Whattaroll Issue 3 - Motion

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2014

ISSUE #3

WHATTAROLL MAGAZINE


Cover photo by: Mariya Ustymenko

In this Motion Issue we had the pleasure of collaborating with the following talented people: Kasia Kalua Krynska (Truth and dare affair) Mark Ivkovic ( Whatthateaher) Mary Herrera (Metartmorphosis) Angeline Mozard ( A la mode) Emma Burlet + Moonshoes (Face the music) John Bozinov (Interview) Boris Pophristov (Wandering worlds)

And this is who we are! Marta Huguet Cuadrado Adrian Norbert Cuper Marko Slavković Kam Tom Yip Margot Gabel Alessandro Panelli Harun Osmanović Joy Celine Asto Edie Sunday



E d i t o r’ s

w o rd

Many of you might be wondering why it took us so

Your wonderful submissions filled our inbox from

long to publish our beloved Issue 3, and we can do

all over the world and showed us how photo-

nothing but apologize and explain ourselves. Since

graphers really embraced the term personally. Our

the release of our last issue, Twisted, many major

guest contributors gave it their all and the newly

changes took place at Whattaroll’s Headquarters.

appointed design team worked especially hard to

Firstly, we focused our attention on creating a brand

boost and renew the look of the magazine, giving it

new website for you all – www.whattarollmag.com –

a slicker, cleaner, and more contemporary look.

which helped us to open up and expand into areas that we wanted to promote, enabling us to have a more dynamic and streamlined connection with all our readers.

We genuinely hope you appreciate all the effort the whole team has done in promoting film photography, with a thorough curation of impressive works by talented artists who keep growing and impro-

In order to improve the content of our articles, we

ving, and a clear direction that makes all this

scouted many new talented collaborators to help

content available and easily understood by the

our magazine grow stronger and cover exciting new

audience we have around the world.

topics like music, literature, and art.

So, without any more delay, would you like to join us

After all the new arrangements, we thought this

on this kinetic trip? We promise that a huge inspi-

issue’s theme of Motion couldn’t have been a better

ration wave will hit you as you just turn the page. Go

fit to how we all felt.

on and take a peek, we worked really hard on this issue just for you!


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i n t e r v i e w J o h n B o z i n o v


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M o t i o n When photographing motion, we partly anticipate what is going to happen through our cameras. We look through the viewfinder, but what we see is a figment of our imagination – a perception of a moment that has not yet happened. Press the shutter and the magic of the moment is captured, our artistic vision made a reality. For this issue’s submissions, we are delighted to have received a varied selection of photographic interpretations on “motion” from all over the world. We see people caught on film in shaky mid-movement, subjects suspended sharply in time, and clever use of motion blur to create certain moods and eerie imagery. These are not limited to people, too; we also get a glimpse of nature at work, and a slice of busy city life rendered in wobbly long exposures. Browse through this issue’s selected submissions and dive into an interesting world of bends, swings, and frozen frames!


LIVING HER YOUNG YEARS by Herschel Pollard www.squarepegpinhole.com Polaroid 250 Polaroid 669


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DANCE by Mariya Ustymenko http://cargocollective.com/mariya_ustymenko Lubitel 2 400TMY 2


LET ME GET BACK TO YOU ON THIS. by Satomi Sugiyama www.flickr.com/photos/satomilomo Diana Ilford XP2


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JIOIS GALLO by Costanza Gianquinto www.costanzagianquinto.com Leica M6 Ilford Delta 400


KNOCK KNOCK KNOCKING ON THE SUMMER`S DOOR by Eni Turkeshi www.behance.net/EniTurkeshi Nikon F2 Foma Fomapan 100


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SO DARKNESS I BECAME by Lisa-Marie Kaspar www.flickr.com/photos/lisamarie_k Nikon F60 Ilford Delta 100


UNDERWATER DANCE by Vedrana Mijic http://vedranamijic.daportfolio.com/ Tura Underwater Camera DM Paradies 400


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£££££££££ by Sergey Neamoscou http://neamoscou.tumblr.com/ Pentax Super A Expired Slide film


ARCHIVES by Frédéric Arthur Chabot http://fredericchabot.tumblr.com/ Canon AE-1 Ilford HP5


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RUN IT, GAMBIA! by Maurin Bisig www.maurin-bisig.ch Hasselblad 500c Kodak T-MAX 400


WASH OVER ME by Myles Katherine http://myleskatherine.com/ Holga FN Fuji Neopan Acros 100


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HIGH QUANTITY MULTIPLE EXPOSURE PANORAMA (HQMEP) JAKOBIKERK UTRECHT (NL) by Stephan Kaps aka mephisto19 www.mephisto19.de Holga 120 GN Fuji Provia X-Pro


DANCE by Stéphane Heinz aka Vicuña www.lomography.com/homes/vicuna Horizon Perfekt Foma Fomapan 400


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IN THE SUN by Graziella Ines http://www.graziellaines.com/ Pentax ME Super Kodak Ektachrome 100G


FROZEN SHOT by Nicolas Benzacar www.lomography.com/homes/nicocoow/albums Zeiss Ikon Nettar 517/16 Fuji Pro 160NS


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FREE LIKE A CHILD by Nina Ford http://instagram.com/ninaford Olympus mju-ii Kodak Gold, ISO 200


LES JEUX SONT FAITS by Lianafides Frappa www.lianafidesfrappa.com Canon AE-1 Program Ilford


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TAKE TO THE SKY by Toby Mason www.fotobes.com LC-A+ Agfa Precisa (Expired 2001)



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KASIA KALUA KRYŃSKA

Tr u t h

&

D a re

Af f a i r

Recognized and awarded for her portrait series "Between Two Moons," Kasia Kalua Kryńska from Warsaw, Poland would probably simply describe herself as an architect, photographer, and artist. To us, however, she is more than the usual photographer, but a sensitive and dreamy human being as well. Talented at work and amiable in private life, Kalua awakens a desire for action in every young photographer. After falling in love with analogue photography through a Rolleiflex camera and the wet plate collodion technique, she now captures the faces of people she meets along her path for all the world to see. Find out what she told us about her work, views on photography, and passions as an artist in this installment of Truth and Dare Affair.

http://www.kalua.pl/



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_Truth: If you could choose only one, Architecture

the relationships between them, who they are on

or Photography, which would it be and why?

their own, and how they relate to each other.

I am an architect and photographer with education

What is the secret? Just call it the sincerity of intent

and passion. Both of these elements are mutually

of the photographer. If others feel good and at ease in

intertwined and parallel; each of them operates

my company, they trust in me as a photographer and

separately in my life and is an important part of it.

they will participate fully.

For many years, I ran my own design studio and I designed interiors. It is an extremely creative job that

_Truth: Black and White photography gives you...

brings a lot of satisfaction. Photography, in my life,

Truth. Color delights, sometimes even seduces us,

creates necessary connections with emotions. At

directs us. Black and white photography brings out

some point, it ceased to be just a passion; it became

the content and emotions which is, for me, the most

a way of seeing the world around us, and this cannot

important thing. It dates back to the roots of photo-

be waived.

graphy. When I'm working with classic techniques, I

_Truth: We love your family portraits and we

recall those beginnings.

understand that sometimes it be can challenging

_Truth: If there's one famous person, dead or alive,

working with a group. Is this something that comes

whom you'd like to photograph, who would it be and

easy to you? What is your secret?

why?

In family photography, especially portraits, the

The person I would like to be able to photograph is

most important thing for me is the relationship. I

Tilda Swinton. Why? She is a woman of great beauty.

think there’s certain directness in the photographer

She reflects not only the beauty of the body but also

working with the person being photographed. How

the spirit. She has a remarkable subtlety and beauty

difficult it is sometimes to stand still when we

that is full of mystery. I like and appreciate her roles

are posing. The mere fact that someone watches

in many films. She showed a unique part in the movie

us and sets us into the pose becomes difficult to

"Orlando" where, with equal grace, she played the role

many people. A good portrait takes time for the

of a male and female.

photographer to get to know the subject and be closer, but above all, gain trust. When shooting a couple or a group of people I also pay attention to


_Truth: Whether we like it or not, most photo-

from somewhere brought me back to my senses

graphers have encountered funny or awkward

with astonishment: "Is somewhere where we can

moments when shooting. Can you share such an

drive you?" It turned out to be the wonderful couple

experience with us and why was it memorable to

with dogs and they rescued me by driving to the city

you?

where I could catch the bus. They took a roundabout

There are a lot of such memorable moments, actually; behind each photograph hides an associated

way just for me so that I could catch the appropriate bus.

story. Many times, the question "Can I take a photo?"

_Name one of your worst habits as a photo-

created long-lasting friendships. Photography is

grapher?

an adventure beyond the film. It was also like this during one of my trips to Scotland. I mostly planned the accommodation and travel itinerary at short notice, but I happened to spontaneously change my plans. One afternoon, I boarded the ferry, wanting to find the nightstand or a bus on the other side for onward journey. Travel on the ferry was not very long but there was enough time to walk around the deck with a camera in search of interesting subjects. My

Worst habits – I stop a conversation mid-sentence and run across the street to take a picture of a person passing by the area. With people who do not know me so well, I find them with mouths half-open, wanting to finish their sentences. It seems to me that it might surprise others or even sometimes seem to be rude to them, but my friends are used to it. I think there are impulses that we need to catch right away.

attention turned to a couple with two Yorkies. With

_As a photographer, you must have suffered from

great admiration and concern, they referred to the

creative blocks of some kind. How do/did you

dogs as their closest family members. I asked if

overcome it?

they will allow me to make a portrait. They agreed,

Everyone has good and bad days. For the lack of inspi-

so I made with them a few pictures. Time passed very nicely during the journey, but when we came to shore each of us wafted in own direction. How big was my surprise when it turned out that the accommodations were all occupied, and the last bus departed an hour earlier. Most likely, a surprised look was etched on my face quite clearly. A question

ration there is no universal prescription. Sometimes, all it takes is to change the environment, meet new people, and sometimes it's just to stay alone. What you see around you can be inspiring or particularly annoying. A lot depends on what you think about it.


2930 _Truth: You’ve successfully turned your passion into your profession. If you had to give some tips to someone thinking of starting a photography business, what would they be? Photography has been with me since I can remember, starting with homemade darkrooms with an enlarger on the washing machine and cuvette in the bathtub, up to studying at the European Academy of Photography and Fine Arts Academy in Warsaw. Study time was spent experimenting with various techniques and formats. It was a time of new friendships and the possibility of confrontation with the best ones. It was also a time of searching for my favorite camera. While developing my skills, I consciously reached for the medium format, with whom I am still faithful. Currently, I have the opportunity to share my knowledge and experience by leading lectures and workshops both on Fine Arts Academy and privately. Regardless of the path that I chose in education, I believe that the most important thing is passion. Thanks to her, I keep finding the desire for new activities and motivation for future challenges. When passion comes with perseverance, creativity, and joy, the results will be surprising. _Truth: As photographers, we fall in love with so many artists. Can you give us one name and reasons why you adore them and their work? The artist whom I really appreciate is Rene Magritte. His works are extremely poetic, mysterious, and metaphorical. As a surrealist, he plays with the viewer's perception though his own perception of the world. The way his paintings capture the imagination and leave plenty of room for individual interpretation is what I appreciate in his work. _If you could give your younger photographer self some advice, what would you say? For each seeker and romantic I only have one piece of advice. Just do your thing. Search for your favorite camera, your subject, your technique. Do not be fooled by the critics nor flatterers. Just shoot photos and express yourself. _Dare: From your collection; we dare you to show us a picture that defines motion the most!

By Adrian Norbert Cuper



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WHATTATHEATRE

lost

at

sea

She was the calm and crystalline ocean. He was a ship that sailed rather aimlessly. Yet, he never drifted far from her and she never swept him into shipwreck. Love crashed into him then ebbed and flowed in her. She became his bride, and he, her groom his ship and her waves, both were cast ashore.




She was a vision in white, but disquiet stained her eyes. They were to be wed, but he wasn’t around. The minutes turned to hours, then stretched into days. Soon, there was no more reason to wait.



She laid down her flowers, then cast her vows to the wind. Her tears mingled with the sea – one was bitter, the other salty. Her bare feet ached and bled over sand and stone; there was nothing left to do but walk on.






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The vision in white became a beauty in black a grieving widow in place of a blushing bride. There was beauty in her sorrow and grace in her pain. Beneath the guile in her eyes, agony remained.







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Aimlessly, she roams the lonesome shores yet there was nowhere she’d rather be but drifting like her bygone love lost at sea.


Photographer - Mark Ivkovic (www.bangphoto.co.uk) Model - Sophie Bailey @ Boss Model Management Wearing - Joanna Chomicz @ House Of Heretics Styling Assist - Emily Sparkles MUA / Hair - Dominique Desveaux Text by - Joy Celine Asto

Shot on Mamiya 645 AFD, 80mm f/2.8 - Fujifilm 160NS - Ilford HP5+ Leica M6, 50mm Summicron - Ilford HP5+ Polaroid ProPack - Fujifilm FP-100c silk Film developed & scanned by UK Film Lab for colour. B&W by myself.


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MARY HERRERA

metA R Tm o rp h o s i s It was an early one Saturday morning in April and I was doing my usual stalking of contemporary artists over a cup of coffee and a pleasant sunrise. I’m never surprised to stumble upon something lovely, but when I found the collage art of Mary Herrera I knew I’d found something brilliant. Visually, her images were striking in such a way that left me speechless and somewhat hypnotized. Beyond the initial shock of beauty, though, I began to see a story told by colors and symbols in every image. The depth and complexity of her pieces go far beyond what we’re used to seeing nowadays. I suppose you could say that I fell in love with the meaning behind Mary’s work. I felt as though she was sending messages through her work from a lost time and place, and that somehow the inaccessible and intangible became within my very grasp. I’m quite convinced that Mary has a connection to another world, and I am beyond grateful that she’s able to offer me a small window into these unknown realms.




_Tell me a little bit about yourself—where are you from, where do you currently reside, what do you love, and any other interesting facts about you! I am 27-year-old Mystic, residing in Southern California. I am an avid collector of old books and materials. I love spending my free time in the local library, antique malls and Sunday afternoon picnics. My profession is in the Organic Food Movement, in which I spend most of my time. _What first led you to create collage art? I began collage art through decorative parcels for far-away pen pals. I have always enjoyed creating parcels that are as aesthetically beautiful as possible. The thought of someone opening their mailbox to a treasure from a far away land is something I have always loved doing. _What is your process like? How much time does it take to complete a piece? Are your pieces planned or spontaneous? I've always said that I am only a portal to my pieces, so it varies from piece to piece. Collaborations always take the most time, feel and emotion in order to really blend with the other artist's energy. Some pieces are done within a matter of day, some take months.


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_Where do you draw your inspiration from? Inspirations come from so many places for me. Waking up from a dream will be an instant inspiration‌ from REM sleep to reality; hypnagogia. Daylight is a time I can only really do my work, as much as the night inspires me, my best work is made during the early mornings or late afternoons.




_I've seen your tarot deck in the making. When and where can we expect to be able to purchase this beauty? Also, is the tarot something that's central in your life? The Tarot is a very long work in progress. Each card is symbolically pieced together and written. We hope to have it done when the time is right. We hope to have it done when the time is right; roughly, in two years. We will be launching a Facebook Page in the near future so our fans can follow us on our journey. The Tarot is very central in my life, it's a mapping of our inner selves and I couldn't imagine life without this enchanting card game.

http://www.floralanatomy.com/ http://floralanatomy.tictail.com www.facebook.com/CollageArtByFloralanatomy

By Edie Sunday


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A LA MODE

A ng ĂŠl i n e

M o iz a rd

While fashion photography is an industry dominated by digital ways, a handful of photographers around the world still choose to let film add a special touch to their work. One of them is French photographer Angeline Moizard, who relies on the restrictions of analog photography to challenge herself into making fashion snaps that are both as real and unique as possible. Not a lot of fashion photographers would admit to shooting film because of the constraints that come with it, so with much curiosity, we asked Angeline to share with us her point of view about analog photography, style as a photographer, sources of inspiration, and how film has surprised her in many ways.

http://angelinamzd.tumblr.com




_Please tell us a bit about yourself; how would you define what you do and why do you do it? Since practicing and working with analogue photography, I have been learning to express myself with pictures. I shoot compulsively things that I find funny; things that touch me and things I want to remember. Friends, beautiful landscapes, travel memories and parties without considering the picture itself too much; I just wanted the picture to be nice. Then, without knowing, photography became a new way of expression for me. I constantly try my best to express myself through my photographs. _Why did you choose film over digital to portray your subjects? I got my first analogue camera back in 2007 for my 18th birthday but then I bought my first digital camera. It was a relief shooting digital because I no longer felt I had constraints anymore; I was able to try, fail and try again as much as I wanted because I could shoot so many pictures at any one time. Little by little though, I went back to analogue because I missed it so much; it simply wasn’t challenging enough with the digital way. I needed constraints, restrictions… to focus on the subject, the light, the model... I wrote all the settings of the pictures I took in a notebook and I was always looking forward to seeing the results. I love the authenticity of analogue photography; you don’t need to work on the pictures after the scans with software. My aim was to have my pictures be as real and genuine as possible.




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_Film photography is not often used in the fashion industry. Why do you think this is and why have you challenged this notion by doing it yourself? Digital photography offers a lot more possibilities which I think is needed in fashion photography, whereas analogue can be seen as the restrictive option. Digital offers the biggest freedom with the number of pictures that can be taken, post-production work, etc. I chose analogue because there’s constraints in those areas and personally, I think that helps me grow.

_How do you normally direct the models you work with? How do you strike the balance between achieving the results that you have in your mind and showcasing the fashion brand? A few days before any shoot, I usually talk to the models about what we’re going to do: the spirit of the shoot, the place where the pictures will be taken, etc. If I’m working with a brand, I try to choose an environment that best complements the products. I also try to make a decision on whether I’m going to shoot in black & white or color. It’s a combination of a lot of things which help me strike a good balance between what I have in mind and the spirit of the brand that I‘m representing.




_What would you consider to be your favourite shoot and why? Can you show us some results? Last April, I went to the south of France for few days with some friends (one of them is a photographer and an analogue lover too!). We stayed in an apartment right by the sea, just a one minute walk from the seaport. We spent a lot of time shooting everything: life, boats, sailors, sunset… I know it’s not fashion, but it was my favorite shoot: friends, life, sun… that kind of happiness.





Do you have any pictures that surprised you when you saw the scans? Although we might have an idea of what our rolls will look like, we have no control how a roll will turn out exactly; it’s always a surprise. I was in England last October, I shot just after waking up around 7am in the morning and there was a lot of condensation on the window. I wrote “Hello” with my finger and some drops of water trickled from underneath it. I shot it clueless without knowing that it would result in something really cool. The light was low, my lens opened at f2... I thought it might be blurred, maybe too dark, but when I got the scans back two weeks later I was really surprised and happy with the results. Ever since that day I’ve been shooting impulsively, even if I’m not entirely sure about how the final result might turn out… in the end we can always be beautifully surprised.


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_Where do you normally find inspiration? Is it an introspective process or do you have external influences in mind when you shoot? I don’t really have a specific source of inspiration, I actually work like a sponge and anything can inspire me; a place, a woman, a wave, a situation, a movie… For example, I was in NYC last July and I happened to visit The Immigration’s Museum on Ellis Island. I was deeply touched by all the pictures and by the atmosphere found inside. The environment can inspire me a lot, whether it’s the streets or the countryside, I love to have powerful spaces, big meaningful places for a fashion shoot. There are many photographers I admire too: Vivian Maier, Paolo Roversi, William Eggleston, Helmut Newton, Saul Leiter… but I try to avoid being influenced by their work, I try to do it my own way. _We are all different and have diverse ways of shooting but we would like to know if you have any advice you would like to give to the film photography community members? Patience, work and love for the analogue way!

By Marta Huguet Cuadrado



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FA C E T H E M U S I C

Gilles

Pa ul et

A self-made man – you can say that about this artist and multi-instrumentalist who composes and records his songs on his own. In this interview, Gilles Paulet, also known as Moonshoes, tells us what makes the music of the 1970s unique, why he doesn't have an Instagram account, and where he finds inspiration for his work. As Gilles still believes in the magic of making music the analogue way, it was only proper for us to also represent him through the wonders of film. Our wonderful film photographer Emma Burlet took a walk with him around Paris to find out if the city still has the spirit of his chosen decade. The French capital is waiting, so wear your old bell-bottoms and come with us on a journey to the land of disco! http://www.myspace.com/mymoonshoes




‘‘Produced, composed, performed, arranged, recorded and mixed by Gilles Paulet’’… you are quite the Renaissance man! _Most creative minds find it difficult following the restrictive patterns required to create a final end product. How do you discipline and manage yourself whilst being involved in so many different roles? Well, first of all thank you! It’s true that it’s quite difficult to play all of these roles well because if you make something that’s not too interesting, no one is there to tell you. It can often be disappointing when you’re stuck at that point because it doesn’t sound like what you wanted and nobody else is around to help you solve the problem. However, it’s a real pleasure for me to play each role! The fact that you are spending a lot of time on each song from the composition to the mixing stages, it can blind you because you are so involved in the process and technical details that you can sometimes forget your original goal; which was to create a good song! I always try to leave each project without working on it for a while, to come back and listen with fresh ears. This generally works and all the mistakes just seem to appear! Cynics might say that I should take longer to make a song. Time is the key, but working alone helps in my opinion. If something doesn’t sound right, I can change them immediately without calling a sound engineer or a musician; this is probably the greatest asset of working the way I do. It’s not so hard for me to have discipline because it’s something that I love doing: being a guitarist, then an arranger, a singer, a producer. It’s a real pleasure to be involved in each part and to see it all take shape, it’s like alchemy!




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_Listening to your material, it seems that you’re heavily influenced by music from the seventies. Is there a reason why music from this era is so special and inspiring to you? To be honest, it’s mainly due to the fact that music from this time period really moved me. I felt something. Now, it’s simply the “classic normal sound” for me. I didn’t have any notion of making music that sounded like it’s from the seventies; it’s just the way that I was hearing the songs in my head when I composed this album. When I recorded it, my aim was to be true to the primary idea and not to adapt to today’s sound. I don’t really care if I’m seen as fashionable. However, if I must say something about the music from the seventies, it’s that there was a kind of elegance in the mix between the instruments; it was before the seizure of power by the drums. You know when you’re listening to a record from the past, when the moment you’re listening to it is in the present. Your present, not a record from the past, it is happening in your present moment! That’s the magic of it! _What did you do during the seventies? What was your biggest dream and goal from those days? I was young, but I was already composing and playing songs at that time and my biggest dream was to make albums. So, we could say that I have finally managed that; making a seventies record! _We are seeing an ever increasing interest in vintage music, fashion trends and photography recently but the seventies seems a little neglected compared to the eighties. Why do you think this is? Is a great comeback of seventies music still to come? It is true that the eighties are at the top nowadays but the seventies and other decades are also here.




For the seventies for instance, you have all these folk and rock bands with beards and long hair. For soul disco: Daft Punk, Robin Thick, The Nu-Soul... I think now, all these influences are present all at the same time. Due to the internet, for the first time, we live in a world where all the styles, sounds, archives, images and influences from the past are here together and instantly accessible at the same time. It creates a mix, and this mix becomes our present.

_Did you know there are special filters on Instagram that make your photos look “vintage”? If so, what do you think about this “faux vintage” style and what are your thoughts on Instagram in general? I don’t have an Instagram account and I don’t like this “faux vintage” style very much even if I play with the codes of the seventies. It’s the reason why I used real authentic images from the seventies in my videos. It seems today, with a click of a button, everybody gets the feeling that they can be an artist, a good photographer or a musician. That’s what these websites want us to believe in, but of course it’s just a parody of it all. In the end, I’m sure for most people; all these gadgets are not really satisfying and will soon become tiresome. It is just “junk art”, a perishable world where all things have the appearance of what they were trying to emulate. It just amuses people for a while; it’s the exact opposite of the concept of my work and what I like. On the other hand I’m not against “digital” by any means. For my music, I use both virtual tools and real instruments. I personally think that only the results matter, not how or what you’ve used to create it. I’m just saying that with all these effects and infinite possibilities, technology can be used in the wrong way. It might seem easier but you can definitely get lost and waste your time more than ever before.


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_What do you think is fundamentally missing in modern music that was found back then? Is there a significant difference and how do you feel about it? No, I think there has been a lot of good music in each period of time and there was a lot of bad music in the past too. The only difference could be that it was more difficult to make music therefore less people tried to do so. _When you are searching for inspiration, where do you look? Do you find refuge in another artist’s music, or do you move onto other creative areas altogether? When I compose a song, I usually don’t know what’s happening exactly or why I have a particular idea at that precise moment. I guess that’s the magic of it. It can be anything, something I seen or heard, or something from a long time ago that connected with me on some level. Yes, good music inspires me. For each project, I try to find inspiration from albums which have become my “totem albums.” These can help me define the sound, color and ambience of what I am looking for. So for this project I decided to narrow my field of inspiration by getting influences from only a few, carefully selected albums: “I Want You” and “Trouble Man” by Marvin Gaye, “Song Of The Key Of Life” by Stevie Wonder, “I Am” by Earth Wind & Fire, “Can’t Get Enough” by Barry White and “Shaft” by Isaac Hayes.

Photography by Emma Burlet http://www.emmaburlet.com



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INTERVIEW

Jo hn

B o z ino v

The amazing scenery of New Zealand has always inspired creative minds – from filmmakers like Peter Jackson to photographers like John Bozinov – to come up with inspiring stories. Wellington-based John says that his surrounding environment largely influences him and his images, prompting him to seek isolated landscapes and interesting natural lighting to reflect his moods and feelings. In this interview, we invite you to join us on a journey around his fascinating, mostly monochromatic world; let’s take a look at the beauty he captured on film using medium format cameras (including a Holga, which sparked his love for film photography), feed our curiosity on his tasteful portraits of mostly girls, and get inspired with the techniques, concepts, and motivations that surround his work. http://johnbozinov.com




_Let’s start with a playful question. Could you show us a picture of yours that defines what photography means to you? A kind of visual statement about what you do? To me photography is simply a form of expression – a way to communicate with an audience and show them something through the perspective of my eye. Sometimes this can come in the form of a beautiful landscape, and other times it takes careful planning and execution, and of course a little bit of luck, too.


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_There's almost a minimalist approach to your

I do enjoy working with models; having the creative

work, with untouched landscapes and lone figures.

input of others during a shoot helps me to consider

Is this something you planned deliberately or

things that I would otherwise overlook. To me this

something that came naturally? Is there a deeper

also means being open to the vibe of the surroun-

message you wish to express through your shots?

ding environment and the aesthetic of my film and

It’s not something that I consciously set out to do,

camera choice

but I have become more aware of it recently. I try to

_You shoot primarily with medium format came-

communicate ideas in the most simple way possible

ras and in black and white. What draws you to

through composition that gives the viewer plenty of

them over the other options available? Have you

space to breathe within an image. My hope is that

tried shooting with 35mm film for example? If so,

this will allow them to relax and understand that

how does that differ in your opinion?

sometimes less can be more.

This is a question I get asked a lot, so I’ll try my best

_Speaking of your shots, do you plan them in

to explain. The first film camera I shot with was a

advance?

How much preparation and research

medium format holga, so my love for analog photo-

goes into your work? How much is improvisation?

graphy grew from my relationship with 120 film. The

I work in a very methodical manner. Most of my images are pre-visualised to a large degree, especially in terms of the kind of light or mood that I’m looking for. Within those parameters I always have space to improvise and work with the environment, but admittedly it is something I struggle with. Leaving things to chance and conveying emotion have never come easily to me.

limitation of only having 12 frames on a roll was so vastly different to my experience with digital photography that it completely changed the way I shot and the experience of taking pictures. From there I moved to other medium format TLRs and SLRs until about a year ago, when I decided it was finally time to give 35mm a shot. The biggest disparity I’ve noticed between the two formats (apart from the obvious resolution difference) is the presence

_Most of your portraiture consists of girls. Is this a

of grain – 400 speed black and white films can look

deliberate choice, and what do think of the colla-

completely smooth in medium format and then

borative process when working with your models?

conversely have a very strong grain when shot on

Is it something you enjoy?

35mm. I enjoy shooting both, but I don’t think 35mm

I come from a very matriarchal family, so a feminine perspective always held a strong prominence in our household and had a big influence on me- perhaps this is why it’s also a common element in my art. However, the choice to photograph women was never deliberate or conscious, but rather a natural direction that my work took.

film could ever replace my love of medium format photography. I choose to shoot with black and white film simply because I am able to process it myself at home and therefore have complete control of my images throughout the shooting, developing and printing processes. This also allows me the learn how certain films respond to different developing and pushing/pulling methods.




Workflow _Is there anything, in terms of technique or concept, that you'd like to try but not had the chance? Oh, yes! I’m yet to try 4x5 large format photography, which I’ve been wanting to experiment with for a long time now, but have been a little hesitant to take the step. With the possibility of Polaroid type 55 film making a comeback in the near future it seems like now would be the perfect time to get into LF photography too, so I’m sure that will be my next step. _When does the “thrill” appear in you? Is it the moment when you click the shutter, seeing the final photograph or is it something else altogether? For me the thrill is the entire process - from the preparation, to the shoot, to the hands on development and finally the gratification of seeing the ultimate print. With film there is no instant satisfaction or confirmation that your picture has come out as planned, or that all of your time an effort has paid off. Perhaps it’s this uncertainty or being forced to wait to see your images that makes everything a little more exciting and romantic, but I love every bit of it. _Creative people often run into mental blocks when it comes to their work. How do you overcome them? This is something that has yet to become an issue for me, it seems that I always have so many ideas that I want to try out that there’s never enough time. We all have bad days though, I think it’s important to have faith that everything will work itself out. _Many photographers have a folder where they have a diverse collection of inspirational material. What can we find in yours? Music, paintings or simply some images your find around Flickr? I find inspiration mostly through classical music and images I find online. I’ve also found that Instagram and the mobile photography movement have had a big influence on not only my work, but also how I connect and share with an online community through my photos.



_If there was one piece of advice you’d live by as a

gence in the use of vintage and toy cameras, do

photographer? What would those words be?

you think this is a passing trend or something

I really like what Cartier-Bresson said about your

that is going to continue to grow?

first 10,000 photographs being your worst. It’s so

The Holga’s beauty is its simplicity. With effectively

easy to be competent in photography that a lot of

no control over aperture or shutter speed, the holga

people forget that, like anything, it takes a lot of hard

forces me to completely forget about my camera

work and dedication to become a great photo-

and focus on the subject in front of me. Of course

grapher. I think those words remind me to keep

there have been times where it has frustrated me to

practising and improving my technique.

exhaustion but I’ve also found a lot of joy in coming

_You live in New Zealand, on one of the most naturally beautiful places on Earth, how does the surrounding environment affect you as an artist? Growing up, it seems like most people get bored of their home towns or countries. That happened to me as well, but over the past few years I’ve seen New Zealand with completely new eyes. After travelling around the world myself in search of beauty, I came to realise that I’d hardly seen much of my own back yard, but ironically I had been to Europe, Asia and a handful of other Pacific countries. Since that realization I’ve been seeing as much of our beautiful country as I can, and it has had a huge impact on my

to understand how its plastic lens can show me things in a new light. I think the recent resurgence in toy camera photography is most likely a trend that will soon fade, although I really do hope that I’m wrong. In the modern era of the endless stream of digital photography I think there are still a lot of lessons that toy cameras can teach us about the fundamentals of photography. _Today's social media websites and applications have allowed photographers to reach a much wider audience than ever before, what do you make of it all? Does this add value to what we do as photographers?

photography and the way I feel about the natural

Living in a small country that is geographically

world. To be honest, I’m happiest sleeping in the back

isolated from a lot of the world, it can be difficult to

of a car in an empty campsite with all my woolen

meet like-minded people that share a passion for

clothes on and waking up to photograph the snowy

analog photography. Social media has created a

mountains and lakes that are strewn all over New

bridge for me to connect with these people and

Zealand. There are millions of other places I want to

share my images with a larger audience than I ever

travel to in the near future, but New Zealand is a

imagined, so for that I am incredibly grateful. I’m not

constant inspiration and a place I’ll never get sick of.

sure whether this adds a value to our work; photo-

_The Holga seems to be your weapon of choice, what is so attractive about this particular camera? In recent times, there has been a resur-

graphy seems to be going through a period of change at the moment, in a direction of which I’m unsure, but I’ll happily go along for the ride



_Speaking of evolution, would you say your photography has changed as your life progressed? Has your changes in lifestyle influenced your work in any way? I think that over time as my character has developed and changed, so too have my images along with it. In some aspects this can be a little frustrating as I’m never content or confident with the pictures I create, but I understand that it’s just a natural process that I need to go through to find a space where I’m comfortable. I’ve recently become more aware of my surrounding environment and how the choices I make have an impact on it, which is something I’ve noticed coming through in my latest photos. _Are there any plans or ideas for a future project that you'd like to share with our readers? We bet that creative mind of yours is working non-stop! I recently made a 4x5 pinhole camera so I could introduce myself to large format photography, so I’ll be experimenting with that very soon which I’m excited about. I’m also planning another trip to New Zealand’s south island for a few weeks closer to winter which I’m sure will be a great experience too. Pictures will be up on my blog at: johnbozinov.tumblr.com or on Instagram @johnbozinov

By Kam Tom Yip and Adrian Norbert Cuper


9 17 -4 42 9 8

MAD MECHANICS

M et er

What

Mat t e rs

Light metering is one of the most essential things we have to learn and practice in photography. It involves determining the correct shutter speed and aperture (f-number) to ensure a perfectly exposed shot based on the lighting conditions and film speed (ISO). To some people this comes naturally, but to most, this can be difficult. The reason for this discrepancy lies in the differences between analogue and digital photography. How you do light metering may vary depending on the photography you practice, but since our focus is on film photography, a big section of this article casts light on how to do it the analogue way.



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Digital Metering Almost all modern digital cameras have a built-in light meter with complex evaluative and matrix algorithms; you can trust your camera, if you work in digital. In auto mode, your camera selects the average exposure for the entire image, meaning the highlights are usually overexposed while some details in the shadows and darker areas are retained. Alternately, you could use spot metering to set a more accurate exposure for the highlights found in your scene. The primary element of the image, say for example a model, should be exposed correctly while the rest of the image should fall to shadow. In order to get this result, place your model in a slightly lit area, with a dark area behind them. Instead of using your camera to take an average reading for the entire frame, use spot metering as it enables you to set the exposure based upon a specified area of your photo – in this case, the subject's face.

There are, however, two things to keep in mind when using built-in automatic light meters: 1. When the scene you wish to shoot is well-lit and balanced (the shadows and highlights are not too harsh), things will normally be fine. 2. When your scene has a big difference between the dark and the light areas, the automatic metering on your camera will have problems processing that information, resulting in a badly-exposed shot.

This is why even for digital photography, metering using an external hand-held light meter is usually recommended as it’s virtually foolproof. Obviously, digital photographers can take a test picture and check if things are perfectly exposed, adjusting the camera’s light meter accordingly. This is not possible when shooting analogue, so now we are going to learn the basics of light metering!



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Beyond the built-in light meters, there are two kinds

You should decide beforehand the depth-of-field you

of hand-held light meters:

want for your shot. Then, set the aperture you like on

_Reflective Light meters: These meter the entire frame or just a portion of it, reading the light that your subject reflects. The readings they give you are

your light meter, and get the shutter speed settings you require. If you need a sharp, blur-free image of a moving

meant to produce an overall balanced exposure (this

subject, you’ll need to select a fast shutter speed

depends on where you took your reading and what’s

instead.

in your final frame).

Light meters work with three parameters: film ISO,

_Incident Light meters: With this type, you meter

aperture, and shutter speed. You have to choose and

near the subject or the area of the frame you have

lock in two of them. Then, the light meter will give

focused. The settings you get from these light meters

you the third, according to the light you measured. In

will help you perfectly expose the small area you’ve

digital photography, you can change the ISO setting;

decided to focus on.

with film it depends on the roll you have loaded in your camera. With that in mind, let’s imagine for now

Say, if you want to photograph someone in the middle of a snow scene, you should first meter the subject’s face. Metering the whole scene will perfectly expose the snow in your final shot, but your subject will be

that the ISO is not modifiable. There are however some limitations with these built-in automatic light meters:

underexposed. Meter what you care about, meter

_When the scene you wish to shoot is well lit and

what matters most.

balanced (the shadows and highlights are not too

In order to tell your camera what to do, you should

harsh), things will normally be fine.

consider that it’s not the meter that tells you how

_When your scene has a big difference between the

to set your camera; you have to tell your meter what

dark and the light areas, the automatic metering

parameters you need.

on your camera will have problems processing that information; resulting in a badly exposed shot.


Analogue Metering 101 Since many film cameras don’t have built-in light meters, let’s take a look at the two kinds of hand-held tools used for accurate metering:

1. Reflective Light Meters: These meter the entire frame or just a portion of it, reading the light that your subject reflects. The readings they give you are meant to produce an overall balanced exposure (this obviously depends on where you take your reading and what’s in your final frame).

2. Incident Light Meters: With this type, you meter near the subject or the area of the frame you have decided to focus on. The settings you get will help you perfectly expose the small area you want.

Whichever light meter you decide to use, I suggest you try selective metering. If you want complete control over your exposure, focus on what matters in your frame. Say, if you want to photograph someone in the middle of a snow scene, you should first meter the subject’s face. Metering the whole scene will perfectly expose the snow in your final shot, but your subject will be underexposed. Meter what you care about, meter what matters most.

In order to tell your camera what to do, you should remember that it’s not the meter that tells you how to set your camera; you have to tell your meter what parameters you need. You should decide beforehand the depth-of-field you want for your shot. Then, set the aperture you like on your light meter, and get the shutter speed settings you require. If you need a sharp, blur-free image of a moving subject, you’ll need to select a fast shutter speed instead. Light meters work with three parameters: film ISO, aperture, and shutter speed. You have to choose and lock in two of them. Then, the light meter will give you the third, according to the light you measured. In digital photography, you can change the ISO setting; with film it depends on the roll you have loaded in your camera. Since we cannot work on modifying the ISO, the only two modifiable parameters are aperture and shutter speed: If you want to work in aperture priority to control the depth-of field, you should choose the aperture setting that you want. The light meter will tell you the shutter speed you need to set in order to obtain the depth-of-field required. For example, with an ultra-wide aperture you get a very narrow depth-of-field. If you want to work in shutter priority, you should tell the meter which shutter speed you need and it will give you the aperture needed to have a well-exposed image. If you have a very fast subject moving in front of you, choose a very fast shutter speed; in cases such as this, you should set the shutter speed first.


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Metering and Gray Matters Let’s take a moment and speak about something a little more technical. Light meters are usually set to perfectly expose a “Middle Gray” subject. The term is used to describe a tone that is between black and white on the lightness scale and, in photography, Middle Gray simply means a grey color with an 18% reflectance in visible light. In an ideal world where all objects reflect the same amount of incidental light, we need not worry and just follow our readings. But, in real-world settings, this varies considerably. In-camera metering is standardized and is based on the luminance of light which would be reflected from an object appearing as middle gray. So, if the camera is aimed directly at any object lighter or darker than middle gray, the camera's light meter will incorrectly calculate under or over-exposure, respectively. A hand-held light meter would calculate the same exposure for any object under the same incident lighting.

If you shoot a completely white or totally black wall, your light meter (or camera in auto-mode) will try to average the scene as if it was an 18% grey wall. The print made from these negatives, in these cases, will just be grey in color. So, if the scene you want to photograph has primarily dark tones, DECREASE the camera meter’s reading by 1–2 stops. For example, decrease 1 stop for brown hair, and 2 stops for black hair. Aperture-wise, it would mean going from f/5.6 to f/11 for example. If the scene has mostly lighter tones, INCREASE the camera meter’s reading by 1–2 stops. For example, increase 1 stop for blond hair, and 2 stops for white hair. Aperture-wise, it would mean going from f8 to f/4 for instance.


For those who are hesitant about getting light meters due to their cost, you should consider getting Luxi for iPhone. It’s a cheap alternative and has never let me down! There are no shortcuts to light metering and the best way to familiarize yourself with it is to shoot and see what you get. Get yourself a notepad and write down all the settings you used for each shot and shoot with a film roll or two to test things out. Nailing the exposure through accurate light metering takes some time and practice, but we’re all here to learn, so shoot and experiment!

By Alessandro Panelli & Joy Celine Asto


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WHATTATIP

Capturing motion on film not only requires quick reflexes, but a rich imagination too. You have to predict the future in many regards and work instinctively to capture the scene presented before you. If you’re too busy looking through the viewfinder, chances are you’ve already lost the shot. Unlike static images, “moving pictures” are made in advance. From the moment we decide to press the shutter, electrical impulses from our brain relay to our fingertips and interact with the mechanism of the camera. What happens in a blink of an eye is long enough for you to lose a unique moment forever. We must analyze what it is we see and imagine a continuation of what is unfolding before our eyes. We have to visualize the movement with our minds. With this intuition, we will have control over the final effect and result.



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L IG H T : The beautiful afternoon sunlight penetrating through the old pine forest helped create the perfect mood for this photo. The white spots helped strengthen the patchy view of the forest on black & white film.

Be careful when working with colors. Try to predict their tones after desaturation and try to create a dynamic composition to strengthen the contrast between them. Use lens filters if necessary to help balance the shot and try to separate the model from the background for maximum impact.

M O D E L : The long hair, oversized pullover and restless character of this model allowed us to show the moment of the jump with great effect while she danced amongst the trees. Try to break the background's general

structure

with

the

elements from the model, such as hair or any element that will draw

the

attention

viewer’s eyes.

of

the


SHOOTI N G: "And now dance!" Those were the keywords when this photograph was taken. "Are you mad?!" She cried out in disbelief! To capture the movement and to isolate it from the background, just stand still and let only your subject move. Remember to ask your model to make subtle movements so that her facial expression is controlled. It will also help the camera to register more nuances of the action. We recommend using a tripod, but if you don’t have one at hand, try exhaling before depressing the shutter to avoid camera shake. You just have to let your imagination run wild, add a little insanity to your ideas and then you have the perfect recipe for a motion filled photo!

Technical Details: Camera: Pentacon Six Film: FomaFomapan 100 Aperture: f/5.6 Shutter speed: 1/60 Developer: Fomadon R0 1:50 - 9 min

Text & photo by Adrian Norbert Cuper


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WANDERING WORLDS

C h a s i n g

S t a r s

Location is paramount for travelers seeking an adventure, but for some photographers like Boris Pophristov, the best ones aren't just picturesque during the day. Far from the hustle and bustle of cities, these landscapes are often punctuated by natural landmarks or age-old ruins, and lit only by the moon and stars at night. The darkness and seeming stillness, however, rewards the ardent and patient photographer with a stunning sight slowly etched on film: the spiraling path where stars seem to dance in the night sky. Bulgaria-based Boris has been chasing stars – seeking the best spots for photographing star trails, that is – with his Mamiya RB67 since 2011. Photographers often capture so much movement while traveling from one city to the next, but some of the most mesmerizing images depicting motion are those that demand patience, mastery of equipment, and an eye for the foreground that will complement the star trails behind it. One look at a stunning, well-composed star trail photo and you can readily see the effort it takes to create such a masterpiece. For Boris, however, there is one magical ingredient that cements his work: inspiration. “Inspiration and love are the only things you really need. The rest are just tools,” he tells me (the full story of which you’ll read in a little later). Upon learning that he also writes poetry, I understood what he meant, and I couldn’t help but notice how poetic his photos also are: landscapes being kissed by a flurry of stars, in a clandestine affair caught only by the patient photographer who dared to wait long enough for it to unfold. To satisfy my curiosity, I got in touch with Boris, who obliged me with some details about his celestial chase.





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_How long have you been taking star trail photos using your Mamiya RB67? Our love affair started three years ago after several unsatisfactory

relationships.

I

quickly

passed

through digital photography – despite its glamour, it was completely deprived of charm and sweetness. Then, a one-night-stand changed my life. It was with an old Olympus OM and a couple of 35 mm film rolls. It was like making love for the first time but with an immature woman. After I’d already tasted the real thing, I could not rest until I met my true love.



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_How do you determine which spots are best for

need to be prepared. Weather is my friend and my

taking photos of star trails?

enemy. I check several online weather forecast provi-

Intuition! No, it is not that easy. First of all, I have a thing for rock formations and they look pretty good naked under moonlight and starlight. Second, I’ve been blessed to be born in a country with so much

ders. They all must say “CLEAR NIGHT” before I go. Yet, I have been back empty handed many times. But never empty hearted – a night spent stargazing in the wilderness is one of those moments...

ancient history that left its treasures all over its

Sunrise, sunset, moonrise, moonset, distance to the

territory. And last but not least, it should be far, far

moon, path of the moon, illumination, wind, dew

away from big cities and severe artificial light pollu-

point (yes, this is very important). I get all these

tion.

carefully written down. Also, I’ve already selected the

_Do you often travel to different cities/regions in search of the perfect spot?

composition before I head out. I take many test shots during the expeditions to the location. Before I head out for the actual star trails shot, I carefully examine

Oh yes! I have a favourite region, though: the Eastern

all test shots and select a composition depending on

Rhodope Mountain in Bulgaria. Most of my photos

the moon numbers mentioned above.

were taken there. It is still a vast region and it takes several expeditions to find a single spot. The nearest locations are about 100 km from where I live. So, as can you imagine, I travel more than 200 km for a single shot!

_Of all the shooting locations you've been, you said the Eastern Rhodope Mountain is your favorite spot. Can you describe it to us? It’s an ancient mountain where a plateau rises. It’s

_What preparations to do you usually make before heading out to take star trail photos?

nature’s masterpiece, a place where three civilizations would have crashed onto each other if Time had not been so merciful. Now, their sacred artifacts

I bring a large bag full of inspiration, Mamiya RB67,

remain undimmed by the ages passed. It’s a place

and inspiration. Inspiration and love are the only

where one can find his true self while sitting on the

things you really need. The rest are just tools. But, in

edge of the mighty cliffs, gazing at the horizon.

order to bring something back from the journey, you

“Unearthly” is my best shot from this location.

By Joy Celine Asto



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WORDOGRAPHY

The

Las t

Em b ra c e



121122

"It's a little too big...don't you think?" she said as he placed his denim jacket around her shoulders. It was close to sundown and the winds were starting to get chilly. He took his jacket off when she saw her rubbing off the goosebumps that were rising on her arms. "I think it suits you," he said with a simple smile. It was the first time she ever heard him say something looked good on her, but it didn't really matter. After all, she has already heard from him something she considered as the biggest compliment a man has ever given her: "Something draws me to you, like a moth to the flame." She has always felt the same way about him, but he was yet to hear her say it. She felt that way when they first met in a record store a few blocks away from her apartment. She felt that way when he asked to take her out for some coffee. She felt the same way when he asked to see her the next day, and the day after, and the day after. He intrigued her to no end, from the way he chewed his nails when he's bored, how his curly mop of hair looked great even when he just kept it tousled, to the way he kept a lit cigarette between his lips -- but never taking a drag from it -- when an idea for a song hits him. He intrigued her to no end with little oddities like how he wanted to wear the same pair of sneakers to a gig, how he always ate deviled eggs for midnight snack, to his confessions of weird or random habits like "I read Carl Jung and Sigmund Freud whenever I take a dump, and Roland Barthes when I'm depressed." He was around her age, but sometimes she felt that he's at least twice as old. It must be his penchant for everything vintage. It must be the carefully-manicured beard and mustache that handsomely framed his face. It must be the damned Barthes, Freud, and Jung he read when the mood strikes. It might be none or all of the above. "Is this it -- is this all you're going to leave me with?" She asked without turning to face him. She couldn't bear to look at him, knowing that if she did, it would be the last time. "It's all I could bring with me as soon as I was told that I'll fly tomorrow morning." She kept her back to him. He couldn't see or hear, but he knew she was crying, dying a little inside with every tear drop. He knew he was dying, too, a little each minute, the seconds ticking away and stealing his time with her bit by bit. And no medicine, no machine, no cure in the world could stop it. Not even the so-called experts he's set to see tomorrow would be able to stop Death from snatching him away from her.


“Something draws me to you, like a moth to the flame,� she finally said with a crackled voice. It was all he needed to hear. They stopped wondering what draws them together, but they knew what was coming to tear them apart.

Story by Joy Celine Asto Photography by Marta Huguet Cuadrado


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Call

for

submissions

n o s t alg ia There’s a place where you exist in the real world, and there’s that place where your soul wanders off to. The difference between the two, that ethereal space in our minds where breaths turn into whispers and sighs, is where nostalgia is found. There are many reasons for taking a photograph, for shooting a place captive onto film. Nostalgia is one of them. As you stand and watch the ethereal materialize before you into something real, in a way that only your heart can see, you go ahead and take a picture of it. For our next issue, this is what we want to see. What are you nostalgic about? Is it a playground reminiscent of your childhood? A scenery where your past love is missing? A photo you recently took that reminds you of good times with an old friend? Show us where your soul walks back to whenever the urge to wax nostalgic strikes. Each submission must be shot on film (that means no digital shots!). Each photo must have a hi-res version, at least 300 dpi, available upon request. Include a title, the camera and film used for each photo you submit. You may submit up to 5 images, in JPEG format via: 1. This Form 2. Flickr group : www.flickr.com/groups/whattarollnostalgia 3. or by email : whattaroll@gmail.com



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C al l

f o r

a d s

We are looking for ADVERTISERS for the next issue of the Whattaroll magazine. Please contact us if you are interested:

whattaroll@gmail.com

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