Spring Flowers, 2016 Tampere
Images of Multiple Truth Along the Way
Why do people want to photograph strangers in a public space?
I am a middle-aged father of three children and an art teacher living in Tampere, Finland. I did my master´s degree at the University of Arts and Design in Helsinki (now part of Aalto University) in 1998. Our oldest child moved away from home to study architecture in the autumn 2015. Later that fall, I decided to carry out an idea I had cherished a long time. I bought a micro4/3 camera system, and began systematically shoot on the street. I wanted to refresh the experience of making art, something I lost little by little after uni. Could it be spontaneous, intuitive and surprising still? Could it be part of life outside of my daily work at school? Yes and yes.
Stripes, 2015 Tampere
I have always snapped with my compact camera and earlier with analog SLR. It has been part of family life and travels as usual. One image changed my idea of taking pictures. In Florence at the end of February 2015, while waiting for the order outside of Pizzeria Toto, I turned my camera onto a purple-dressed ”nonna”.
La Viola, 2015 Florence
Purple (”La Viola”) is the city´s symbol color and the nick name of the soccer team. After I took that picture, I had a serious adrenaline peak. I was amazed and confused. Is it okay to do so? The question is valid. My graduation work in the 90´s was a documentary graphic novel based on video material, a story of a man who had lost his girlfriend because of random violence and living on the edge of the society during the economic depression. The project took years, and I got familiar with the questions one has to face in making documentary. But eventually I´ve solved the dilemma of photographing strangers.
I admit, at first the thrill was good enough for me. I fished a lot when I was younger, and I recognized the feeling. The process provided by fishing (as well as by hunting) is similar to the process of street photography. All starts from the equipment and a plan. Then you just have to go out. Senses will awake little by little. The Mind settles, and you´ll live in the moment. There will be a small catch, then maybe bigger. It all depends on the experience, the mind and mrs. Fortuna. And the biggest fish is always waiting somewhere else. You know it for sure. You are patient and walk… finally heading home. At home the catch has to be gutted. Eventually, the fish ends up beautifully prepared and served onto the plate.
The Point of No Return, 2016 Tampere
Conquering Space, 2016 New York
So street photography requires some hunting instinct. People move actively and with interest examining their environment. The Camera comes along in the pocket. Documenting interesting things visually is a direct continuation of the tendency of telling stories, gossiping. Visual narrative applies same laws as stories. Photos must be able to accomodate in Aristotle´s Poetics of a good drama. And like good stories, good images will rise emotions. In a way, we all are telling the same story. The Status, angle and the mood of the story differs. The Grand story deals with us, humans, and our path in this world. The story has always been told, and so it will be in the future too.
Burden, 2016 Tallinn
We are living curious times. Democracy has been questioned, population growth and the climate change threaten our very existence. Such exceptional times had always had an impact on artists and their work. That is happening now in photography with fierce fury. Visual cultures around the world collide and fertilize each other. New factor groups with a new voices show up. They produce a fresh, new art on its own merits. Techniques, contents and themes will be revised.
However, the sense of standing on a cliff fighting against vertigo is overwhelming, caused by the fear of a global climate disaster . And behind our backs humankind grows. Manipulative authoritarian regimes here and there seize the day trying to repress people under their one truth. All of that effects serious art and photography. Me as well.
Vertical Solitude, 2016 New York
How would I describe last year 2016? Surrealistic? Nightmarish?
I´m offering a non-nationalistic and pluralistic, nordic point of view from Europe and EU too. I’ve always been into both politics and sosiological issues, as a teenager I did my political graffiti in Berlin Wall when it divided the city. A Lot is at stake right now. Here in Finland we have faced the unexpected behavior of our neighbor Russia, refugees from Middle East, the rise of the right wing extremists, Brexit and snowless winters. My visit to the USA in the middle of presidential campaigns was a thorough introduction into the irrational division of the country and segregation based on the system itself. Dark forces are on the move and they are living their life in our common consciousness.
But I dived into the world of Instagram too, and found out the barrier of distance, that earlier separated people, had collapsed. The Concept of ”international” diluted. There is no need for ”Paris” or ”New York” anymore. We all are there, constantly, enjoying the jungle of multiple truth and free voice.
Jazz Singer, 2016 Brooklyn
And my ways to see and do things have changed. Having chance to see such a brilliant photography, occasionally strange and uncomfortable, sometimes just beyond my dreams, have forced me to do things better, more planned, more focused. And I´m assured my case is not an exception. I think all of this can be seen in my images.
Mermaid, 2016 Prague
Image and the process around it has always fascinated me. I imply here specifically
an image in general, not photos particularly. Photography for me is primarily a picture making, using camera as a tool.
How, then, visual arts background is reflected in my images? In street photography it´s common to try to find funny coincidences and interesting visual similarities or gimmicks. Humor is a trade mark of many quality images.
Urban Dream, 2016 Prague
Sure I take a picture if I see a humorous coincidence or scene. But at the same time I feel very drawn to images providing the viewer several possibilities of interpretation.
One + One, 2017 Tampere
The aim is to offer humanity as a whole at a time when the picture is taken. I feel that too specific event or a visual coincidence converts image into a pictogram. A pictogram is a picture that has only one meaning (or one truth, so to speak), such as a coffee cup on a roadside signboard. The best photos can be viewed on forever, and their internal splendor won´t disappear. Of course, the best images can be humorous, and in any case they are always compassionate.
So I´m taking pictures of people, who happens to be along the way.
I feel that my photos are documents of the time I´m living in. My view to the documentary is poetic and interactive. These modes are based on the work of Bill Nichols, who have named six types of documentary films.
Waiting, 2016 Tallinn
At the heart of poetic documentary mode is to encounter the subject by subjective process, interpreted by author. The author will be recognized from visual aesthetics. Visual aesthetics means here the whole subject, and visual processing. The traditional narrative content does not mean much. People and events do not develop. It´s a question of juxtaposition of time, space and the subject.
Private Space, 2016 Tampere
On the other hand, I feel reflective documentary mode close. For me, it has always been clear that the reality is difficult to talk about. How to take an image, which corresponds to reality. I solved it by creating ”street setups” with a sense of artificiality. It´s a way to lower the sense of truth, to express that the image is a subjective product. It forces the viewer to understand that the image is the result of a some one´s mind set as well as it tells us something about reality. If viewer suspects the authenticity of the picture, I´ve succeeded.
So what do I want to say with my images? This is a question that puts the author in a difficult position. I feel that my images are first and foremost documents of this time and people. My goal is not to present one truth, more like several of them. On the other hand I do not feel just plain aesthetics productive, but important enough to seduce the viewer.
We all are linked to the great story of humanity with communication. It´s a never ending path, and nicer to walk with camera.
Centuries Watching, 2016 Rome
In the Middle of Car Dreams, 2016 Tampere
Survivor, 2017 Tampere
Adapted, 2017 Tampere
Find Jussi on :
Instagram | Twitter | Website
They plunge to the bottom of the frozen sea, holding their breath, blinded by the murky abyss, searching not only for pearls, octopi or abalone, but also for freedom.
What would happen if their line were to break? Would the men comfortably sitting above in their boats, gleefully singing songs, try to save them? It doesn’t matter. The Japanese Ama defy the ridged confines of gender expectations because they are driven by a unified sense of purpose – to live free.
For the Ama or “women of the sea”, their faith is not in men but in nature. After all, the sea itself is an intoxicating female entity. Its creatures are the Ama’s allies. Their destinies are woven together like a fluid tapestry.
As the divers rise back to the surface and slowly exhale, the bay rings with the whistling echoes of their gentle gasp, and with it, reverberations of strength, autonomy, courage, stamina, and beauty.
The Ama are one of the most interesting elements of Japanese society. They are the female divers who, since about the year 750, have been diving for pearls, abalone, octopi, and lobsters, as well as harvesting seaweed along the coastline of Japan.
There are many fables of the Ama, including the story of Princess Tamatori, depicted in a Japanese block print from 1814 titled The Dream of the Fisherman’s Wife, by Hokusai. It is an example of Japanese erotic art called Shunga, popularized during the Edo Period. The divers were often represented as erotic, simply because in Japanese culture the sea is seen as a female entity.
It is believed that the print depicts the story of Princess Tamatori, a figure highly popularized during the Edo period. The princess was a modest shell diver or Ama, who was searching for a pearl stolen from her husband’s family, the Fujiwara Clan, by Ryujin, the dragon god of the sea. Vowing to find the jewel Tamatori dives down to Ryujin’s underwater palace and is pursued by the god and his army of sea creatures, including octopi. When she finds the pearl, she cuts open her own breast and places the jewel inside; allowing her to swim faster in her escape. After reaching the surface the wound proves fatal, and in her death she is forever viewed a heroine.
The Ama were and still are, women who sought independence and community. There are many Ama who continue to dive passed the age of 90. It is one of the few professions dominated by woman and where there were no restrictions on their freedom.
Men would occasionally dive, but it was thought a better job for women, as it was believed that women had an additional layer of fat to keep them warm in the frigid waters. The original Ama would dive nude wearing just a loincloth and a protective scarf on their head. Streamlining their bodies in this way allowed them to swim faster and it was easier to warm up without wet clothing clinging to their skin.
An experienced Ama diver could dive as deep as 30 meters and hold her breath for up to two minutes at a time. These courageous women would dive from rocks, the shoreline and boats, with rope strung around their waists, and men would wait in the boats above to pull them back to the surface.
The whistling noise that they emit when resurfacing is called “Isobue”, or “ocean whistle,” which helps regulate their breathing. At one time, their whistling echoes would fill the bays of Japan. The entire free-diving process allows Ama to develop an extremely large lung capacity — a characteristic that many then pass on to their children.
In the 11th Century a noblewomen, Sei Shonagon, wrote The Pillow Book, a collection of her observations. She had encountered the Ama during her travels: “ One wonders what would happen to them if the cord round their waist was to break.” She goes on, “the men sit comfortably in their boats, heartily singing songs…they do not show the slightest concern about the risks the woman is taking”.
Even though socially the Ama’s labor was certainly less valued than that of men, they were unique among the female population. During a time when women were considered the subjects of men, a woman that could earn her own living, and also dictate the migration of her entire family, was unequivocally liberated. Their positions in society existed on almost a surreal plain.
The Ama are inspirational to me, as an artist and a woman, for many reasons, but foremost because what they did was just what they had to do, regardless of risk or reward. Even more remarkable to me is how they did it; breaking traditional rules within the confines of an existing system and still preserving their individual authenticity along with the connection to their culture.
My series, Whistling Echoes, explores the mythology of these women. Through the use of metaphor and symbolism, my visual interpretation explores the relationship that these women had to the sea and it’s creatures and how it not only shaped their destiny but also allowed them to live free.
Donna Garcia is a Fine Art Photographer from the United States.
To see more work and get more information on the artist please have a look at her Website or Instagram.
Changing Beauty – The Changing Face of Beauty
© Caroline de Bertodano
For centuries beauty was represented by natural beauties. Salome, Guinevere and Nefertiti to name but a few. Later beauty was portrayed in artworks such as Botticelli’s Spring, Rossetti’s Other Woman, da Vinci’s Mona Lisa and many Impressionist works. All evocative of something more than appearance. The Greek male nude sculptures and the female nude deities of Eastern Ishtar to the later Western art such as Donatello’s “David”, Titian’s “Venus of Urbino”, celebrated the natural human body. All to stir the mind as well as the sensual passions. Very recent depictions of beauty in art are dormant and beg the question as to why? A backlash to society’s ‘meat market’ and physical fabrications?
© Caroline de Bertodano
Through the ages, the size and shape of beauty have come and gone but natural was ever present. Different body types and features went in and out of fashion aided by the armoury of clothes and makeup but ‘natural’ was the foundation. People simply got on and appreciated more what they had been born with. In recent times, celebrity has replaced almost everything and as the avarice consumers we have become, we follow like sheep.
© Caroline de Bertodano
The reality of beauty, either male or female, is that almost every person is not happy in their own skin and has a list of what they feel disdain for about themselves, if not pure self-loathing by many women. An agenda of what they would change if they had the money. Massively increased depression & eating disorder numbers have the psychiatrists rewriting the psychology books. If we add ageing to the equation, what was ’50 is the new 30’ and now ’50 is the new 70′ based on looks alone. Media role models advocate nothing but shallow appearance, they negate the actual being, of being human, born natural and undoubtedly will die as bare to living as death intends. Time will always transcend the superficial.
Every age has issues of imperfection but never before to such extremes and even the 20 somethings have joined the mass hysteria in the quest for perfection and elusive eternal youth, where beauty is considered to reside. Exaggerated ideas of imperfection and the ‘fixing myself’ phrase is often heard. With the explosion of social media and its consequential hunting grounds, the idea of perfection is now so media influenced by pretense, false impressions of image, persona and of course the eternal super skinny body form…. no surprise there! Many men are taken in by these falsehoods. But in this age of ’swipe right’, they just move on to the next idea on their perfection list, wondering why they cannot find true and lasting love. Women have become competitive instead of supportive, putting good images of themselves to annoy other women or for attention that they lack in reality.
© Caroline de Bertodano
“I’d like to say that I would be happier in my natural skin but given the opportunity, I would enhance myself. It would seem silly not to. When we live in a world where celebrities and superstars are always looking amazing and we are exposed to the ideal woman and figure all the time, why wouldn’t you want to keep up? There seems to be a much higher standard of beauty… not a natural beauty but a beauty that can be made through cosmetic surgery. You only need to look at the ‘IT’ girls of now and look at a ‘before and after photo’ to realise they are doing it. It eventually just comes down to money. Money can buy physical beauty essentially and if I had the money I would be lying if I said I wouldn’t make changes to myself. Every girl has something they hate about themselves or feels self-conscious about and if it somewhat bothers you, of course, you are going to want to change that. It is not like there are any female role models advocating natural of ‘inner’ beauty but quite the opposite really; young girls are bombarded and almost brainwashed by social media about what is a normal young girl should or does actually look like”
Eva 21 years.
© Caroline de Bertodano
There is a chasm of difference between plastic and cosmetic surgery.
Plastic surgery is ‘reconstructive’ for medical reasons and includes, burns, limb loss, birth defects, trauma and disease and is vital, both externally & internally life-saving.
Cosmetic surgery is elective, ‘a choice’ by an individual to enhance appearance only.
© Caroline de Bertodano
With endless procedures, media & social influence, the idea of beauty means many are starting to look alike. Some so alien from their original self they become modern day monsters as procedures ‘fall’ and they lack the money to redo them. Expressiveness and uniqueness are being lost. The expressiveness of a child’s face in laughter, the look of love, is the beauty & emotion within that is expressed externally.
© Caroline de Bertodano
However, in some adults, they can no longer show emotion on over engineered faces, which in turn affects the emotional communication in relationships. First impressions aside, if we are all impressed by certain looks alone, the character, mind and soul; the internal self, go unconsidered and disappointment and failed relationships surely follow. Is Audrey Hepburn, one of the iconic beauty’s of our time, now ‘imperfect’? Her beauty came from what was inside as well as outside and many talk of her internal light.
© Caroline de Bertodano
The greatest beauty is the true natural beauty requiring three vital ingredients. Looks, mind and soul. Ever fallen in love with someone you least expected to and been surprised because they are not your ‘normal type’ but because of ‘who’ they are, not just what they looked like? Imperfections pale into insignificance on realizing emotional depth, mindful heights and the confidence they generate. True beauty is the combination and what artists for centuries before us tried to depict.
© Caroline de Bertodano
I would rather see the truth in someone’s eyes and the micro expressions that connect to the soul’s windows than an empty one-dimensional being that simply ‘looks good’. Beauty will always change but not at its core. My Mother used to say, ‘feed the brain and soul as well as the body’ and true beauty is those three things that make up the internal natural light, ‘the natural beauty’ and the only thing that will sustain relationships and transcend the chattels of time.
© Caroline de Bertodano
© Caroline de Bertodano
© Caroline de Bertodano 2017
I Am My Mother’s Daughter: My Journey in Photography
My love affair with photography began with my mother. It was not love at first sight. My mother was always taking pictures. Always. Her camera held permanent residence in her handbag, and our lives were put on instant play-pause whenever she was inspired to take a shot, which was often. As a young child, I never thought about this as her passion, but only as an assigned pose to be endured for as long as it took for her to rummage through her purse to find the camera, get the camera out of its case and then get the shot she was looking for. Full disclosure: I was not in the least bit cooperative. However, I was eventually pulled in by all the photos she took, and I began, not only to appreciate them, but to look at them with a more critical eye. I never offered outright (what I thought of as) constructive criticism of my mother’s photos (an action that would have resulted in any number of unpleasant outcomes…. as a very good-looking and somewhat spoiled woman, my mother was more than a bit vain in all areas of her life).
In my mind, I might have been thinking, she should have turned us more towards the light, or away from the light or taken a few steps forward or backward. My interest was piqued, and for my 8th birthday, my mother bought me a Brownie camera of my own.
Of course, at first, I began shooting any subject that was close at hand: including my hand, my dolls, my clothes, my record player, my dresser, my closet door, dust bunnies under my bed, whatever struck my young fancy. In those pre-digital days, I was allowed two rolls of film and one pack of flash bulbs per month, as the film, flash bulbs, developing and printing all had to be paid for out of pocket. I quickly learned to become more selective in my photographic endeavors as not to waste those important resources on frivolous subjects. Time passed, my cameras became more sophisticated, I took classes, I poured over photography books by the masters and I discovered that photography was as much a passion for me as it had been for my mother.
Fast forward a good number of years, into the digital age of cameras. No longer was I bound by the constraints of finance: I could take as many pictures as my memory card would hold! It was a wonderful thing, very freeing. I could take more photos, more photos than I ever had in my entire life. I could experiment more, the possibilities were endless. The drawback, at least as far as my family may be concerned, is that the circle was unbroken: I had now become my mother, only more so. Someone closed their eyes? Delete and retake! Is the composition a bit off or the light not quite right? Delete, reposition and retake! Sunlight streaming behind everyone through the trees? Take one shot head on, move to the left and shoot another, move to the right and take a shot, shoot low, shoot high; take as many shots as your heart desires. It’s a photo junkie’s dream come true.
Enter the mobile phone with its ability to take photographs using a built-in camera. A mobile phone (or as I prefer to call it, my camera phone) that can be taken wherever I roam. This little bit of wizardry (or little bit of heaven) is nothing if not easily portable. This has opened up a whole new world, negating the need to have an unwieldy camera hanging from my neck or a heavy backpack full of lenses and equipment slung over my shoulder unless I choose to go shooting pics old school. Taking photos no longer needs to be a delicate balancing act. As I did when I first began, I can simply point my camera phone and shoot. And, as my mother before me, I now carry my camera in my purse (or in a pinch, in my pocket.)
It might have ended here if not for all those glorious photo apps. I could go on for days, but prefer to focus on my favorite camera app, Hipstamatic. I discovered mobile photography and the Hipstamatic app within months of each other in early 2012. Left reeling from the deaths of my father, my father-in-law and my mother within a three month period in late 2011, I desperately needed an all-consuming distraction. My first iPhone (4S) and the Hipstamatic app fit that bill to a “T.” I believe I was drawn to Hipstamatic because it’s a neat little app designed to recreate photos produced by the so-called toy cameras of the 50s, 60s and 70s. It’s so much more than that, because along with numerous combinations of lens, film and flash filters, there is a full editing suite, which taps into my creative side. I can play with its features in so many more ways than I could with the actual toy cameras I once owned.
Now that I am retired, I am free to wander the countryside, happily snapping away to my heart’s content. The child who wanted to shoot photos of every conceivable subject has been redeemed. There’s a big, beautiful world out there, just waiting to have its picture taken. I take enormous pleasure in snapping shots of a favorite tree or bridge in the different light of day, in different seasons. Every hour of every day presents a new photo opportunity. It’s a new view of an old friend with every click of the shutter. Ironically, I cannot stop taking pictures of my children and my grandchildren. I am in constant stealth mode, camera phone in hand, hunting for the perfect candid moment. My mother would have gotten a big kick out of this.
Kat Meininger can be found on Instagram: mobile photography as @kats_eye_phone & DSLR photography as @kats_eye_images ; as the founder of @hipsta_crazy & Admin of @photomafia group of photo sharing galleries.
Rainy day in Saint-Malo, Brittany, French West Coast. Cloudy sky. Sea spray. Soft and salty droplets carried by the wind. Walk by the sea on a rainy day and smell the perfume of the sea. The Ocean breeze.
Sometimes umbrellas are open. Dark or light spots sprinkled in a seascape with grey tones. The black and white come alive; the texture arises and catches the eye. Slowly. The umbrellas swing, quietly, to the rhythm of wandering walkers.
Stormy weather. Sometimes the weather is less clement, the sky changes, the wind rises, dark clouds are running in the sky, walkers hurry to shelter from the rain that arrives, from the wave that splashes, from the sprays that sting. With the high and low tides, the weather changes quickly by the sea, the sun comes back, it illuminates the landscape and the walkers, it warms the colors, it dries everything, and the umbrellas close again immediately.
My umbrella walkers are often alone. Contemplative. Lost in their thoughts. Looking towards the horizon. Immobile or in motion, anchored in a marine landscape that offers every day a new way of looking at it, even in rainy weather. Whether on the beach, in the cobbled streets, on the Sillon, the floor offers a different light to photography. Black and white act as a poetic revealer. It reinforces the effect of loneliness, accentuates the melancholic or meditative atmosphere, tells an unfinished story, a story to be written.
Go out and take pictures on a rainy day. Walk with the rain, or against it, feel the wind, the raindrops, the spray on your face. Observe the sky and the surrounding landscape, slow down and feel.
A walk through the rain and maybe a photo at the end of the road. This is the path that I follow on Instagram with no specific purpose. At random. Black and white photographic peregrinations written with commas and dots. To be continued…
I warmly thank Grryo for letting me share some of my Brittany here with you. Thank you for this beautiful lighting. Let the beautiful part of photography, writing, creation, documentary, art, a visual aside that opens the eyes and heart, congratulations to them. We are Grryo.
Tiphaine, @tiphdiadel, in real life, works in publishing ; on Instagram, walks with a smartphone ; founder of @bnw_bretagne : a photograph and a story, another look on Brittany.
Embruns. Balade en bord de mer, chapitre 2.
Un jour de pluie pluie à Saint-Malo. Ciel chargé. Embruns marins. Gouttelettes douces et salées portées par le vent. Se balader en bord de mer, un jour de pluie et sentir le mélange des fragrances marines. Air marin. Parfois les parapluies sont ouverts. Taches sombres ou claires parsemées dans un paysage marin aux tons gris et délavés. Le noir et blanc s’anime alors, la texture surgit et accroche le regard. En douceur. Les parapluies se balancent, tranquillement, au rythme de la marche des promeneurs.
Temps orageux. Parfois, le temps est moins clément, le ciel change, le vent se lève, des nuages larges et sombres courent dans le ciel, les promeneurs se hâtent alors pour se mettre à l’abri du grain qui arrive, de la vague qui éclabousse, des embruns qui piquent soudain. Avec la marée, la météo change vite en bord de mer, le soleil revient, il illumine les paysages et les promeneurs, il réchauffe les couleurs, il sèche tout alentour, et les parapluies se referment aussitôt.
Mes promeneurs au parapluie sont souvent seuls. Contemplatifs. Perdus dans leurs pensées. Le regard tourné vers l’horizon. Immobiles ou en mouvement, ancrés dans un paysage marin qui offre chaque jour une nouvelle façon de le regarder même par temps de pluie. Que cela soit sur la plage, dans les rues pavées, sur le Sillon, la texture du sol offre un éclairage différent à la photographie. Le noir et blanc agit comme un révélateur poétique. Il renforce l’effet de solitude, accentue l’ambiance mélancolique ou méditative, raconte une histoire inachevée, une histoire à écrire.
Sortir et photographier par un jour de pluie, en bord de mer. Marcher avec la pluie, contre la pluie, au gré de la pluie, c’est sentir le vent, les gouttes fraîches, les embruns sur le visage. Observer le ciel et le paysage alentour, ralentir le ryhtme, sentir.
Une promenade et peut-être au bout du chemin une photo. C’est le sentier que je suis sans but précis. Au hasard. Des pérégrinations photographiques en noir et blanc écrites avec des virgules et des points de suspension. À suivre…
Un immense merci à toute l’équipe de Grryo de m’avoir accueillie une nouvelle fois. Laisser la part belle à la photographie, à l’écrit, à la création, au documentaire, à l’art, une parenthèse visuelle qui ouvre le regard et le cœur, bravo Grryo.
Tiphaine, @tiphdiadel, dans la vie, travaille dans l’édition ; sur Instagram, jse promène avec un smartphone, a créé @bnw_bretagne : une photographie et une histoire, un autre regard sur la Bretagne.