exakta Varex II. A year or so later, I read in a magazine for amateur photographers that Robert Frank’s The Americans was republished. I never heard about Frank but as I read the article, I was sure I needed this book. I ordered a copy at my local book shop and a week later I ran to the shop to get it. In the café next door I had a first look of what was regarded as an iconic book.. And to my surprise, I was very disappointed because I didn’t fully understand the pictures and why Robert Frank was considered to be one of the most important photographers. But there was something deeper in his pictures that fascinated me - more a feeling that I can’t describe in words. Then I discovered the photographers Walker Evans, Henri Cartier-Bresson, Gary Winograd and Sergio Larrain and how they all used a Leica M rangefinder camera. That’s when I knew, there was no other way for me: I needed a Leica too! So in 1994 I got my first Leica. A brand new M6 with a 2.0/50mm lens. At this time, I was in university and studying photography. We were given a task by our professor to take a portrait of a prominent person. A perfect job for my new Leica I thought. I chose the author Max von der Grün who lived very close. He was a very tough guy, paratrooper in WWII and then a coal miner before he became an author. Suffice to say. I was quite nervous to meet him and to take his portrait. I took some rolls of Fuji Neopan 1600 because we met inside his office. We spent several hours together, talking about life and his work and whilst walking around the room I took his portraits. After we finished he told me very friendly: “Oh, I did not notice at all, that you photographed all the time!“ And so I learned with a Leica M you are very close to the people and very close to life. You are a a part of the situation and not an outsiderbehind a big camera. And I also learned with one Leica and one lens you are perfectly equipped. Now I have several Leicas and several lenses. But when I shoot in the streets I often use only one lens. In Berlin for example, I shoot most of the time with an M2 and a Summaron 3.5/35mm, both from 1957. I bought this combination there a few years ago. Somebody owed me money for a job which I had completely forgotten about, so on the same day I received the payment unexpectedly, I found the Leica M2 with 35mm lens in a small shop for exactly the same amount of money. Without hesitation I got it. This was a sign and I bought it even though I already owned another M2 and a Leica M4 given to me as a gift by a dear friend, which was made in the year I was born! So, there is a story behind every Leica I own.
I have a digital Leica M9 but for my own projects I still shoot film and work in my darkroom. For my clients I shoot with Canon DSLRs. But for me the Kodak Tri-X is the Real RAW!
DIRK VOGEL
I like the grain and the grey tones. In the digital times using film is a slow way to work. But for me it is a better way to take pictures and a better way to live with photography. I develop my Tri-X’s in the evening listening to jazz music (from vinyl records) and drinking beer. When I put them out from the tank and before hanging them into the dryer cabinet I have a first look at the pictures. Seeing if I got what I want, that everything went well, did I manage to capture the soul of the situation or the person? The next morning I have a closer look at the negatives over a light table and cut them into stripes and put them in the envelopes. Than back nto the darkroom to make contact sheets. After which time I begin editing and making some prints or scans. So, I have a lot of steps to editing my work and I think this is a very important process of learning and better understanding your photography. Compared to the digital work flow I feel much better when I spend a whole day in my darkroom than a whole day in front of the computer screen. And today I understand Robert Frank a little bit more.
THE ANALOGUE STREET COLLECTIVE | No. 2
27
DIRK VOGEL
THE ANALOGUE STREET COLLECTIVE | No. 2
29
COLLECTIVE PROFILE MANOLO L B MANTERO C, Portogallo
THE ANALOGUE STREET COLLECTIVE | No. 2
31
MANOLO L B MANTERO
THE ANALOGUE STREET COLLECTIVE | No. 2
33
MANOLO L B MANTERO
THE ANALOGUE STREET COLLECTIVE | No. 2
35
MANOLO L B MANTERO
THE ANALOGUE STREET COLLECTIVE | No. 2
37
MANOLO L B MANTERO
THE ANALOGUE STREET COLLECTIVE | No. 2
39
MANOLO L B MANTERO
THE ANALOGUE STREET COLLECTIVE | No. 2
41
COLLECTIVE PROFILE C Y R I L J AYA N T Based in London, UK
THE ANALOGUE STREET COLLECTIVE | No. 2
43