The first time I saw Jordy Bouchal, I knew I was on to something special. While I had seen water droplet pictures before, there was definitely something magical about his art. These were not just ordinary water droplets. Jordy’s ability to create shapes and figures from nothing more than water was astounding. I had to reach out to him and what I learned boggled my mind.
The following is an interview I had with Jordy. He was gracious enough to share with us some of his process, artwork and overall passion for what he does.
K: Kewiki J: Jordy
K: Tell me a little about yourself.
J: My name is Jordy Bouchal and I’m 30 years old. I’m from south of France in a town called Perpignan.
K: How long have you been into photography?
J: I started photography one year ago. I really love macro photography of insects, but recently became interested in water drop photography.
K: What influenced you to get into photography?
J: I was a skateboarder for more than 15 years. In skateboarding we used video a lot and I made a lot of video montages. I met a lot of great skateboard photographers and it made me want to start.
K: Tell me about your current art of water dancers. They are beautiful!
J: I discovered this are a few months ago. I saw pictures on the Internet and wanted to try it. I made my home system above my sink, but it didn’t seem to work. After a lot of trial and error, I finally invested in a machine that let me control the flow and timing of my water drops within a thousandth of a second. It allows me to synchronize the water valve, flash and camera.
K: That sounds complex!
J: It is! I originally started with milk because it has a higher viscosity than plain water. It’s easier to get a good collision. I like the look of water because it’s transparent, but plain water just doesn’t work. So to get water consistency to be the same as milk, I had to mix water with xantham gum or guar gum.
K: How are you able to get such unique and complex shapes?
J: The shapes of collisions depend on the consistency of the mixture, temperature, height between the valve and surface and the setup of the stopshot in milliseconds. For color I use food dye, ink, paint and/or flash gels.
K: What kind of camera equipment are you using to accomplish this?
J: I use two YN560II speed lights and two flashes from my Nikon R1C1 macro kit. My camera is a Nikon D5100 and my lens is a Nikon 105mm AF-S F 2.8.
K: Wow! This is a real science then! Thank you again for sharing with us and inspiring us with your incredible work.
J: You’re very welcome!
Below are examples of Jordy’s setup and works of art. Jordy’s Setup
Azur Rain
Carousel
Jellyfish
The Mexican
If you’re interested in seeing more of Jordy’s work, please check him out on Instagram or you can contact him if you’re interested in learning more about his work. Thanks again to Jordy for sharing with us!
Editor’s Note: The above images are not captured with a mobile camera.
There are many nooks and crannies within my area that amaze me every time I drive through them. I am always surprised at the way people live. Many times I have taken a house as abandoned just to approach and find wet clothing hanging on the drying line or a child playing on a rotten porch. Valley View is perhaps 15 minutes from my front door down by the Kentucky river. Valley View boasts the only ferry left on the Kentucky River and it is the oldest ferry operating in the United States. The ferry is what drew me to Valley View two years ago.
It was a novel concept to me and I wanted my son to experience a ride on the ferry. After we oohed and aahed and I, admittedly, took lots of terribly angled photos out the window, we reached the other side and just kept driving.{ One of our favorite things to do is go for an adventure, which basically just means a really long drive.} The stretch of road after the ferry will remain as one of my favorite adventures of all time. I have been back multiple times since our first visit to the ferry but what I wanted to share with you was my most recent trip. I am participating in the windows phone challenge and have visited all my favorite haunts to see how the camera measured up on familiar territory. I went specifically to visit an abandoned church and rectory but I never made it to the rectory this visit. I visited the church first, sad that the pews had been removed and the walls had been gutted in a few places by people looking for copper. It was never a particularly lovely church but I adored the white clapboard and deep brown wooden floors. It is never hard for me to imagine a place as it was before it was left to rot. I can see the people standing in the pews singing hymns like The Old Rugged Cross or Amazing Grace, fanning themselves in the summer heat.
I approached what I thought was one more in a long line of abandoned houses along Valley View. I loved that sign so much I kept snapping away until I heard voices.
Oh that picture is lovely. Look at that sky.
Yes yes it is. Turn the page.
Tired. Tired of the magazine.
Keep turning. Keep turning
You can imagine my surprise after listening to the conversation to only see one man on the porch. I knocked. Once. Twice.
Sir? I took a step closer and knocked on the rotten door barely making a sound. I have a cold and a whisper for a voice so I stepped closer.
Sir?
I finally, quietly, walked across the porch and into the eyeline of the man.
Sir? Oh! You!! How the hell are you? She’s fine. Can’t you see that? She’s standing right there.
I just stood there. Shocked at the words and voices. I don’t know what I thought. Perhaps that there was someone I couldn’t see inside. But there wasn’t.
I…. I just wanted to take a photo of your sign. Is that okay? What? Speak up. I can’t hear.
I typed on my phone that I was sick and had no voice and that I couldn’t speak any louder. I asked if I could take a picture of his sign.
Oh yes that sign. Love it. Used to be a store here. Do you know God?
I nodded yes.
He cupped his hand to his ear like he was talking on the phone. Well. Then. He says your healed. Yes healed you heard me. I love you and your healed. You have your voice back.
I whispered thank you and smiled as big as I could at him. Waved and went back out to take a picture of the sign.
She just wants a picture of you. Let her have it. She needs proof. Nah. She doesn’t. She didn’t ask. It’s the sign. Where’s the magazine?
Again, I walked onto the porch. I held up my phone and pointed to him. I figured if God wanted his picture taken I would take it. He sat up tall and brushed off his shirt. He smiled crookedly at me then relaxed. I snapped and snapped. I scrolled through my pictures and turned the screen to show him.
There look. That’s good. That’s a good picture of you. You think? I don’t know. Nah it’s good. I like it. Where’s the magazine.
I typed thank you and tell God thank you for me.
He smiled real big at me. I smiled back trying not to cry or to throw him over my shoulder to bring him home with me. He went back to his magazine. I stood there for a second trying to think of something else to say to engage him but he had already forgotten about me. I quietly left the porch and went back out to the road and started sobbing. It broke my heart that he was sitting there amid trash, dirt and firewood in a crumbling down house all by himself. I remembered shooting here a year ago and hearing men arguing loudly and I wondered if it was perhaps him and God. I wondered how long he had been ill and where his family was. I was grieved I had to walk away and leave him with his magazines. There are times when something touches you so deeply there are not adequate words to describe it. I will never forget his smile and kindness in healing me but more than that I will always remember the conditions he was living in and how he was happy with just his magazine.
Candid Conversations With Anton Kawasaki and Sion Fullana. Everything You Ever Wanted To Know About Them, But Never Dared Ask! by Dilshad C
Dilshad’s Introduction
Do you have your popcorn ready? Are you comfortable enough? Well sit back, relax and enjoy this great interview with Anton Kawasaki and Sion Fullana. There is very little need to introduce them, for they have been around for a very long time, and can easily be considered the two giants of mobile photography. They are the masters of composition, and yet, when looking at their photos one can straight away notice the simple editing style, however, their photographs are full of depth, and most importantly the incredible stories that each of their images can convey is truly extraordinary! So if you want to know how they do it, and find out more about them and how you can join their workshop, well wait no more and keep reading.
DC: Dilshad Corleone AK: Anton Kawasaki SF: Sion Fullana
DC: I remember reading of you guys a while back — this was on Theappwhisperer.com — the article was about your workshop. That got me interested, and I still remember being late to sign up — and when I wrote you guys for the very first time it was to get some more information about the workshop, but your answer was that it was already full. I still remember thinking, “Oh they are just saying this, but I will convince them, it’s just an online workshop they can’t say no”… and yet you still said no, even after my ten, twelve e-mails. You guys must have been thinking “Who is this crazy dude, what is wrong with him!”
I was really impressed, and really couldn’t wait for the next opportunity, which I took as soon you opened the gates! I think this was the best decision I took for a very long time — that of signing up for your workshop — and we will talk about this more in depth in a bit, but to start with… I would love to know more about you both, so… who are Sion Fullana and Anton Kawasaki?
AK: Hah! We definitely remember you writing us so many e-mails trying to get into the Workshop. We limit them to only 12 people maximum, because we really want to ensure that we have the proper amount of time to devote to each student over the course of the ten days. To let more people in after that would have been unfair. As you found out later when you joined our next round, they are really intensive workshops that are heavy on the critiques. They are NOT the typical online courses where you just get some pre-recorded videos and absolutely no interaction, where you’re left to fend for yourself. We are interacting with our students throughout the entire course — giving them tips, guidance, inspirations, 1-on-1 video chats, and more importantly really constructive feedback on all of their work.
As for who am I? I’m just a guy who grew up mostly in Los Angeles, but who has been living in New York City (my favorite city in the world) for the past 17 years. I grew up surrounded by the film industry (my father, sister, ex-boyfriend, and tons of friends are all in the biz), I studied journalism and theatre in high school and college (directing, writing and acting in plays), and ended up working in the comic-book industry for over a dozen years. So I feel like I’ve been a kind of storyteller all of my life — especially a visual one.
SF: In Spain (where I’m from) we have a saying that goes “all good things make themselves be worth a wait.” So I hope it was the case for you in the end regarding finally doing the workshop when the time came! 🙂
As for a quick biography, I’m a man who grew up in an island (Majorca, Spain) and set himself the goal to go explore the world and tell some stories about it. Along the way, I learned different tools needed to do so while living in different cities: Barcelona, where I studied journalism, Cuba where I graduated in film directing, and eventually New York City, that brought the passion of photography into my life. As a side note, my second vocation path before choosing a degree in college had always been Psychology. So I guess it was fitting that I would end up turning my lens in my work towards observing human behavior, in street photography, portraits or documentary work.
DC: How did you two meet? Was it love at first sight?
AK: We met in this total serendipitous way when I was traveling to Barcelona, Spain. It was the first time I’d traveled to Europe all by myself, and everyone was telling me that Barcelona was a great city to go to because everyone spoke English. That wasn’t true at all! I was having a really hard time finding anyone I could talk to. I was there for a couple of days in this beautiful city, but feeling kind of all alone. Sion was the first person I found (outside of hotel staff) that spoke English to me.
We spent a magical 6 hours together, had dinner and a drink together, and then…he had to leave the city for the next day.
SF: We often joke that our personal story was a bit like the movie “Before Sunrise” (that we both loved). We even joked that night that we wouldn’t be like the characters in the film and exchanged contact info right away. So we stayed in touch, starting talking and video chatting for over four hours a day sometimes, through the six hour time difference across the ocean, and three months after that first night, I visited Anton in New York for 6 days (yes, number six was always magic with us) and we decided to give it a try, long distance and all. Fourteen months later and many visits across the ocean, I eventually moved to New York. And here we are, seven years later, and even legally married in New York State!
DC: You both are professional photographers, right? How long have you been doing Photography?
SF: I may go and say something here now I have never said before, but I think the ideal definition would be to say “I’m a professional photographer in the making,” constantly learning something new, opening new and bigger doors and dealing with the punches and the ropes of the profession as a freelancer. I know for a fact that I’m a 100% professional Visual Storyteller, that I say without any doubt, and when I set my head to something, I know I can deliver. But I also acknowledge there are certain sides of the photography business I’m still on my path to master. I’ve been doing it for the past five years, and I have to say I’ve had some incredible experiences, working with entrepreneurs, models, politicians (General Colin Powell), musicians or even some Hollywood celebrities (as the official photographer of the 24 Hour Broadway Plays the last three years in NYC). I’ve photographed two same sex marriages (which made me really proud) and collaborated with a few big brands (Macy’s, Tory Burch, Panasonic, HP, etc.).
AK: Sion’s had more “pro” photography work than I, but I have joined him when shooting events (mega conferences that involve a lot of immediate sharing of images — which makes using an iPhone ideal), weddings, and of course we do the Mobile Photo Workshops together. I have also done stuff related to mobile photography, including writing about it for Digital Photography Review CONNECT and other places, as well as doing social media and consulting for some photo apps.
SF: The first time I saw some of our friends with a first generation iPhone, I was set on having one some day and using it for photos. In 2007 I was already experimenting sometimes with taking some images with my (back then) crappy phone camera. So when Anton got me an iPhone 3G as a birthday gift a year later, I immediately started using it, incorporating it as a new tool to capture life moments in the streets of New York. Soon enough, I was interviewed in a few blogs, got approached by Time Out New York to do some collaborations with them and ended up in the first big ever article on the possibilities of mobile photography that American Photo Magazine published in 2009, alongside Chase Jarvis, Greg Schmigel and Lisa Wiseman. That made me realize this was something that was meant to thrive and stay, and I was always happy and proud I was among the first to start evangelizing it.
AK: And *I* got into it because Sion was shooting so much that it started to get irritating! I figured I’d either have to kill him…or join him! [Laughs]
It was great because walking with crutches for so long, I assumed something like Street Photography would be closed off to me. How could I use a regular camera to shoot candidly, that wasn’t completely awkward and obvious? But the discretion and easiness of the iPhone (I could shoot with one hand) opened up a whole new world to me. I jumped into it with a huge passion.
DC: Do you predominantly shoot with a mobile nowadays? Or, when is it that you say “OK, for this project I am going to go back to my big camera”?
SF: I’ve had a bit of everything happening with me. An example: when I worked with the brand BAR III for Macy’s shooting backstage and portraits with my phone to use in the look book, I was also hired to take some photos of the press presentation parties. The first time I showed up with my camera and they said “No, iPhone as well” so it would go with the “vibe” from the previous shots. I got some cool stuff. But obviously, a night time event with the phone is still a no-no, as is anything where you need some distance between the lens and the action. So for certain types of photos shoots I do (portraits/head shots sessions, corporate event photography, etc.) I obviously unpack the DSLR and its set of tools.
But even in a portrait session I will always try to squeeze in a few iPhone shots there. Provided that there’s good natural light (or I may have a portable LED light device) I know I can get good quality.
On the other hand, when it comes to my street photography work and even the journalistic coverage of some local outdoor events, I have increasingly started using the phone in 90% of the cases. Firstly, for the obvious reasons (lightness, discretion, always with me, etc.) but also because once I learned to master the technical aspects of what the phone’s tools can do, I know I can get the job done way more easily and quickly. Then there’s been many days where I’d go to an event like Gay Pride or Fleet Week with a micro four thirds camera around my neck and the iPhone in my hand, and I would go home and realize once I started shooting with the phone I hadn’t even touched the camera. They are two different mind settings, the way you compose, approach the scene, the subjects, etc. when shooting with the different tools. And I really enjoy the way I work with the phone. It’s become organic, second nature.
AK: And I ONLY shoot with my iPhone. The reasons of which were mostly explained in an article I wrote entitled “What ‘Mobile’ Means To Me.” It’s mostly because the types of shots I’m most interested (candid street shots) aren’t possible for me with other cameras. And I wouldn’t want to carry around the extra bulk of a DSLR anyway.
When we shot the wedding of a gay couple we knew, I was forced to use a regular camera, as the lighting at the venue just wasn’t optimal for the iPhone. I’m still using an iPhone 4, actually! I’m waiting for the 5S to come this year, and hoping for a bigger leap in quality of images. I don’t give a crap about megapixels (some of my best images were taken on a 1st generation iPhone), but I DO wish the iPhone was better in low light.
DC: Mobile photography has changed the life of many and in many different ways, has it changed yours?
AK: It’s given me a completely new way of expressing my creativity. There was a time in my life that I thought I would be in the world of comic books until I was old enough to retire, but when that world started to disappoint me and fall apart, mobile photography was there to swoop me up and give me a real purpose again.
It’s been a really wonderful ride ever since. It’s been exhilarating having my photos appear in multiple magazines, or exhibits all over the world. Having a solo show at the Haus of Hipstamatic, or being a featured guest at Apple Stores twice, was something I never would have dreamed of just a few years ago.
SF: To me it’s been a complete life change in many ways. My work in mobile photography was what brought the first attention to my images and provided the first big opportunities that turned me into a photographer or visual artist today. It opened a door and I followed through and never looked back, and it rewarded me with so many beautiful things and accolades that it even allowed me to qualify for my current O-1 visa in the US (the so-called visa of extraordinary ability). So yes, it’s definitely shaped my present and hope it will still continue to trail my future.
DC: How was it back in the early days of mobile photography? What do you think is the state of mobile photography NOW? And where do you think is it heading?
AK: The early days were amazing. We met so many creative individuals of all ages and backgrounds who truly saw devices like the iPhone as extraordinary new tools to take pictures. It was especially groundbreaking for genres like Street Photography, because it allowed you to get up REALLY close to the action and truly BE a part of the scene. It added a whole new dimension and intimacy to street shots.
As mobile photography has grown over the years, it’s been wonderful to see the “democratization” of photography give birth to so many talented individuals out there who might not have ever had an opportunity to express their creativity before. So in that way, it’s been great.
On the other hand, since almost EVERYONE now has the ability to take photos and make them seen, it’s made a lot of people believe that simply possessing the tool automatically means they can take quality photographs and become artists or pro photographers. It’s just not so. Unfortunately it’s created not only a glut of “so-so” images out there, it’s also created a ton of fame-seeking individuals who will do anything just to get more followers on Instagram. It’s changed the state of mobile photography in a profound way, because less people care about the “artistry” involved, and care more about how to increase their numbers.
It’s affected the photography industry as a whole, actually — as you see more and more companies, news agencies, and so forth let go of their photo staff because there’s so many of “Joe Public” out there willing to give away their photos for free simply for bragging rights. As much as we’re mobile photo evangelists, we don’t see this as a good thing at all. We don’t want the mobile revolution to be about watered-down, amateurish images. We want to see “mobile” revolutionize and open up photography, but not at the expense of quality. And we want to see amazing images rewarded in the same way professional photography has been rewarded over the years. It’s just a different tool.
SF: I was honored to be involved in the field since the very early days. I was one of the leading judges of the first ever international mobile photo competition in early 2010 (the EYE’EM Awards), got one of my iPhone images sold for usage as the cover in a UK book, another one was acquired for the permanent collection of the High Museum of Art in Atlanta, and got to work with a fashion brand way before Instagram became popular and many brands started working with mobile shooters.
Along the way, I’ve seen many things come and go, I’ve met many incredible people in the community, but I’ve also seen things water down: first with the shift from creative photography to social photography, where it all became more about followers, apps, contests, and — in all honesty — many ego fights all over, and the focus on purpose (creative, communication, emotion, story) became secondary. Also, when it was all a novelty, people and community makers were on their toes, trying to be their best and open doors. With the adoration of many thousands praising them whatever they share (the good, the bad and the worst, equally) and the proliferation of so many players (new creators, new apps/communities/platforms, etc.) I’ll go as far as to say that some people have become a bit complacent or lazy. And at least to me, entering Instagram for example and seeing the same, has got a bit boring today.
DC: I consider myself more of a people’s photographer. Street-candid-photography is the one I love, and when I saw your photos I was just blown away — the composition, the simplicity and yet the depth of the photographs you take, the light and most importantly the incredible stories that you manage to tell with that single shot, how do you it? What is street-photography for you, and how different is it to capture those moments with a mobile rather than a big camera?
SF: Well, everyone has its own definition for what constitutes the concept of Street Photography, that it may include images without people, all sorts of posed shots, etc. I may be a bit narrow minded on that, but to me and my own work, I only call “street photography” the slices of life, fragments of story or emotion involving people (one subject, several or many) captured on the fly, not intrusively, as an invisible witness who frames and capture that instant for posterity. So images of signs or graffiti or architecture without a single person on them I would call them myself “urban photography” and portraits of strangers whom you’ve interacted with and asked specific permission to photograph “Street Portraits.”
AK: We BOTH agree on that, and we’ve had a couple of students here and there who wanted their street photography to include literally ANYTHING on the street. That’s fine, and we appreciate those kinds of photos — but for us there’s a special skill required in taking candids of street life with people, and that’s what we teach specifically in our “Storytelling: Street Photography” workshop. Now in our “Storytelling: Documentary/Journalism” course, we open it up to non-people shots too. We don’t want people to limit their creativity, but we also want them to understand the differences in types of photography, and the different skills needed for each, and to hone their skills accordingly.
SF: Don’t get me wrong, I’ve done examples of all of it, but my favorite Street Photography remains that style — the quiet witness pointing your lens in front of life and framing it.
To do that, the cellphone is obviously a great discreet tool, often not even seen by your subjects. It’s a “language” we all speak, using phones, so even if people see you they won’t think directly you are taking a photograph. But shooting with the phone also requires you to get bolder, closer, and become part of the scene, to almost “feel” the moment — that’s how close you get. There’s nothing I find more boring than what I call “street safari,” where people capture “stolen” shots of strangers with a big tele-zoom lens from the opposite sidewalk and think they’re being super brave. That, to me, alongside the –aesthetically pleasing but morally questionable — style of “in your face flash,” is sneakier and is what sometimes gives what we do a bad rep.
Finally, as for how to do it… probably the simple answer is put passion into it, respect your subjects, learn patience, learn to observe more and shoot less, and seek visual inspiration from many sources (not only other photographers, but cinema, television, comics, painting, etc.) and then bring it all to your OWN voice. Don’t copy other people just because you’ve seen their style works for them. If you’re trying to imitate, you’re not actually CREATING.
AK: The “respect” thing is one of the biggest things we hammer into our students who are trying Street for the first time. It not only helps you if you are feeling a bit scared taking a stranger’s photo (“Just smile,” we say — if someone make eye contact with you), but also it helps you get a more honest and satisfying slice of life that you can feel good about. We like to think that if the people in our pics would see them at some point in the future, they’d be ok with them.
DC: Your photographs are all about those candid moments that you, so masterfully, manage to capture. I know there are so many different opinions both in favor and against shooting like this, and you both have some very strong views on this matters, can you give me the gist of what you think?
SF: Well, I actually wrote recently a photo essay exactly about this subject, called “The Ethics of Being Invisible.” It discusses the ethical dilemmas and why I think that street photography is important and should be protected. But also, perhaps controversial, that not everyone is prepared to be a street photographer in a human level. So if you all have a free minute, I hope can take a look at that essay and let me know what’s your take on the matter.
DC: As I mentioned before, when you told me the first time that your workshop was full I was truly gutted — and by not accepting my many request of signing up anyway, it made me believe in you guys. I felt I could trust you both and that you weren’t just doing it for the sake of money, but you really cared about your students. However, to be absolutely honest, I was still quite skeptic. I really thought that I would not get much out of an online workshop, that you guys would just give me some few comments, a hint here and there and off I would have gone back to my normal shooting… God how wrong I was! I still remember sending you my very first photo of those two guys staring at me in the tube, with “some” editing and a “bit”… ehm… of blurring, thinking you would come back with an Instagram-style comment: “oh lovely, great edit.” To the contrary that was one of the very first beatings I had received, and not the last one either…
[SION & ANTON both laugh]
AK: Just a “bit” of blurring, eh?? That photo, we told you, was actually great — but your editing was unfortunately ruining it. We always say that when the first thing a viewer sees are the “effects” before the story, then you’ve “processed” it way too much. Trust your images to speak for themselves, and if heavy effects are required to make it “work,” then the storytelling is probably not strong enough to begin with…
DC: Your feedback was fearless and incredibly constructive. The amount of time that you spend analyzing, deconstructing and critiquing each and every photograph of every single student of yours is truly impressive! How do you manage? This might sound a stupid question, but why do you do your workshop? Surely not only for the money… for the amount of time you spend during those ten days is just over and above what you get from a monetary point of view.
AK: Hah! It’s DEFINITELY not for the money! We barely make anything for the sheer amount of work we put into this. The pricing issue is actually a huge problem for us. The first time we offered the classes, it was a bit of a “tryout,” and we offered them too cheap. At a huge loss for us, really — but we honestly weren’t sure who, if anyone, would join them back then. Those first rounds of workshops ended up selling out, and so we’ve been slowly increasing the cost of them each time we offer them in order to at least break even a bit (and also giving more to the students each time to make the cost increases at least worthwhile). But each time we did that, there were slightly fewer people signing up. There’s definitely a “wall” we’ve hit that people aren’t willing to pay to more than. Yet all of our professional photographer friends STILL think we’re severely under-selling ourselves for the sheer amount of work and feedback that we give (it’s a steal compared to a comparable course in DSLR photography).
It’s frustrating because we’re still not making enough money off these courses. And yet…many of our students have said that while they were reluctant to pay the price for them at first, AFTER taking them, and seeing how much they learned from it, they would have gladly paid more. Unfortunately it’s hard for people to take that initial leap. We get that… but it’s still frustrating knowing that there are probably lots of people who’d be willing to take these courses if they only knew how much it actually improves their storytelling. It’s a problem we haven’t quite figured out how to solve, because we know there’s a huge untapped audience for what we teach who would really appreciate what they got out of them, and we can’t seem to “reach” these people.
SF: Deep down it’s also perhaps an issue that happens everywhere else, where people have gotten used to get so many things for free (reading material, watching movies, listening to music and even experiencing photography) that many are not willing to pay a dime for anything that has to do with creativity, communication and learning, more so than ever if it happens online. But yes, we don’t do this for the money, because it will never become a substantial income. We do it because we’re very passionate about the concept of story, that we’ve learned from our background in journalism, comic books, cinema, etc. and we truly enjoy sharing that knowledge with other people. Seeing someone who may have never taken a single iPhone image before then end one of our Portrait workshops creating a photo series depicting a family member, that had coherence, and was dynamic, is a lovely reward. I appreciate so much any advice and teaching I’ve got from some of my own mentors, that I think if we can do the same for anyone else out there, it’s all worth it. Lastly, we do this too because WE ALSO LEARN from the experience always, we learn from our interaction with other people and what they produce, where they come from, what stories they’re telling. And it enriches yourself and your own process too.
AK: As for the constructive feedback we give during the workshops…it’s all done out of love, and to make our students better storytellers. And I think they “get” that — even though it’s sometimes a shock to people who are so used to only getting “great!” and “lovely!” comments on Instagram. Unfortunately the way IG is designed, it’s constructed in a way that most people simply care about getting the most “likes” and followers possible. Most people we know on IG flip through their friend stream so fast, they rarely stop and truly appreciate a great photo. Many admit that they “auto-like” whatever their friends upload, because they hope they’ll get that same “love” back on their own photos.
Unfortunately this creates a false “everything is wonderful” environment that gets perpetuated. There is ZERO room for constructive critique or in-depth analysis. No one wants to hear that! They just want the like, the positive comment, and that’s it. Unfortunately there’s no room for real growth or learning that way.
SF: Or you get the other sad face of the internet: the trolls that only come uninvited and uncalled for to trash the work of someone without giving a single word of why they feel the image doesn’t work or without having any (good) images in their own accounts to back up their knowledge and mastery, or what entitles them to come play “I know better than you” card.
AK: Our students understand the extreme learning limitations of places like Instagram, and they LOVE the feedback we give. We always tell them what works and why, but we also tell them where they can improve, or if something’s just not working at all, and the reasons. It’s very eye-opening, but they crave that because they learn so much, and then just do even better with their next batch of photos. Our workshops are only 10 days long, but it’s crazy how much improvements we see over such a short time. And that affects their photography and storytelling from that point on. We hammer in a lot of info, and we get a kick out of our students saying later that they still hear our “voices” in their heads when they’re shooting — and that it really helps them tell better stories. We’ve had such great students, and they’ve given us some amazing testimonials. It’s been a really rewarding experience, doing these workshops.
DC: What is it that you want to achieve with your workshop, what is the final goal?
AK: It’s been fun to see the advances of our students, and the waves some of them have been making in the mobile photography world (you included, Dilshad!). It was a really exciting moment when we got to do the “What’s Your Story?” Exhibit, and show work from our Mobile Photo Workshop students! We’re constantly trying to think of new ways to expose our students work to the masses, and we hope we can do more exhibits or other things like that in the future.
DC: So when is the next session starting? And which workshops are you going to do this time? How can one join? And what should they be expecting?
AK: The next workshop is “Storytelling: Street Photography” and it starts this Thursday, June 13th and runs until the 22nd. It’s still not too late to join it! Then after that, we have “Storytelling: Portraits” from July 2-11 (a fantastic way to learn how to take arresting portraits without needing any fancy equipment), and then we’re bringing back “Storytelling: Documentary/Journalism” from July 23-August 1. (People can register for any or all of these by going towww.mobilephotoworkshop.com, which gives plenty of info on what to expect in each course). We decided to bring that last workshop back because we strongly believe that kind of photography (along with text) is the real future of storytelling.
DC: As a participant in one of your Storytelling workshops, I have only praises — and you know how much I did love it, so I can only heartedly recommend it to anyone. From the utter beginners to the very professionals, one can only learn and better themselves, and the platform that you offer is worth every single penny! What I would say is that they should be truly be ready to participate and to discuss and comment and post, this is the only way to really benefit from this!
SF: Thank you, Dilshad! We agree that perhaps the most fun way to enjoy the workshop is to use the social aspect of it, to engage with the other students, leave your own feedback on the work they submit, to ask questions or exchange stories, etc. But it also depends on every person. Some people may be more shy or self-conscious and they prefer to take a more laid back approach, quiet and listening in and submitting less. I guess that’s fine too, as long as they feel they’re taking in what we’re contributing.
DC: In regards with social media, what is your rapport with it? Where do you post your work? You guys have gone quiet on Instagram, what are the reasons behind? Where do you see Instagram going? And is there a real competitor standing up tall against IG?
SF: I started using Flickr in 2007 and became heavily involved a year later. It was through my Flickr images that Time Out New York found out about me and offered me a collaboration. It was through being on Flickr that I’ve got not one but two book covers for some of my photographs. And it was there that we first met a bunch of incredible people all around the world. So perhaps out of a silly romantic nostalgia, I’ve always stuck to Flickr even in the few years where they fell behind in the mobile revolution, where seeing the app through a mobile device truly sucked, and they lost a lot of users and traction. I kept posting most of my best work there, even when I was using Instagram the most. And after my fallout with Instagram, it’s good to know that Flickr finally got their act together and created a better, more ready for today’s devices, service. So yeah, I’m still on Flickr on almost a daily basis.
AK: I sadly abandoned Flickr for a while there and posted exclusively to Instagram for a long time. Boy, what a mistake that was!! But I’m happy to be back there now.
As for Instagram…yes, we no longer post new images there. The only time we post something it’s to make some special announcement…like new workshops or something. The reasons for leaving IG are multitude, but let’s rewind a bit and give you a quick version of our “IG History”:
We joined IG the first month it debuted. At first we didn’t know what to make of it, and thought the filters and such were silly — but once we realized we didn’t need to use them, we thought the app was a great and easy way for sharing photos. We became pretty heavy users, and within a short time we were both put on the “Suggested Users” list. This made our follower count explode overnight, and it continued to grow for months! Unfortunately…it also lessened the appeal of the app considerably for us. We were no longer able to keep up with who was following us, or much of anything. And the people who were following us weren’t necessarily coming to us because they loved our photos — they were following us because IG was telling them to. It meant we got a lot of teens or users who could care less about photography, and people posting tons of “follow me”-type comments. The spam increased out of control, and it no longer became fun. After several months where it got worse and worse, we became the only people (that we knew of at the time, anyway) that actually wrote to IG to ask to be taken OFF the “Suggested User” list (which seemed to shock them). Meanwhile, everyone else seemed to be doing everything in their power to get ON that list at whatever cost. (If we had stayed on, we estimate our follower count would have risen to over 300-400k, according to similar people on the list who remained).
Gaining followers and likes was not our goal. We simply wanted to share good photos, and consume quality photos from others. But we saw IG becoming more and more of a popularity circus. I ended up writing a controversial article at one point (for the Mobile Photo Group’s blog — the website of which was sadly taken down earlier this year) which was entitled “Is Instagram Defining, and Therefore Ruining, Mobile Photography?” It basically talked about my frustration about how Instagram was completely taking over the global conversation about mobile photography in general. Whenever shooting with a mobile device was brought up in any mainstream news article, it became nearly impossible NOT to tie it to IG.
It got to the point where “mobile photography” and “Instagram” were so intertwined in people’s minds, that they became interchangeable. When I would tell people that I would meet for the first time that my photography was taken on an iPhone, they would say “Oh, so you’re an Instagrammer?” It drove me crazy, because I knew they immediately pictured me taking photos of my feet, or my lunch, or a pet, with an “Earlybird” filter slapped on top of it. That’s not what I do at all, but sadly that’s what the “average person” thinks of now when they hear about iPhone photos. Most people still don’t think you can actually take compelling photographs with a mobile device, and that’s sad.
Over five years ago, when iPhone pics were first getting people’s attention, you would see headlines like “Wow! You Won’t Believe These Photos Were Taken With an iPhone!” There was a lot of debate about whether iPhones were legitimate as cameras or not — which seems silly to think about nowadays. But at least there was a discussion about the true merits of photography back then! Once Instagram became a huge hit, however, the conversation completely changed and derailed — suddenly people were talking about filters, and followers, and likes, and IG get-togethers. A single app — which was really created for being social, and NOT really about fine photography — suddenly became the “end all, be all” of the mobile photo world. We really wanted no part of that, and our investment in IG lessened over time. Once the whole “Terms of Service” debacle became part of the story, we used that moment as a good excuse to finally put our accounts on private and stop our uploads of new material.
Many of our students, when they first come to us, are so used to taking photos with IG, and sharing ONLY there, that they think EVERY photo has to have a heavy filter on it and be square. Or that every photo has to be constructed to be “like bait” — to get the most hearts possible. Or every photo has to be an extreme close-up to be seen on a tiny phone screen. Details and storytelling and originality are getting lost. We find this deeply disturbing!
To be fair, we don’t want to paint IG as some “evil app” or something. It’s well designed and has its purpose, and we have actually gained SOOOOO much from it. We’ve met so many great people through IG, and we’re very thankful for that. We still think it’s a good app for being social, and think it’s great that people use it for that. But we already have other apps/services that fill that need for us. We do NOT think it’s a good app for sharing photos, however — as least not for serious photographers. That’s just our opinion, though — and is NOT meant as a slight to any serious photographer who is still on there. Many of our talented photographer friends still only post their pics to IG, and we still go on there occasionally as it’s the only way to view their images. But you wanted an answer to why WE are not on there, and we have to be completely honest.
I had over 80,000 followers at my peak (it’s since dropped by going private), but I always knew that maybe only 5% of those followers were actually engaged or interested in my photos. Lots of people don’t understand that those high numbers don’t really mean anything. When the platform became more of a “game” than a vehicle for expression, that’s when I knew it was time to go.
Has not being on IG hurt us? Maybe a little — but only because it still holds waaaay too much power than it should. It’s frustrating when people write us and say “we miss your photography” — as if we suddenly stopped, because we’re no longer posting on IG. There’s more to life than a single app, people! IG’s power has been lessening, though — we hear people say all the time that it’s not as good as it once was. It’s just unfortunate because I think for all the good IG has done (which is a lot), it’s done more damage towards the view of mobile photography in general — and it’s going to take a while to recover from that.
We’re firm believers in quality over quantity, and we want to only promote platforms that truly take photos and storytelling more seriously.
SF: And that’s when a new player comes in, BACKSPACES, that signifies what I’ve always wanted to see: a platform that married the usage of text and imagery together to create compelling photo stories and depended less on the “one image at a time” type of message. I love that the app is very simple and easy to use, yet it delivers a beautiful result that can be perfectly read not only from within Backspaces, but greatly from a web version anywhere else. So currently I’m having a blast putting together a bunch of weekly photo essays there.
AK: Stuff like Backspaces is the future of sharing images and telling stories. You really need more than just a single image (that people flip by quickly on IG, and then never see again) to get people’s attention nowadays. Think about it — there are over 300 million photos shared DAILY on Facebook, and over 40 million a day on Instagram. There are more images being taken and shared in the last couple of years than ALL the previous years of the history of photography combined. We’re constantly subjected to visual overload…so shouldn’t you do everything you can to make your stories stand out a little better and be remembered?
Photo stories, themed sets, multimedia…all of that is going to be the driving force of the future when it comes to sharing visual media. And at the end of the day…it’s gotta be GOOD.
DC: Finally, Do you belong to any mobile-photography groups? You used to be part of the Mobile Photo Group (MPG). While I appreciate that on this topic much has already been said, and yet I really never understood what happened there, I remember reading the manifesto and there was one line that I was not sure — the gist of it was more or less that it was to solely promote the work of the members. Can you tell me what are your thoughts about this and why ultimately it all ended by disbanding the group?
AK: Our former MPG comrade Olly Lang summed up the demise of the group rather well on his blog “Mobile Photo Group — an Obituary.”
SF: As they say, not every good idea in paper was meant to be a great idea in life. The concept of a group sounded great, the members involved were huge talents individually, but having everyone all over the world and with different philosophies, work ethics and missions in mind it became impossible to drive the boat to open sea and explore where it could have taken us all.
AK: As for groups in general…I’m not sure we’ll be joining any others any time soon. We think it’s great that groups like We Are Juxt, AMPt, Tiny Collective and others exist, but if everyone in them aren’t getting something out of them, or they aren’t serving a greater purpose, then they shouldn’t be around. To truly elevate to something amazing, a group needs a strong purpose and mission statement, great leadership, and for all members to add something and contribute. A team is only great as its weakest member, so you have to make sure that each person is truly outstanding.
If we ever become part of something again, it will be smaller, more local, and have a very defined and clear purpose that truly adds something to the greater conversation and elevates storytelling in some way. A group just to have a group is really silly to us…
DC: Wow, I think we have covered quite a lot, one last thing, or maybe two more: if someone wanted to start what would you tell them? What is the best approach to mobile-photography? How can they get some good feedback and where should they look, who should they approach?
SF: I’d say start by typing “Mobile Photography” on a search browser and see what comes. You’ll probably find many of the articles we mentioned, lots of images (obviously good and bad, but you can pretty soon start making the difference between them). Then stop for a few minutes (or a few days, if that’s what it takes) and ask yourself a very simple, sincere and essential question. What do I want to photograph and WHY? If you can’t come up with a few answers to that question, you’re not ready to shoot because you won’t have a focus or purpose, so it’s a mandatory step. Once you find your answers, read about what apps are available, what they can do and see if it fits in the needs and style of the type of photography you want to do. If you’re into street or portraits, you want something that has good separation of exposure and focus to shoot more accurately. If you’re into digital creations, you will find apps that allow masking, textures, multiple exposures and layering, etc. And then practice and practice hard. Your first sets of images are probably going to be mediocre or with mistakes. But every now and then one will come up that you’ll be happy with and it will get better.
AK: Just don’t get hung up ONLY on apps! It makes us very sad when people ask us “What app did you take that with?” rather than “Why did you take that photo?” or “What were you trying to convey here?” Apps are very important, but they are just tools. They alone won’t make your photos better…
SF: As to how to get good feedback, I know you guys here at Juxt have some threads with reviews and constructive criticism, right? It’s all about finding places where that longer, deeper analysis is encouraged. Don’t expect any serious feedback in a place that’s meant for fast consumption like Instagram, that’s for sure!
DC: If people want to see your work where can they find it?
SF: If there’s anyone still reading this after how much we wrote, I say thank you for your patience and you are a good trooper. In these times where people see one paragraph of text and say “uff, you write too much, I’m lazy,” it means a lot when you get someone who will take on your journey.
So yeah, thank you readers, and long live Mobile Photography and Storytelling!
DC: Thank you ever so much for your time! It’s always an incredible pleasure talking to you two!
SF & AK: Thanks, Dilshad!!
*Also you can read Sion’s Interview with David N here, “The Dance in New York City.”
Hi, my name is Josh St.Germain and I’d like to tell you a story… my story. Ok, not all of it, just the parts that matter.
They say everything happens for a reason. Whoever “they” are, I believe them. The one main thing I have learned time and time again in my life, is that I have to trust in the path I see lain before me. I have tried many times to step off my path and head off into the woods to find another’s to follow. Each time I have, without fail, been led straight back to my original footprints by a series of seemingly purposeful & usually frustrating events. I know that I have control over my life and the choices I make, I’m just saying that if you open your eyes to the signs, you’ll find the life you were meant to have. This road is paved with pride rather than regret. And yeah, it’s usually the hardest path to choose, but yields the most fulfillment.
The three photos in this series embody specific points along my path that have assured me I had arrived properly at my checkpoints. A wife, kids, and a home that I was proud of, are three things that I never once thought I would have. Even down to the minutes before I sat down and knew I was in the presence of my future wife, I still held strong to this belief.
Six years ago in January of ‘07, my grandmother became ill. We all knew (whether we admitted it or not) that this wasn’t going to end in recovery. Her and I shared a very strong relationship. And through her illness and losing her a couple months later, along with other personal struggles, brought a very dark time upon my life.
In the darkest place, it is easiest to see light…
I saw a light. At a time when I least expected to. I had a choice to stay in the darkness or trust a hope and follow this light. This light was a woman, lost in her own dark place.
I decided to accept an invitation to check out a salon (ironically named Karma) that my acquaintance Jenn had recently opened. It so happened to be on the way to and from visiting my ailing grandmother. We ate lunch together that day and I’d like to believe that we both walked away knowing that there was purpose in our time together. She was in the process of leaving an unhappy marriage, moving back into her parents house, managing a new business, and caring for her one and a half year old daughter. Everything about her was exactly the opposite of what my brain would have thought to pursue. But everything happens for a reason, and I my heart told me feet which way to go on this one..
Five months later we had an apartment together and I was an unofficial step-dad to her two year old daughter. 2 years after that, our son Logan made a grand entrance at the hospital on a September morning. And now we are happily married and have been in our very own house for almost a year. I could never have imagined, as I sat in darkness over six years ago, that I would be telling you these things about my life. In fact, with each one of these choices, I had myself thinking it would never work out. Yet, fate whispered in my ear otherwise.
Let’s back-up for a minute… I’ve gone through creative phases in my life. The earliest I remember was pencil drawing, then writing poems and drug induced short stories, taking photos with disposable cameras, then musicianship, on to extremely amatuer graphic design, and finally landing right here, right now. Mobile photography has not only allowed me the creative outlet I have consistently needed to survive, but it has allowed me to blossom as a person. I’ve opened up to the mobile world and with that, opened up as a person. It kind of sounds stupid when I say it out loud, but I cannot deny the truth in it. The community is truly amazing.
There is something very specific that relates all that I’ve shared above. I would have inevitably been exposed to mobile photography even if none of these events had happened in my life. What makes all the difference, is the inspiration I get from my wife, my kids, and the place we call home. To have my step-daughter volunteer to join me on a photo adventure with her iPod raring to go, or to have my wife suggest that we go to a nearby lighthouse to take some photos after dinner on date night, gives me a joy that I can’t express with words. They inspire me and support me and fuel my passion. This inspiration is always behind my eyes as I’m looking through the lens of my phone. I couldn’t be who I am, without them.That is something you don’t take for granted.
Now, I haven’t shared this story with you to brag or glorify my life in some way. I’m just a landscaper, living in a small town, with a smartphone and a dream. I’m so far from perfect that I can’t even see what it looks like (nor do I care). I simply hope that there is at least one of you out there can relate to the darkness I’ve seen. I hope you now feel that no matter what you have convinced yourself of, there is always going to be a light that can guide you to the life you were meant to live. You only need to keep your eyes open and trust that everything happens for a reason.
*Editors Note: Josh posted these shots as part of the #iaminspired by challenge. Dilshad and I loved them so much we asked for more! In talking with Josh I asked him to expand on what these three photos meant to him. – Anna Cox
Tuscany: La Culla Dell’Arte (The Cradle of Art), A Conversation With Gianluca Ricoveri by Dilshad C.
Dilshad’s Introduction:
I first came across Gianluca’s work a few weeks ago on Facebook and I was immediately drawn into his photograph, which emanated beauty and poetic melancholy. There was something familiar, I could recognise the charm of places that I used to roam. I was intrigued by his photograph and while his work is reminiscent of works made by the Pre-Raphaelites, or the English Landscape’s painters, I knew that these could have only been inspired by the enchanted countryside of Tuscany. I also knew straightaway that I had to contact him and find out more about him, so I did and after a few skype conversation ad many chats I was sure he was perfect for an interview on Juxt and I think this has been one of the best decision that I have taken up to now, so without much ado lets find out more about Gianluca Ricoveri and his beautiful creations.
D: Dilshad G: Gianluca
D: First of all, thank you very much for accepting my invitation. I have to say, your photos have brought back so many memories from my past. I used to leave in Pisa, and I still can recognise many atmospheric places that you capture! Your work is truly stunning and I was, straight away, attracted by it. So tell me who is Gianluca Ricoveri?
G: I am 63 years old, I worked for a pharmaceutical company and now I am retired and I have much more time to dedicate to photography and to my countryside.
D: You live in Tuscany, and as they say, this is the birthplace of the Renaissance La culla dell’arte (the cradle of art), what does this mean to you?
G: I live near Pisa in Tuscany. I think that anyone who has had the chance to live here gets used to being surrounded by a series of artistic beauties, without being so deeply touched since it becomes part of the daily life.
If you walk around every town, you can admire and enjoy so many beautiful works of art, especially the ones coming from the Renaissance.
The beauty and the artistry of any landscape depicted in the many great works of art from the Renaissance, is deeply intertwined with the character of this region. Tuscany has a history that goes back 3000 years, where man has always tried to build a landscape by respecting nature as it was described by the painters of the Renaissance such as Piero Della Francesca, Masaccio, Leonardo da Vinci. In my Photographs I try to convey, besides the image of a landscape which I am familiar with, also the awareness of harmony that comes from a historical and cultural inheritance which is typical of the Renaissance, filtered through my photographic language.
D: How did you come across art? How important is art in your life and are you the artist of the family?
G: My father is a painter and an antiques dealer, so I can say that it’s a family tradition, I have grown up among canvas and colours. The other passion that I have is painting. I have always been between painting and photos: I have used my photographs as subjects for my work and I have altered my photos with paintings. Through Iphoneography I have been able to link the two artistic styles, create a perfect symbiosis between the two different processes. It is, indeed, a great pleasure for me to intervene with my editing to transmit that personal vision, that experience and interpretation, which comes from my background as a painter, and which very often, I would not be able to transmit only through photography or painting.
D: Are you more of a formal photographer or do you enjoy experimenting?
G: I have always used different cameras and different formats passing from B&W to film or slides, I have developed and printed the B&W and then worked on it with my painter’s tools. Later in the years, however, I discovered an hybrid system: by scanning the slides I altered it with my computer, then I would print on a watercolour paper, on which I used pencils and watercolours to improve it, so yes, I do love experimenting.
D: How did you come across Mobile photography and what device do you use?
G: I discovered Iphoneography thanks to my sister in law and a brochure of a fantastic exhibition of Roberto Murgia. Suddenly I started shooting photos with my iPhone, while trying to understand and learn the different apps and from that moment onwards I found a new creative world. I started with Hipstamatic, which I keep using. I then went on trying other apps more linear, less invasive. The next step was to improve the editing which is the most interesting aspect of the creative process. It wasn’t easy because I had to understand the different characteristics of every apps and the benefit of the editing process. The learning curve never ends because there are always new apps. From all the apps in my phone, I have selected a handful, on which I rely and I use most frequently. I took photos for many months with an iPhone 3GS and then I used an iPhone 5 and I am very happy with it, it has a good resolution, megapixels enough to produce fair enough enlargements and also the focal length in the phone satisfies my needs.
D: You have a very particular style, which is quite recognisable, this is truly a positive aspect of your work. Your photos have a particular painterly finish, very artistic and poetic. Your fields and landscape photos have that melancholic and solitary atmosphere, which makes me stop to meditate. However they are far from the classical Renaissance style, they remind me more of the Pre-Raphaelites’ way of depicting, there is that Victorian Avant Garde feel to it. If one were to look even more closely to your work, then one could also see hints of the English countryside, a touch of Gainsborough’s light palate and easy strokes, allusions from Dante Gabriel Rossetti’s works, colours that reminds us of Turner, and at one point I could almost see Millais’s Ophelia floating out from your photographs. So where does your influence comes from?
G: Now that you have said this, I can see the correlation with the artists and those particular artistic movements that you have mentioned. In my photographs I try to interpret nature with clearness and meticulousness, I try to search for very particular atmospheric effects, which you can find in the artists you refer to. One of the main characteristics I try to include in my photographs is to include more than one layer or better strata: there is movement with the clouds and the sky, then the reflection coming from the water, all this blended with some sort of mystery.
D: Your photos are mostly of landscapes and of hidden little corners from the countryside, places that are not easy to find, and yet you have managed to find those secluded dwellings and its hidden gems, how do you go about finding such beautiful locations?
G: My photos are mostly taken around a radius of 40-50 kilometres from Pisa where I live; the far and hidden these places are the better for me. I love that melancholic feel of loneliness that oozes from the countryside. Sometimes I return to the same places where I have already been to take photos during the different seasons of the year and in different climatic conditions andf of light. One of these locations is Massaciuccoli Lake, near Lucca, and its protected reservation areas and the other one is the hills from Pisa to Volterra via Cecina. They are ideal places for meditative walking and even if you have been there, you always find something that you might have missed before, or see it again with a different light, a new flourishing of plants which gives you the chance to create something different. I keep searching and looking for, always.
D: Italy, correct me if I am wrong, has a very formal and conservative look towards art. For example, if we take Literature, and Literary Theory or Criticism, everything backs to Dante and its Divine Comedy, and all the analysis passes through Benedetto Croce’s aesthetic. Based on this how do the Italians take into serious consideration Mobile Photography as art?
G: The development and prominence of Mobile Photography in Italy is becoming stronger and stronger, one can find the most important website sites dedicated to mobile photography made and run by Italians, such as: NEM, WIAM and Hisptamatic Sardinia. More and more mobile photographic exhibitions have taken place in Italy, and the critical response was quite positive too. Unfortunately however, the crisis, the recession of Italy and the “very formal and conservative look towards art”, as you have rightly said, doesn’t help to promote it as much as it would deserve, there is still a slight stigma attached to it.
D: You just mentioned NEM (New Era Museum) and I believe you are involved in this wonderful project, can you tell me more about this? How did you come across this?
G: NEM is an initiative owing to the creativity and engagement of Andrea Bigiarini who has created this project, something that is in its early days and is continuously evolving and bettering itself through the input of the many great artists that have become members of NEM. NEM is a platform for the most creative artists in this field, and it helps them to connect and share ideas. It is founded on a humanistic spirit and ideology: spreading this form of art which uses as a means of expression the new digital techniques, promoting both the development of new potential artists and the diffusion of new forms of creative processes.
D: Sounds amazing! I think I would love to organise an interview with Andrea or even a meeting, do you think will he be available and agree to this?
G: I am sure he will be delighted, and it will certainly be possible to arrange an interview or even a meeting whit him, this is a great prject that deserves all the notoriety possible.
D: Going back to mobile photography and to your photography, can you walk me through your process, from the very beginning to the end phase of publishing: how do you decide where to go? Once there what do you look for? You take your photo, then what? What apps do you use? How is your editing process? Which apps do you use?
G: My decision to go out and take photos depends basically on two factors: the quality of the light and the presence of clouds. The first one is the most important: without a good quality and temperature of light, photos come out to be flat, without life. The second are the clouds, if the subject I have to photograph is near, then I don’t mind if there are o aren’t any clouds, if, on the contrary, I have to portray subjects such as groups of trees or hills, then I need as many clouds I can get. After experimenting with many apps, I have chosen a group that seems to work fine for me. To take photos I use three different ones: 6×6, 645Pro, Hipstamatic and rarely Pro Cam and Hueless. My editing always starts with Photogene, which I use to move my photos to my iPad, then I use Snapseed, specifically the “Selective Adjust” tool, which allows me an accurate Dodge and Burn of specific parts of the image. The process varies according to what I want to achive: if I have to add some textures, I use Laminar, for grunging I use Vintage HD, Picture Grunger and Distress FX. If I have to paint on my images, I use Procreate. I haven’t a standardized workflow and an image often requires more interventions to achieve the desired effect.
D: If someone where to start now, what would you recommend them? What is the one thing that they should do or look for?
G: Without a doubt, I would tell them to experiment, to be curious! To make beautiful photos one does not need to go far away; subjects often are wonderful in your home or close to it, look with a different perspective. Do not be afraid to publish your work on the net and try to draw on the experiences of other photographers, one can learn so much from others, you can see the process of shooting and editing in the details by comparing works. I have noticed that people are willing to explain and share their own experiences in the different social communities, beside there are great sites that do a fantastic work from an educational point of view, Juxt to name one!
D: I have already said this, but I truly believe you have a wonderful eye, and your photos are testament to this! I would love to see you at work! If one day I decide to come around, will you take me into your enchanted world and show me the magic behind your photographs?
G: With great pleasure Dilshad, I would like to show you and share with you the beauty of the places I go to photograph, and I would also be curious to see what kind of feelings this places give you and what type of pictures you would like to take.
D- Thank you ever so much for taking the time, it was a pleasure catching up with you.
“Take Us To… ” is an ongoing travel series around the world which features several photographers in a given location. The goal is to give you an inside look as to what the city is like day by day.
Last month we flew you to Chicago, and today, Flight #2 takes you to Montevideo – the capital city of Uruguay.
On this trip photographers, Ana, Denny, Federico R., Federico S., and Fernanda show us their favorite areas of Montevideo. After viewing the video, please take a moment to read more about each photographer and see what they love most about their city.
Sit back, relax and enjoy the ride…
MEET THE PHOTOGRAPHERS
Ana Paula Rondán
Bio: My name is Ana Paula Rondán, I am 24 years old. I work as a model for many years and currently am a fashion producer as well. I was born in a small village, of 900 habitants in the center of the Oriental Republic in Uruguay. I had a beautiful childhood surrounded by nature and pure air.
About the photo set:
Photo1: Feria de Villa Biarritz/Villa Biarritz market. In this type of business we can buy cheeses, grains, olive oil of artisanal and organic origin.
Photo2: Feria de Parque Rodo/Parque Rodo market. Typical business of cold meat and cheeses. They use little packaging and many others are recyclable. For example: the eggs are wrapped in everyday paper. You can also bring your own jars and they will fill with cream cheese, sweets, etc. It is normal one asks to have a taste before buying.
Photo3: Feria vecinal/Neighborhood market. The neighborhood markets are very popular in Uruguay. It is an ecological way to consume. Fortunately many Uruguayan families prefer the markets rather than the large supermarkets.
Photo4: Parada de ómnibus/Bus stop. I take this bus everyday and it stops at the door of my house. It’s route.
Photo5: La señora/The woman. Also went to the market.
Photo6: Typical street of my neighborhood in Parque Rodo. In my neighborhood the houses aren’t high and old. Have plenty of “platanus” and “Jacarandá”.
Photo7: Castillo del Parque Rodó – Library María Stagnero de Munar. Located in the center of the park 100meters from the beach.
Photo8: I really like boat trips. This man works everyday in the park.
Photo9: Parque Rodo/Rodo Park. There are many businesses that make “churros” in my neighborhood but his one in particular stands out for serving “churros” with cheese.
Photo 10: Parque Rodo. My neighborhood also has games with views of the beach. Every weekend people come from all parts of Montevideo to enjoy the park and the games.
Bio: My name is Ana Paula Rondán, am 24 years old. I work as a model for many years and am now a fashion producer as well. I was born in a very small village, of 900 habitants in the center of the Oriental Republic of Uruguay. I had a beautiful childhood surrounded by nature and pure air.
1. Are you originally from Montevideo? What is your line of profession? And how does it influence your photography?
I was born in Cardona in the department of Soriano, Uruguay.
I work as a professional model for more than 10 years. I also directed a fashion magazine for two years and nowadays work as a fashion producer, besides working as a model. In taking part in all of these productions, along my career, I started to feel a certain attraction for photography and the truth is I began to experiment when Instagram entered my life last year.
2. What do you feel makes Montevideo unique?
Montevideo is a very calm city, with a very big coastline which plays a significant part in the mood of the Uruguayans In appearance, it is a city of the past. Its architecture is very old, and so are the automobiles. Something that makes Uruguayans unique is that everyone drinks “mate” all the time and everywhere, this calls much attention to the people who visit from other countries.
Es una casa de herramientas en el bosque de Lussich en Portezuelo, Maldonado, Uruguay.
3. What is your favorite typical dish? Is there a local restaurant which you recommend that serves it just the way you like it?
My favorite food is the “chivito” of Bar Sporting. It is a bar en Parque Rodo managed by its owners.
4. Is there a place which you classify as a “hidden gem”?
Twice a week in every neighborhood of Montevideo we have large markets of fresh fruits and vegetables, cheap and many of them are organic.
5. What tip would you give to someone traveling to Montevideo for the first time?
Personally I recommend not looking for big parties and bars.
6. How would you describe the people of Montevideo?
The people of Uruguay are very kind, charming and very relaxed. The big river greatly influences the Uruguayan’s personality.
Las Toscas.
Este balneario queda a 30 minutos de Montevideo, en el kilómetro 47.5.
Es una de mis playas favoritas. Hay un ambiente muy familiar y tranquilo.
7. Have you had any professional training in photography?
No, I am not a photographer. I take pictures for pleasure.
8. Are you involved with any collaborations or projects you’d like to share?
No.
9. If you’re not taking photographs, you are…
These days I am making frames with flowers that I have collected, dehydrated and have kept throughout the summer.
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Denny Brechner
About the photo set: Day and night by the sea.
Bio: Born in Montevideo in 1983, lived in Uruguay, Israel, London and Shanghai. Studied Film in College where I directed the documentary, “The Big Trip”, about Israeli soldiers travelling after finishing the army. After school I worked in several film projects. Now am established in Montevideo, working as a freelance photographer.
1. Are you originally from Montevideo? What is your line of profession? And how does it influence your photography?
I’m from Montevideo. I am working with a software company in the chinese market. My photography was influenced by all the travels, making street photography one of my favorite areas.
2. What do you feel makes Montevideo unique?
I feel Montevideo is unique for its rhythm, being very peaceful for a capital.
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3. What is your favorite typical dish? Is there a local restaurant which you recommend that serves it just the way you like it?
Chivito and Milanesa. La pasiva is a good place for local food
4. Is there a place which you classify as a “hidden gem”?
Not really.
5. What tip would you give to someone traveling to Montevideo for the first time?
Montevideo doesn’t have super famous spots, it is generally the vibe what makes it unique. You need a few days to see it.
6. How would you describe the people of Montevideo?
Well educated, humble, peaceful.
Untitled
7. Have you had any professional training in photography?
I started as a professional last year working with some magazines.
8. Are you involved with any collaborations or projects you’d like to share?
Not yet.
9. If you’re not taking photographs, you are…
Playing soccer, diving and cooking.
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Federico Racchi
About the photo set: Montevideo is a small port city which lives and looks to the sea. As a lucky “montevideano”, I grew up living one block from the “Rambla” of “Punta Carretas”, then moved to “Buceo” and finally to “Pocitos”, living always only a couple of blocks from the sea. This place is like our backyard. We have experienced many things there, first football shoots, swimming, fishing, kissing, drinking “mates”, beer or having our first cigarette and more… A magical place from which to observe calm and feel relaxed.
Bio: I work and live in Montevideo as a graphic designer and freelance photographer. I have lived a few years away from my hometown, first in Dominican Republic and then in New York. In 2009 I came into photography and started going out to the streets looking for emotions, lifestyle and anthropological shapes of the city and citizens.
1. Are you originally from Montevideo? What is your line of profession? And how does it influence your photography?
I live and work in Montevideo as a graphic designer. My career has taken me to the visual art field and experiment with all kind of cameras, film, lomo, dslr, mostly while on vacation or other travel experiences. Besides, I have lived a few years in Dominican Republic and New York.
2. What do you feel makes Montevideo unique?
The city which looks at the sea, the mild climate and the people which I think have a taste, education and creativity in all art levels, like music and poetry for example making Montevideo, with its 1.5 million people, unique.
Untitled
3. What is your favorite typical dish? Is there a local restaurant which you recommend that serves it just the way you like it?
The typical dish here is the ‘asado’ (meat ribs), you can have it at any ‘parrillada’, but for me the best in town is called ‘La Otra’ in Pocitos neighborhood. Also you can have the most tourist experience, going down town to ‘El Mercado del Puerto’.
Besides, you can find fresh fish everywhere 🙂
4. Is there a place which you classify as a “hidden gem”?
There is a dock in the Buceo’s bay thats is a gem and another one in ‘Punta Brava’ .
5. What tip would you give to someone traveling to Montevideo for the first time?
Well I think like in most other cities, it is in food workers where you will find the real answers about the city. However one tip I can give is to don’t miss the ‘Tambores’ experience (F. Sardi will tell you for sure). Because like my friend @pendehooo tattoo says “Music is the answer” and Films too!!!
Some Uruguayan films you must see are: “25watts”, “Whisky”, “El Baño del Papa”.
6. How would you describe the people of Montevideo?
I think we are simple middle class people, with stronger values in social justice and compromise in politics. We are very extreme in our beliefs as well as very passionate for soccer….hehehe.
We are quite conservative in our way of dressing but very forward thinking in topics like equal same sex marriage and legal abortion rights. Besides our country has innovated education by the “one laptop per child” program, from which we feel really proud.
7. Have you had any professional training in photography?
Not in depth, but during my graphic designer graduate degree we had a couple of courses to introduce us to the photography field, which we then experienced for most of our projects.
Untitled
8. Are you involved with any collaborations or projects you’d like to share?
I took part in the 24 hour project in March. It was an amazing experience which you can check in the post by @Koci, which was published in here. Besides, I’m about to start the 100strangers on flickr group to improve the streets conversations. On the other hand, I also have a food project in progress, together with my chef and designer friends.
9. If you’re not taking photographs, you are…
While taking photos and or not I spend the time with my love @marusilva and my dog #edmalab. We enjoy walking by the beach everyday. And I have an obsession with auteur cinema, like watching 7 to 10 films a week.
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Federico Sardi
About the photo set: My passion with mobile photography began almost accidentally. As an orchestra musician I travel a lot to study and perform abroad. As I’m always carrying my instrument, accesories, music stand and lots of scores, the only camera I can carry with me is my iPhone. I started documenting all my travels with that little device and found that its camera could get in many places where a “real camera” could not. That’s where my passion for street photography started.
After coming back to Uruguay I started looking at it with “tourist eyes”. I started discovering new details every day, just like if I was visiting a new country. From that moment on I’ve been photographing Montevideo daily, getting to know its architecture, its people, its little secrets from a completely different perspective. Through candids I’m capturing slices of life, I’m documenting life from an artistic point of view.
Thanks to my camera-phone, I discovered a new passion I couldn’t live without; photography. I think these pictures are a good sample of what I want to portray; fractions of a second of the life of ordinary people, doing ordinary things, that turn into magic… into an honest (but nonetheless artistic) documentation of life, here and now, as seen through my eyes.
Bio: Federico Sardi is a bassoonist of the Montevideo Philarmonic and OSSODRE orchestras, a passionate iPhoneographer and a MPA Honorable Mention (Performing Arts 2013)
1. Are you originally from Montevideo? What is your line of profession? And how does it influence your photography?
I was born in Montevideo, in November 1990, and I’m a professional musician. I’m a bassoonist of the Montevideo Philharmonic and OSSODRE (National Symphony) orchestras.
Music is one way of expressing myself, photography is just another one. It is something that I need to do almost as much as make music. When my job gets too demanding and stressful or when I feel I’m not having enough “artistic freedom” (as an orchestra musician is more or less a soldier under the conductor’s command), I tend to shoot even more, as a way to find a balance over my “artistic needs”.
I’d rather learn from one bird how to sing than to teach ten thousand stars how not to dance – – E. E. Cummings
2. What do you feel makes Montevideo unique?
The beautiful “rambla” (promenade) by the Río de la Plata and the Ciudad Vieja (Old City) neighborhood are emblems of the city.
The Ciudad Vieja keeps all Montevideo’s oldest secrets in its ancient buildings, narrow streets and beautiful plazas. It has a huge concentration of offices and government buildings and its also always full of turists what makes that part of the city a gem for street photographers.
Tango (as many other “urban music styles”) was born in the outskirts of Ciudad Vieja, close to the docks where the poor people found a way to express their pain and nostalgia through dance and music. It still has some “dark” areas that I think contribute to its magic.
La Rambla which frames the southern part of our city is a beautiful place to take a walk or just enjoy the view of the Rio de la Plata and the beautiful summer sunsets over the water.
I’ve put up a Foursquare list with must-see places of Montevideo (historical, turistic, bars and restaurants) that won the Foursquare Cities contest. If you use Foursquare and have the chance to visit our city you can even get the Mateína badge by checking on 5 of those places too!
3. What is your favorite typical dish? Is there a local restaurant which you recommend that serves it just the way you like it?
There are many typical dishes. I should say that “asado” is the principal. My personal favourite is Chivito. If you want to know what a Chivito is, you’ll definetly have to see what Anthony Bourdain has to say about it.
If you want to eat asado you’ll definetly have to go to Mercado del Puerto on Ciudad Vieja (listed on the Foursquare list), that is a huge old food “market” that has many “parrilladas”, the places where asado is best made. About chivitos, I’d recommend you to try chivitos in every bar and restaurant until you find the one that you like the best. Every place has some disctintive way of preparing chivitos. My favourite chivito will most likely be the next to come!
4. Is there a place which you classify as a “hidden gem”?
I think Montevideo is full of “hidden gems”, it’s just a matter of being adventurous and looking for those gems. If you saw the full Anthony Bourdain episode on Uruguay you’ll surelly know what I’m talking about.
If you come to visit Montevideo you’ll have to visit Palermo and Barrio Sur neighborhoods to hear some candombe (a beautiful rhythm legacy of the slaves, that used to call eachother with the sound of the drums), and visit the Feria de Tristán Narvaja (Sunday mornings), a traditional flea market in which you can find anything from old wrecked cameras and used clothes, from fine antiques and first editions of old books that may worht thousands but be misslabeled at just a few dollars. Great place for street photography too!
5. What tip would you give to someone traveling to Montevideo for the first time?
If you’re adventurous, go off the “prestablished tourist route”. Learn the codes of the city, dress like a local, go out and explore! Most distances in Montevideo are short so grab a map (traveler tip: take screenshots of the places you’re planning on visiting on the map application and use that. Don’t rely on wifi networks! You wont’ find many) and go explore!
There are a few more tourist tips on the interview I gave to the romanian site TukTuk.
6. How would you describe the people of Montevideo?
I always describe and “judge” the people of a city when I’m there as a tourist. Can’t say the same about Montevideo, but I’d like to think that people is gentle and always willing to help a lost tourist!
I believe that the best way to get to know the people of Montevideo without actually visiting the city is through candid portraits. You can take a look at my feed on Instagram or EyeEm and Federico Racchi’s feed on Instagram to see candid portraits of our people from two different perspectives.
7. Have you had any professional training in photography?
No, my passion for photography began with my iPhone. Since I discovered the world of mobile and iPhone photography (iPhoneography, coining Glyn Evans therminology) I’ve been self teaching myself by constantly shooting and reading all I can find, exploiting all the resources that internet provides.
I’m actively involved on the iPhoneography world, beta testing apps, taking pictures (literally) every day and diving in many many projects. I found a new passion and I’m serious about it. I’m putting as much effort on it as I do on music.
Going back to what was asked, I attended one of the excellent online Mobile Photo Workshops (the one on street photography) by Anton Kawasaki and Sion Fullana. I must say I absolutely loved it. It was also a great thing to be able to have them following closely your work, interacting with you and making full use of what technollogy has to offer. Most of the “action” regarding mobile and iPhone photography is happening in the US and on Europe in a smaller degree. It’s very hard to us, south americans, to be a part of it so I celebrate Anton and Sion’s decision to make the workshops online. They’re planning on bringing back the workshops soon, so stay tuned!
Pity the country that needs heroes – – Bertold Brecht
8. Are you involved with any collaborations or projects you’d like to share?
I’m managing Instagramers Uruguay, the local igers network and that allows me to enlarge the mobile community by encouraging igers to use their mobile phones. That is a huge satisfaction, but it also takes a huge amount of work and effort. One of the main short term goals with@igersuruguay is to make a first mobile photography exhibition. On Instagram I’m also moderating the Instagram Artistry account (@ig_artistry) and contributing to Mobile Artistry (@mobileartistry).
I’m also an EyeEm ambassador but haven’t started anything in Uruguay yet, because I may be moving to Düsseldorf, Germany for a while, so that will be a great opportunity to start something there (although the language barrier would make things hard, I think it would be a great experience). I have to confess that I’d really love to work with the guys at EyeEm, the potential of the platform is amazing, and I found that there is a great team behind it. Can’t wait to meet them in person. I’m also on the process of becoming a Juxter (that’s supposed to be a secret…right?). I love what the community is doing and I’d love to collaborate with some bilingual content (spanish and english) to make everything mobile accesible to even more people around the globe. I also discovered recently that I really enjoy writing, so I’ll definetly be doing that more often!
9. If you’re not taking photographs, you are…
If I’m not taking photographs, I’m listening or making music (not only classical!) or I’m working endless hours on all my Apple devices (yes, I use a MacBook Pro, an iPad and two) iPhones to manage, moderate and contribute to the different communities I’m into, besides processing and uploading my own images. I used to read a lot but now I barely have time to keep up with everything that’s going on on my life. On Sundays (every two weeks) I meet a group of crazy music lovers to play a music game that has a history of 60 plus years on Uruguay. In this meetings a host plays a carefully curated selection of classical pieces for the attendance to guess who composed them. Almost non of them are musicians, but their level of knowledge is absolutely unveliavable. Now I’m starting to think that interviewing and photographing them could actually be a great project to get involved into!
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Fermontoro
About the photo set: I lived abroad for many years, and each time I would come to visit my home city I was surprised to see its cars. Montevideo remains a treasure of the past and, within it, a treasure of cars ‘with character’. So I started to work on a series of photos taken with the iPhone, based on those cars and the portraits behind them. This is a selection of the ongoing series.
Bio: Fernanda Montoro was born in Montevideo, Uruguay. During the process of making documentaries, Fernanda discovered her passion for photography. Today she lives and works as a photographer between London and Montevideo, using mainly vintage Polaroid cameras. Her limited edition prints and original polaroid work have been exhibited in galleries around the world and published in numerous magazines and books.
1. Are you originally from Montevideo? What is your line of profession? And how does it influence your photography?
I was born and raised in Montevideo but I lived most of my adult life abroad. I am a photographer and I work mainly with Polaroid and analogue cameras. Photography is an important part of my life.
2. What do you feel makes Montevideo unique?
I think Montevideo combines the buzz of a capital city with the feel of a small town. Add to that mix long stretches of coastline, architectonic treasures and very laid back people.
Rosas Rojas
3. What is your favorite typical dish? Is there a local restaurant which you recommend that serves it just the way you like it?
I’m vegetarian and Uruguay is a famous meat- eating country. In the past there haven’t been many options for me to eat-out! But luckily things are rapidly changing now. No fave veggie place yet, but more options than before, especially in the old city.
4. Is there a place which you classify as a “hidden gem”?
I often go to “El Faro” de Punta Carretas to watch the sunset. It’s a good vantage point, and usually there are only a few fishermen and lots of stray cats at that time of the day.
5. What tip would you give to someone traveling to Montevideo for the first time?
Watch your bag, cameras and walk. It’s a beautiful city to discover by foot.
6. How would you describe the people of Montevideo?
I think in general people are friendly and open to conversation. Not very used to foreigners though.
7. Have you had any professional training in photography?
No, I’m a Self-Taught Photographer. I had professional training in film making.
Ana Paula
8. Are you involved with any collaborations or projects you’d like to share?
I am currently working with my partner Agustin Ferrando on a video series about Uruguay, which broadcasts on YouTube on Mondays: Tiranos Temblad. It reflects Uruguay idiosyncrasy, so I would recommend it to people who want to know more about our culture. Photography-wise I am working on two new series of photographs and also on a book, a collaboration with my writer friend Fernanda Trias. It’s taking us long but we are enjoying the process.
9. If you’re not taking photographs, you are…
I’m enjoying being back home, spending time with Agustin, making and watching videos with him, cooking, playing videogames or reading.
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I’d like to thank the photographers for showing us their wonderful city and for being a part of this series. Hopefully one day I’ll get to visit 🙂 – Bridgette
Suzana, an EyeEm Ambassador, is an artist living in Bucharest, Romania. She grew up fascinated by watching her father process photos in his darkroom. Since then she has never stopped looking at the world in a different way. While she experiments photographing different genres, her main body of work is based on a project which she calls A State of Nude. She has recently taken up mobile photography and she is involved in some very interesting projects that will hopefully come to fruition this summer. Her photographs have a resemblance to Natacha Merritt’s Digital Diaries, and I am sure that Suzana is one to watch, for she will go far! This interview is dedicated to the loving memory of her mother, who passed away when she was still a child.
D: Dilshad S: Suzana
Memories of You
D: So tell me a little bit about you? Where are you from?
S: My name is Suzana Dordea and I was born on a summer day, sometime in the ’80s on the shores of the Black Sea, in Constanta, Romania. Now I work and live in Bucharest, the capital of my country. Since I was a little girl, I was attracted to how my father processed photographs in a very small room, with red light, but photography became my true passion only 4 years ago, when I started taking it seriously, although I always enjoyed taking photos.
Who Are You?
D: Do you have any memories from your childhood that are close to your heart?
S: I used to enjoy simple things, just as I do now, and, of course, I remember when my father and my godfather used to take photos of us with an old film camera ; they had also managed to set up a dark room in the back of our house in a small workhouse, where they used to develop the photos. I think I was around 5 or maximum 6 when I fell in love with all that process of developing pictures in a small room, filled with red light. It was very captivating for a child to see how pictures took shape in there. Although my father tried to explain to me what was happening, I was just 5 years old and I couldn’t really understand. I simply loved to be in there all the time watching while they used to develop. For me, it was something magical that really captivated me . It was stunning how those photos took shape in that solution that looked like water.
Lose It
S: While I was growing up, from my high school years and onward, I used to take photos of everything. At first, it was more like a game. I loved watching people, but the more I played with it, the more I realized how important photography had become for me. It wasn’t just a passion , but it was also some sort of therapy after my mom passed away. Photography helped me to get over my mom’s loss . I still think that it was photography that really helped to take my mind off of the pain that was in my heart . Actually, yesterday it was 9 years since she passed away. So I will dedicate this to her.
Visions Of Myself
D: You said that you were born in Constanta, what made you move to Bucharest?
S: My whole life has been like that ! I had to start all over again and again and again. I think I have got used to that, but it has never been easy . One needs to have a bit of craziness to start from scratch all over again, but to me it’s also a challenge and I love challenges . I loved my native city, but I decided to leave when I realized I did not have so many opportunities there. Being a touristic city it’s only active during the summer, but in the other seasons it’s like a ghost town. On a positive note the city offers many photographic opportunities too!
Time To Divide
D: Do you always keep a camera with you and which one is your favorite?
S: I am happy whenever I have a camera with me; it feels as if I am a complete person. Back then, I had a Canon A200 – this was my first camera . I don’t have a preference, in my opinion one can shoot with anything. To me, it could be just a wooden box with a small hole in it, for I think it’s the eye behind the camera that really matters. The best camera is the one you know how to use well and the one you have with you. I believe that it’s the photographer who makes the photographs in the end, not the camera! After the Canon I had a Benq C, and after that a friend of mine gave me another Canon as a gift. I still use it and I am so very grateful to him for everything he has done for me . Now I use an Olympus PEN and my iPhone, which I love, the Olympus was a gift from another friend of mine. I remember, once, someone offering me to exchange it for a cumbersome professional DSLR, but I refused it because it would be a pain for me to carry it around. I really cannot imagine carrying a huge camera at all time with me. Now I am enjoying my iPhone 4, but I am planning to buy a 5, as I kind of have started to use it more often than my normal one. It is very handy and because it’s my phone, I always carry it around with me.
Stay
D: Do you have a favorite subject to photograph?
S: I really love photographing anything, actually! Places, people , landscapes, however, now I concentrate more on the female body and the discovery of myself in a state of nude.
Requiem For A Dream
D: What do you mean by a State of Nude?
S: The whole concept about being in a State of Nude is that “Nude” to me means more than just a naked body. It is what the photo evokes to the viewers, it should stir emotions , and it does not have to be literally a nude photo, but it can also be just a portrait. I am naked in front of the camera; I have laid my naked soul for you to see.The aim is to remain true to myself.
Mirror
D: Tell me more, when was the first time you took a self-photo?
S: I took my very first self-portrait in 2006 . It was October, I think. I remember I was alone at home and it all started with me playing with the camera. I had some earrings that were long and looked nice when they were moving, I loved the reflection of those, so I decided to give it a go. It was really difficult. You don’t get to see the framing or where the focus would end, but I am a creative person and that day I really wanted to come out with something. I think I have a good eye for composition, as I have never taken any photography classes nor I have been to any art school either. It’s all about trying to look deeply and use your imagination, keep an open eye and always try to look inventively.
Slip Away
S: You see, I consider myself more of an amateur photographer, nothing more. I am interested in a naturalistic and honest representation of what I photograph. I started with myself, because it was a great way to get to know myself better and to start rediscovering myself through my own eyes . Also, one of the main reasons was to overcome my shyness, to step out of my shell .
Letter To Myself
D: Has there been anyone in particular that has influenced how you look at the world and how you take photos? Has this person helped you to grow?
S: Yes. Back in 2009 I started following Cristian Crisbasan’s work. He is the best photographer of nude photography in Romania and one of the greatest photographers in the entire world. His work has been published in Taschen and in many other places. I so admire his work, so I wrote him, asking him an opinion on my photography. He actually wrote me back and encouraged me to keep up with what I was doing and never to give up photography. I was inspired by his reply and from that point onwards I knew that this was what I really wanted to do. He helped me to find my voice, and discover myself. We became great friends, and I also ended up being his muse for an exhibition of photos that he took of me called A-Muse. During all these years he has taught me so much and he is a never-ending inspiration.
State Of Dreaming
D: It is wonderful to find people like this, not only they are a true source of inspiration, but they challenge you and make you grow! You say that Cristian helped you to find your voice, so what is it that you are trying to express with your photography?
S: I think, as Diane Arbus used to say, that photography is a very perverse way of expression. Since last year, I started to document and explore my body, my sexuality, and photographing other models for a project called A State of Nude, as a form of saying who we really are. This is why I believe that the nude, as a means to expose one’s soul, is the most complete, vivid, free, open and honest form of human portraiture – the ultimate expression of body and spirit. My work is about the freedom to express the way I see the human being, day by day, in its natural state. I want to be true to myself, I want to capture the inner self, that little something that makes us all unique . Hence, being my own model works the best so far. That, however, doesn’t mean that I don’t photograph other models, on the contrary, but instead of having someone to photograph me, and because I know myself better than anybody else I feel comfortable to pose for myself freely without the fear of being judged . I would love my photographs to be a sincere expression of the female body. These should convey, simplicity, honesty, kindness, sensuality, and femininity; all these simple things. I hate hypocrisy. To me, it’s not about the technique, it’s about what the image transmits to the viewers. Also, with mobile photography and social media’s immediacy I can connect with my viewers so easily today, and can instantly receive feedback and see if those emotions that I trying to inspire are felt by my viewers!
Haunting Me
D: That’s a very good point! You are EyeEm Ambassador. What do you think about the way they censure photos of nude and also can you tell me how you became an Ambassador?
S: There is a thin line, I think; this is only in our heads to decide what is art and what is not. To me it is all about the limits and the blocks that we have in our heads! I want to be different and I want to look at the world in a more open way. I cannot decide for the creators of IG or EyeEm, but I think there should be more open-mindedness coming from the users of these social platforms as they are the ones who flag and report photos.
Guilty Pleasures
S: In regards to how I become an Ambassador for EyeEm, well I was a fan of Instagram but when they came up with those privacy policies I wanted to delete my account . That was when, similarly to the other users, I felt betrayed by them. So I tried PicYou, but I did not like it one bit and wasn’t sure what to do. By that time I came across EyeEm and I fell in love with it from the very first time I used it. I, actually, became addicted to it straightaway to EyeEm. So I started learning more about what they did and at one point I noticed that there were some members who had an EyeEm ambassador logo and wondered what that was all about? And as I am a very curious person by nature I went to their blog to find out more. That is how I discovered that they were looking for new ambassadors, I filled in the online form , but unfortunately I received a message back saying that for the time being all the positions were filled, but that as soon as they will restart the process they will let me know about this. A few days later I received an email from EyeEm’s representative, Stephanie, saying that they were looking for ambassadors again and if I was still interested then we could go forward. She asked me a few questions and then a few days later I got the pleasant news that I had become the proud ambassador for Bucharest, funnily enough there areno other ambassadors in Romania, this would make me the only one for Romania. I will be organizing meet ups and I am thinking about a great exhibition so keep watching this space!
Miles Away
D: Is there anything else that you would like to add? Maybe on mobile photography?
S: Mobile photography is something that I have just discovered along with EyeEm. Since this discovery I barely use my digital camera and Hipstamatic is my favorite app for taking photos on my mobile! I think that taking photos with my mobile is even harder, and I am always challenged to better myself. This is mostly because it’s a complete different way of shooting and composing, but as I have already said I love challenges and it is not about what camera you have, but how you look at the world. I love all the apps and the possibilities that my iPhone offers me. I use camera+ and Hipstamatic mostly for taking the photos, and I edit these in Snapseed, Kitcam, Swankolab, Dramatic b&w, Blender or iColorama. I have become an addicted app buyer and I keep looking also for gadgets like lenses and tripods and battery chargers too, so that I can have always my phone ready to take a photo whenever I feel the need to do so.
Brutal Hearts
Thank you very much for your time! You can Find Suzana here:
Folklore and legendsare usually traditional stories popularly regarded as the telling of historical events. When in the form of myths, they often involve some form of the supernatural. They have been with us for thousands of years and, because of this, folklore and legends form the basis of many religious beliefs, value systems, and the way we perceive our place in the world and our interaction with other animals. Humans have long revered whales and other animals in legends. For thousands of years they have been aligned with the gods, mythologized, and celebrated in art.
It appears though in many popular legends that the great whales were not necessarily held in such high regard as the other mythological animals. Whales were typically described as monsters of the sea, their great size to be feared by all. Oppian (A.D. 180) told of the hunt of a whale; its monstrous size and unapproachable limbs a terrible sight to behold. In biblical times, the story of Jonah and the whale was well known, and it is popular even today. The story tells of Jonah who fled from the Lord by boat to Tarshish. When the ship was underway, the Lord caused a great storm. In fear of their lives, Jonah asked the mariners to cast him into the sea so the Lord would again make the sea calm and spare the mariners lives. Once Jonah was in the sea, however, the Lord prepared a “great fish” to swallow him. He was in the belly of the whale for 3 days and 3 nights where he prayed and vowed salvation to the Lord. Upon his vow the Lord spoke to the whale and it vomited Jonah onto dry land and spared his life. Although today we know that it is unlikely that this event truly occurred, the story displayed the power of the Lord and what He was capable of doing to those who defied Him.
We’ve all been in Jonah’s sandals. We’ve all had a scary task to set before us, a heavy task with potentially frightening responsibilities placed on our shoulders. When we turn away from these responsibilities (knowing what we should do, yet refusing) it churns up massive emotional upheaval. We become swallowed ourselves in an emotional quagmire. We stew in our emotional soup, until we reach a boiling point. We all struggle with emotional buildup over choices we need to make, or even those choices we cannot bear to execute. Some of us, after days and nights of stewing within the womb of the soul, finally emerge (spit from the whale, so to speak) with renewed determination and a rekindling of faith. Others of us return to the emotional abyss until we can process our fears and indecision into a more refined state of being.
In his 1851 novel “Moby Dick,” Herman Melville described a white sperm whale of uncommon magnitude, capable of great ferocity, cunning, and malice. Melville’s novel summarized the fears of Yankee whalers that the tables would be turned and the whale would become the attacker.
Not all folklore portrays whales as fearsome beasts. Maori folklore of the Ngati Porou people tells of their ancestors being carried safely across the Pacific to New Zealand on the back of a whale. The Ngai Tahu people consider the sperm whales off the coast of the South Island as taonga (treasures). If a whale strands, prayers are said in order to return its spirit to Tangaroa, the Maori god of the sea. After this, the lower jawbone is removed for ceremonial carving and placement on the marae (the tribes’ traditional meeting grounds). Think “Whale Rider.”
The north Alaska Inuit people have for over 1000 years relied on whale products for their survival. As with many traditional hunting societies, ceremonies accompany the hunt that assures good luck, and many hunters take charms or amulets to ensure their luck and safety. Some believe the skull of the dead whale must be returned to the sea in order to assure the immortality and reincarnation of the whale, thereby protecting the future hunting success.
Whales are associated with compassion and solitude, and knowledge of both life and death. They are also associated with unbridled creativity. The exhalation through the blowhole symbolizes the freeing of one’s own creative energies. Sound is also a creative force of life. Whales use sonar and echo-location, linking them to the tutelage of direction and response to feedback. Though whales are symbolic of free use of creativity, they are also teachers of how to use creative energies more conservatively.
The whale may facilitate emotional clarity, and help us navigate through the often ambiguous and confusing seas of emotion. Whales themselves are incredibly nurturing; we see this in how they raise their young as well as their close-knit connection to others in their community herds or pods. Whales have a natural affinity for helping, especially promoting well-being within their community. People who are attracted to the whale often feel devoted to a greater cause, and although they may struggle with their own personal emotions, they tend to naturally conjure healing powers towards others in emotional trauma. Navigating the emotional waters with the whale by your side will afford guidance and clarity say many of these stories.
Whales ask us to embrace the unknown, and that’s precisely why they are so connected to the emotional depths of the oceans. To be sure, our current circumstances are born from an emotional womb. In other words, our reality is intrinsically connected to our thought and our emotional choices. It can be frustrating and confusing to track down the emotional origin of the stuff that’s manifested in our lives, and the whale can help us understand, on a deeper level, the actions that have caused unrest in our daily life.
In many sects of Native wisdom, the whale is symbolic of the beginning, the creation of all life on earth as we know it. They aren’t the only ones. Countless cultures around the globe associate themes of creation, birth and rebirth with the whale.
This Whale. The day Jen and I met this whale we were both brought together by tumultuous times in our lives. It was also the day of the Boston Marathon bombings. Actually it was within an hour of the bombings. We both had felt the sorrow and confusion on the global level, and on the individual level, we were left questioning life events. For me, many questions rushed me. I was lost on many issues. The “Whys” and “How Comes” met this whale as we walked the 100 yards to meet him. It was surreal. Hundreds of people flocked to get a glimpse of this magnificent animal over the span of 3 days (remember Jonah’s story?). Our time with him was relatively short (max 30 minutes). I felt that short time brought feelings of “Everything is going to be alright.” No answers, but the feeling of “You don’t need to know the answers right now” took hold and ultimately calmed me.
It was a healing moment as were amongst others who sought to pay homage to this poor whale whose life was taken by some sort of destiny. We touched the whale and found some sort of solace in its intense circumstance. Did we reach emotional clarity? Certainly not, but I argue that our friendship and whatever personal search that brought us together that day, found a quick moment of humility. It was our time to share with one another the lives, the deaths, and the changes that surrounded our own personal story.
Learn more about this Fin whale that washed up at Burien’s Seahurst Park.
Read more stories of whales as told by Pacific Northwest First Nation.
Listen to the call of the Fin whale.
I came across Andy a few weeks ago, when by chance I’d notice on Twitter that a certain Mobiography website had published my photography walk video from Barcelona. I felt well chuffed and very flattered, so I decided to write, as one does, a thank you mail. I think our friendship started from there.
From that day onward, we have exchanged many emails, phone calls and I have been lucky enough to be featured in his wonderful E-Magazine, which I truly recommend it to everyone (and if you want to be featured, keep reading)! Even more, I all heartedly suggest you to go and have a look at Andy’s photos, which have that romantic melancholic feel that draws you in his stories!
Photography never stops to surprise me, I have met more incredible people trough this medium, than anything else, and this is exactly why I love being part of this amazing community! But without further ado let us dive into this interview.
D: Dilshad A: Andy
D: Let’s start with the classic one: Tell me a bit more about yourself and how mobile photography has changed what you do?
A: I live in Lancashire in the North of England with my wife and 2 boys. By day I’m a web designer/developer, internet marketer, around web geek and I rarely switch off. I’m always on the go which frustrates the hell out of my wife.
I’ve always had an interest in photography ever since an early age. I remember playing as a child with my auntie’s old box type camera. In later years in photography class at Art College I loved the post production dark room work, developing film and exposing prints. I suppose this is where my love of dark, contrasty black and white photography started.
Several years ago I bought myself to a Nikon DSLR digital camera. Thinking back I think I was seduced by its large size, knobs and dials. Whenever possible I was out taking pictures but often found a bulky DSLR awkward to carry (especially on days out with the family).
This is why mobile photography has captured my attention so much. The freedom it offers me and the simplicity of the equipment that’s required is like a breath of fresh air. Combined with its integration into social media platforms is what makes smartphone photography so accessible to everyone. I love it. Now I solely shot with my phone, I find it much more convenient, instant and less obtrusive than the Nikon.
This is why this year I decided to set myself a personal 365 project, where I take a photo a day for a year. This is where the power of mobile photography really comes into its own.
Beach Walking
D: How did you discover mobile photography?
A: It was last year. I have an Android phone, a HTC Desire, although very soon I’m changing to an iPhone. I had heard about Instagram and had previously searched for the app in Google Play but as it was an Apple only app it wasn’t available at the time. In May 2012 I was sat in the garden enjoying the sun when I had another look and bam, there it was. It had been released for Android and that was the beginning.
For the rest of that year I played about with Instagram but it’s only since I recently got back into using Flickr (thanks to the Instagram TOS fiasco) that I really started to take my mobile photography more serious.
Tramline Perspective
D: You mentioned that you were undertaking a 365 project. Can you tell me more about this and the why’s behind it?
A: At the start of this year I came across an article about undertaking a 365 project. I’m not fully sure of the origins of the 365 project but I know there are many people and websites out there devoted to the concept. Basically it involves taking and publishing 1 photo a day for 365 days and is an excellent way to help you discover more about yourself and your photography, what makes a good picture and what doesn’t.
I had often thought about doing something like this before but had never managed to get past day 2 or 3 (mainly due to the impracticalities of carrying a bulky DSLR about and a busy lifestyle). This time it just seemed like the right time. It was the beginning of a new year, a new start; I was starting a new job and was planning out a website about smartphone photography so it all seemed to click into place. I have found it to be an excellent way to quickly improve and hone my photographic skills and style.
Passing Time
D: What day are you on now of this project and do you manage to take a photo every day? Is there a story that has touched you?
A: I think I’m on about day 104 and I have to say it’s a lot harder than I first thought it would be. Some days you finish with a selection of photos to choose from whilst other days you are scraping the bottom of the barrel. It’s a project that requires commitment and I’m beginning to question which is best, to keep to the schedule taking a photo a day or miss a day or two in favour for producing better quality images?
Story wise, if anything the killer photo opportunities have all been missed due to the time lag on the shutter, incorrect exposure, blurred images or not having the camera to hand. Some harsh lessons have been learnt.
One story that does spring to mind is a photograph titled ‘Texting Solitude’. I was out on one of my lunch time photo walks and heading back to work when I spied a man at the end of the road. He was standing against the wall of the town hall totally engrossed in his mobile phone. I guess he was either texting, surfing the internet or maybe even checking photos he’d taken that day – who knows.
I got to the road junction praying that he’d stay as he was, not move and that no one would encroach on the shot and my luck held out. I love the simplicity of the shot and I think the space around him really helps to convey the solitude of the man.
Texting Solitude
D: How do you keep up with your inspiration and enthusiasm?
A: I have to say it’s tough. There are days when the weather is bad, which in the UK is most of the time. There are days when I have commitments with work or family and other days when all I want to do is rest.
That said there is nothing better than the feeling of coming back with a photograph that you are proud of and I think that is what drives me.
Inspiration wise I follow several photographers on Flickr and twitter including Thomas Kakareko, Mark T Simmons and of course Dilshad Corleone. I do a lot of reading on sites like wearejuxt.com and theappwhisperer.com. It’s the human stories and the views of other photographers that really interest me and I suppose this gives me a standard to aim for.
My enthusiasm comes from the fact that I’m pushing myself every day. I try to explore new areas of the city around me. I’ll walk down alley ways that many people pass by without even noticing. I look up above, through gateways, arches or doorways. The main thing that mobile photography has given me is a renewed sense of my surroundings. It has changed the way I look at the world.
Walking on by
D: What subjects fascinate you and how would you describe your style?
A: My first love is landscape photography, I love the outdoors but don’t get many chances to really explore the subject as I’d like. I tend to get a bit self-conscious shooting in public environments but as I work in a small city and have tasked myself with the job of taking a photo a day for a year, it is forcing me out of my comfort zone and into street photography so urban locations are a prominent feature in my work at the moment. I think this is a good thing.
I love black and white photography but I don’t necessarily set out to specifically shoot black and white as the end result. Maybe it’s a subconscious thing or the fact that it’s often dull and grim up north as they say round here. I love dark contrast in a photograph. I tend to burn in the edges of my images and add a hint of blurring as I find it gives the images a moody, old feel and helps draw the viewer’s eye into it.
Station Life #2
D: You mentioned you use an Android phone, what apps do you use?
A: I’ve tried several camera apps but have never been satisfied with them for one reason or another so I just use the native camera on the HTC to take my pictures. I’ve used Camera Zoom FX for a while but I never gelled with it. Others apps I use are Instagram and I’ve tried Eyeem but I am limited on memory space on the phone so have to be selective with what I download.
I prefer to do my editing on the ipad and I mainly use Snapseed as my weapon of choice. I have played about with Blurfx, Filterstorm and a little experimenting with Procreate.
I prefer the iPad for editing due to the larger screen size. It feels a bit more tactile editing this way.
At the end of the month I’m going to be changing over to the iPhone which will allow me to sync my workflow better between the phone and ipad as well as opening me up to other apps like Camera+ and Hipstamatic. There seems to be more available for the iPhone so it seems to make sense to go that way.
Swan Lake
D: Do you have any incredible encounters or a story that really is part of your photographic journey that you would like to tell us?
A: Not so much encounters as I tend to prefer to observe subjects rather than interact with them. As I mentioned the 365 Project is really shaping my photographic style and approach but I suppose the biggest stories or lessons I have learnt relate to missed photo opportunities. The couple in McDonalds holding hands across the table (missed because I didn’t have my phone to hand), the child running to her granddad at the train station with arms outstretched (missed due to a 5 second delay in the shutter going off) and the monk in full habit walking towards me in the high street (again, camera in my pocket and taking too long to get it out and fire it up).
The lessons learnt here is always have your camera to hand as you never know when a photo opportunity will present itself.
I recently took a portrait of my son sat on a bench. At the time it seemed quite ordinary but it wasn’t until I had edited the image and was about to post it to Flickr under a different name that I noticed the plaque on the seat. It said in loving memory of someone dearly departed. It was then I noticed Luke was looking down to a spot next to him and it struck me that to a stranger this raised the question, is the child looking at the place where a loved one once sat or does the ‘loving memory’ subject line relate to the child. When you look at the photo with these questions in mind it takes on a whole new meaning.
I think it’s this ability to capture a snapshot of time and tell a powerful story with it that is the crux point of photography. To be able to tell a story in a single moment is something very special but also a difficult thing to do.
In Loving Memory
D: Have you ever gone into an artistic slump? This is something that I am interested in for I keep fighting the downs, sometimes it’s really hard for me and I have to force myself to come out from it…
A: There’s no other way but to force yourself out of it. I think everyone goes through a slump sooner or later. It’s only natural. As I mentioned before such things as the weather and busy lifestyle commitments can be draining and don’t help.
My advice would be to get up and get out. Try using different apps or explore different environments from that which you’re used to. If you shoot street go for a walk in the country, if you are a landscape photographer go urban. I am setting myself a series of projects based on different themes such as public transport or urban decay. I think having a focus is essential as it gives you a sense of purpose and direction to what you do.
Commuter Man
D: I read, I think, one of your tweets on this, I was really interested reading maybe more about it… Have you thought about writing an article and discussing the whys behind inspirational slumps and how to get out from them? I think a lot of people; I firstly would be really interested to find out more!
A: Yes, it was a reply to a tweet from @wearejuxt asking about people’s thoughts on getting out of a slump. I think an article on the subject would be an interesting idea and it’s something I have been discussing recently with a friend.
I can only speak from my own experience and I guess there are many others out there far more experienced than me but I think the key really lies in pushing yourself, getting out of your comfort zone, exploring the world around you and above all enjoying what you do.
The Twitcher
D: How has social media helped you to connect and meet new people or to develop new ideas?
A: Social media is a core part of my daily routine. It is a fantastic tool that enables me to keep track of what is going on in the world of mobile photography, share things that I find and above all it has enabled me to make friends with others around the world who share a common interest.
It’s such a major part of everyone’s lives these days its truly amazing how fast it has developed, how it is shaping the way we live our lives, and how we consume information. Facebook, Twitter, Instagram, Eyeem, Flickr, Google+ the list goes on.
It’s also something that has enabled me to build a small following to my website, www.mobiography.net. It’s been a key ingredient in its rising popularity.
End of Platform 4
D: As well as your website, you have just launched a new ipad magazine about mobile photography. Tell us about it, what made you decide to publish on the ipad?
A: The magazine is an ipad only mag which for the time being is bi-monthly.
Last year a friend told me about the idea of producing a magazine app for the Apple Newsstand. It was something he was looking to do himself for his legal careers website. I was impressed by the interactive nature and tactile feel that the platform offered. Also when I saw the high definition quality of images on the platform, especially with retina display, I immediately realised the potential for using this medium to showcase photography.
These days’ people are consuming content in so many ways and it struck me that both mobile photography and the ipad tablet market were both growing areas. The ipad has revolutionised the way I work and it just seemed like a logical progression that could help raise the profile of the subject and the work of other mobile photographers and artists.
Mobiography Cover
D: I have to say your Mobiography ipad magazine is absolutely wonderful, well designed and such a great resource for mobile photographers. What is the magazine about and what would you like to achieve from it?
A: Thanks I’m glad you like it. It was an honour to have you agree to do an interview for the debut edition.
With the magazine I’d like to use it as a medium to connect with and showcase the work of other iphoneographers and artists out there and tell their story. I’m also looking to feature interesting insights, tips, tutorials, photo essays as well as accessory and app reviews. Basically, too build a good resource of inspiration and information.
It’s the human aspect of mobile photography that interests me. I’m in awe of the quality of work being pushed out on sites like Flickr and Instagram. Its sites like these that are giving photographers a world stage to showcase their work which is fantastic.
But the one thing that really fascinates me is the fact that by day these talented people live ordinary lives. They work in the local bank; they are housewives, college lecturers or IT professionals. Ordinary people doing ordinary jobs but thanks to mobile photography and social media are producing extra ordinary things. I think this year’s Mobile Photography Awards is testament to that.
Mark T Simmons Mag Spread
D: If someone would like to be featured in future magazine issues, what do they have to do?
A: First thing I would say is the magazine is open to everyone. I would encourage people to join in at the Flickr Group; I do a weekly roundup of the best submissions to the group so I’m always looking for new people and interesting work to showcase. From here I’ll also be featuring a selection of photos in the magazine and inviting people to be interviewed for it.
I don’t care if you’re a veteran or a newbie. I’m looking for interesting work, people who have a story to tell, something that’s maybe a bit different. If someone has an interesting idea for an article, a project they want to talk about or review which they’d like to contribute then get in touch via the website or email I would love to hear people’s ideas.
The debut issue of the Mobiography magazine features interviews with you, Dilshad Corleone and a guy called Mark T Simmons who is currently doing a 365 project of his own themed on the London Underground. I really do urge people to check out his work. There are also contributions from other writers about the Camera+ app, and the Olloclip.
Flickr Group Mag Gallery
D: What are your plans for the future of the magazine?
A: Its early days at the moment, but my hope is that this will build up a community of like-minded mobile photographers and help showcase their talents, to get people to share their experiences and knowledge. God knows where this will go; I mean just look at what ‘We Are Juxt’ has achieved, exhibitions, worldwide 24 hour photo projects, a network of mobile photographers and bloggers. The sky is the limit if you have the ideas, time and a community behind you.
How to Use This App
D: How can someone get a copy of the magazine?
A: The magazine is in the Apple Newsstand for the ipad only. It’s under the Arts and Photography section (search for the keyword mobiography). Although they can go straight to it here then install the app. Once open they can either buy a one off issue or if they become a subscriber they get a 7 day free trial plus a 20% off the price of the normal single issue price.
Tehran is a city of contrasts. Photography from Tehran has its own restrictions and sensitivities. Despite the problems, mobile photographers like Shahram Sharif and Ako Salemi have been photographing this city for several years. In this interview they tell us how they got to know each other and will share with us their experiences of street photography in the capital of Iran.
Tell us about yourselves? When did you start and how did you become interested in mobile photography?
Shahram: Well I’ve been working as a Technology journalist for a long time and I’m currently working for one of the well known financial newspapers in Iran. Photography and Cinema have been two of my priorities in life. However, I gave up film making very early after a few experiences in making a short films. Unlike cinema I continued photography passionately. It’s now 17 years that I am taking photos and my favorite fields are documentary and nature (although these two are totally different). Now that I look at my archive I see that as a technology lover I have had photography experiences even with my first basic smart phones. However, they were not significant experiences and low quality of cameras was disappointing. In the recent years quality of mobile cameras has dramatically improved and the wide variety of applications have transformed the world of photography. My first serious experience of mobile photography happened after I joined Instagram. I saw good photos taken by mobile phones on Instagram. This made me think that it’s possible to take good photos with mobile. Moreover, I found Instagram filters very interesting. Despite this many of the Instagram photos where loose selfies and it made it difficult to think of serious mobile photography. I was astonished when Ako first showed me the Hipstamatic. The afternoon I first started to take photos using Hipstamatic was the same as the first day you go photographing with a new camera. Watching a film by Koci on Linda, seeing the black and white street photos of some of the Instagram members such as Dan Cristea and also seeing the Wearejuxt website made me think What an ideal place.
Photo Credit: Shahram Sharif
Ako: I became fascinated by cameras ten years ago and I started walking and taking photos in the streets of Tehran with my pentax analogue camera. It is now eight years that I am working as a photojournalist in some of the famous Iranian newspapers. Walking around in the streets and taking photos of people has been my passion for years. This habit has provided me with a moving photo studio. Big size of SLR cameras and the attention they attract was one of my concerns during all these years. It even caused me troubles a few times. Two years ago I got an ipod touch and took a few photos with it just for fun. At the same time I joined Instagram and I was lucky to see photos of KociandElif. Little by little I became more serious in taking mobile photos and sharing them on Instagram. I was also very excited when I first used Hipstamatic and its black and white films. I then got an iPhone for its camera quality. Over the past two years I gradually became an iPhoneographer. Now I only use my camera when taking photos for the newspaper I work for.
Photo Credit: Ako Salemi
What are your subjects for photography? Has mobile photography made any changes to your photographic vision?
Shahram: I like buildings and places. Cities are remembered by their buildings. However, in my work I try to capture presence of people in the streets. I basically document the life going on the streets of my city. I like nature photography. When photographing the nature I usually use wide lenses and capture vast areas. Photography from nature feels like reading a poem or listening to a soft music. However, I feel like mobile and street photography makes me more realistic. Using normal lenses takes you closer to the subject. You can capture every movement of your subject and the beautiful or ugly reality in front of the camera. I don’t put any effort for making the truth captured in the photos better or worse but I try to find frames that seem unfamiliar at the first look.
Photo Credit: Shahram Sharif
Ako: I still don’t know why streets and people motivates me for photography more than anything. Although I have tried many different fields of photography street photography has remained my main area of interest. I sometimes think this interest comes from my childhood when I spent most of my time playing with other children in alleys of the small town I was born in. I was interested in watching people and following their actions since I was a kid. Graphic connection between people and their surrounding, shadows, light and reflections in windows have always been the main attraction of a scene for me. That’s maybe the reason why I pay less attention to the colors and see my environment in black and white.
People usually don’t notice you when photographing with mobile and even if they do they won’t take you seriously. My photos are therefore more natural. I act faster and little time is wasted for preparing the camera. Most importantly I can easily share my mobile photos on the web. I am however aware that I miss on quality of the photos and I have less control over light in using a mobile instead of a camera. But I think these aspects are of less importance in street photography.
Photo Credit: Ako Salemi
How did you two meet and what do you think of each other’s works?
Ako: I’ve been working for a financial newspaper as the editor of the photography group since 4 years ago and Shahram was the editor of the technology desk of the same newspaper.We were just colleagues until I realized that Shahram also shares his photos on Instagram. We talked to each other about street photography. We started going out together for photographing after working hours. Shahram doesn’t pass any visually attractive wall without taking a photo. His stranded and confused people well represent the reality of everyday life in this city. Accurate compositions and the fine balance of black and white makes his photos spectacular.
Photo Credit: Ako Salemi
Shahram: َAko and I were just colleagues for years. One of those colleagues you pass by everyday with a smile. Mobile photography became a reason for our friendship. It’s now almost a year that we are taking photos together while walking in the streets of Tehran after work time. He usually borrows my portable charger! We sometimes use the lunch times at work to show our photos to each other and get feedback. A few months ago we formed a group for Iranian mobile photographers named Fotomobers and we organised a few mobile photography training sessions for interested applicants.
Photo Credit: Shahram Sharif
Why is the theme of your work so close? And how do you think you two have influenced each other?
Ako: We usually show our photos to each other and sometimes even edit them together. That’s why the atmosphere of our photos have gradually become close. However, despite photographing sometimes even similar scenes I believe each of us has kept his independence and has his our own photographic vision.
I think one of Shahram’s important strengths is his ability to make positive contacts and I have learnt a lot from him in this aspect. His motivation, encouragement and valuable experience were also vital for forming the Fotomobers. As for my influence over his work I think my black and white style has mostly affected Shahram’s taste for photography.
Photo Credit: Ako Salemi
Shahram: I think this similarity is because of two things.Firstly the environment we work in and secondly our vision to photography. Yet these similarities are only in appearance.We have different styles of photography. When I am taking a photo I mostly pay attention to the background and composition of people in the frame. But in Ako’s photos the emphasis is on the relation between elements. I love Ako’s work. He grabs the subjects and doesn’t miss his favorite subjects like birds or pedestrians wearing a hat. I confess that I sometimes envy his photos.
Photo Credit: Shahram Sharif
What is the Tehran you are working in like and how do your photos portray this city?
Shahram: Tehran is a vast city full of contrasts. This contrast is not only the contrast of lights, urban areas and the weather but a contrast is also evident in very different lifestyles and behaviour of people. You may find the most elegant buildings next to the houses of the poor. The happiest and the most nervous people pass you by at the same time.On the other hand street phptpgraphy in Tehran is not at all an easy job.In many of the streets you see the “No Photography” sign .”No photography” sign has become a part of urban culture. Even in some cultural places such as the Book City you are not allowed to take photos. Most of the shopkeepers don’t like to be photographed.Interestingly these people love photos in their personal lives.Nevertheless, despite the political and social restrictions photographing Tehran can be a very joyful experience. It is a beautiful city and as a photographer you find many interesting and beautiful subjects for your photos.Mobile photography gave me the confidence and ability it takes to get closer to the truth of this city.
Photo Credit: Shahram Sharif
Ako : A big city like Tehran with more 20 millions population,various districts and buildings,different classes of people and a dynamic environment is a rich source of inspiration for me.We have four different seasons in this city. Tehran’s snowy,rainy,sunny and cloudy and even polluted days make a variety of subjects and situations for photography.However as any other place photography in Tehran has its own problems. I usually try not to draw attention when taking photos and mobile helped me alot with this. The reason some people don’t like to be photographed is that they think their photo will be misused. This may cause troubles for the photographer. It might even become dangerous if you a government building is in your frame by accident. Therefore, photography in Tehran must be done with caution and it’s basically a risky job. Despite all the risks photography in this city is very attractive and these risks have not discouraged me. My love for street photography provides enough motivation for me to face these problems. I don’t have the experience of photographing in other big cities in the world so I can’t compare but I’m sure it has its own problems everywhere but the only thing than make everyone to carry on is love and passion for mobile photography.
Photo Credit: Ako Salemi
You’ve been among the 24 hours project photographers. How was 24 hours of photographing Tehran and did you encounter any problems?
Shahram: 24 hours project was a great idea however I think it was more than anything an opportunity for us to examine ourselves to see whether we are able to take 24 good photos during 24 hours. I believe the most significant aspect of this project was the time pressure on photographers. One hour is a very short time and fatigue of mind may disturb one’s concentration.The other problem that Ako and I had in this project was that Tehran doesn’t stay up late into the night and we had to capture half of our photos during the night. I personally didn’t think it will be this difficult to photograph in the streets of Tehran at night. Despite its difficulty the 24 hour project was an amazing experience. We are planning to exhibit some of these photos in the “1st Tehran Mobile Photo and Film Festival” in Tehran as agreed by Renzo and Sam.
Photo Credit: Shahram Sharif
Ako: I had not followed this project over the previous years so when Renzo first explained the project to me the project was somehow unknown to me. According to local timing Shahram and I had to start after the photographers in Australia,Japan and Indonesia. It did not seem to be a difficult task to post one photo per hour on instagram at first. However, after the first hours of the project and as we became more picky about which photo to post it became more difficult and sometimes even stressful. As the project happened at the time of the Iranian New Year holidays we faced a quiet and rather empty Tehran. This was a challenge for us since we are very much interested in capturing people in our photos.Nevertheless the emptiness of the streets helped us to take photos of almost all the important places in Tehran without getting stuck in the Traffic. At the end I should thank Renzo and Sam for the management of the project and also other photographers in other countries for their participation that made this somehow difficult experience also fun. I should also thank Brad and We Are Juxt website for giving us this opportunity to share our experiences in mobile photography.
The Unraveling of a Billionaire by BP and Victoria
Let us set the stage.
We both had planned a street shoot the other day. The plan was to take a favorite route in the city – Pike Place Market through to Westlake, up and down Pike and Pine St. The light in the beginning of the day was great but by the time we got out to shoot, it had become more overcast. We both didn’t have our Mophie packs and we both started out with less than 100%, with V starting out with a whopping 23%. We monitored the batt levels and did the best we could.
V: If you’ve ever gone on an IG walk with me, you know I generally come unprepared with a low battery and decaffeinated. This day was certainly no different.
B: By the time V hit under 10% it was time to juice up. Note: If V’s phone didn’t need a charge, our story would’ve never happened, so we decided to hit the Starbucks, power up, and catch up.
V: While Brad was off being gentlemanly, purchasing our coffee, I sat at a table next to Bill. He glanced over at me with a warm smile. He complimented me on my chucks and said he wore the same ones when he was a youngster. We laughed about how styles just recycle themselves, but agreed my kicks were classics. I noticed his formal wear and how he seemed out of place in our “Keens and Northface” city, but I appreciated the fact that someone would get dressed in a full suit and go to a local coffee shop to simply work on his computer.
B: Before I sat down I saw Bill next to the table that V had been sitting at. He was real focused on his typing, tapping away at the keys, one finger at a time style. He also had a great hat and was dressed up real dapper like. I opened up ProCamera, focused, set exposure and took a couple shots. Figured I had to catch this scene. Thought this would be the end of it, not knowing that the conversation with Bill would give backstory to the photo. Initially V and I chatted it up and Bill paid no mine to us, nor us to him. At one point, he got up and asked us to watch his laptop and flip phone as he needed to go across the street. We did. We continued to chop it up and again paid no mine when he returned. I cracked a joke that I had used his minutes to call Uruguay (chuckle here, chuckle there) but for the most part that was it.
Meet J. William Oldenburg.
Bill started to pack up his things and on his way out he wished us a blessed day and before he got too far, BP asked him for his name.
“Bill, Bill Oldenburg.”
Little did we know that we was speaking to a billionaire. Well someone who used to be a billionaire.
Bill said, “Have you heard of the movie Sleepless in Seattle?” Of course we did. Tom Hanks. Meg Ryan. The house on Lake Union. “Well I was a part of the production crew of it. As a matter of fact, Tom is supposed to come here in a couple of weeks because we are looking to do another movie, except this time it’ll be based on my life.”
Bill proceeded to return to his seat. He had this sparkle in his eye. It could be that he was thinking, “Hmmm these are going to be easy prey for me to con.” or “Here’s a chance to be able to tell my story.”
His story led from Sleepless to Seattle, to the hat he was wearing. “This hat, this hat was given to me by my close friend, Frank Sinatra.” At first we laughed, thinking he was pulling our leg. But then he continued on with his story in great detail, genuinely and with a tenderness in his voice toward his “friend.” He then mentioned to us that Elizabeth Taylor so loved a necklace he had bought for his wife, and that he allowed a duplicate to be made as long as she promised not to wear it until his wife had first worn hers in public. He told us of a quote that his close friend, Katherine Hepburn had told him, “The most valuable antiques are old friends.” He told us of his big galas and having Wayne Newton sing at these events. He talked of his close friendship to Orson Wells.
Photo from Bill: (L) Orson Wells, (C) Bill Oldenburg, (R) Wayne Newton
He continued on, sharing about how in the early 1980’s he had purchased the USFL LA Express football team with whom they drafted Steve Young before making a deal to send the star to the San Francisco 49ers. He told us about being the only person in the world who was not afraid to challenge Donald Trump, even being quoted in Sports Illustrated as saying, “I’m used to winning, to nothing less than becoming the best,” he told Sports Illustrated. “Donald Trump can get all the press he wants, but when it comes to business, he can’t carry my socks.”
His stories were thoughtful and when he spoke of them he had a “reminiscing” tone about him.
However, it wasn’t just about the stars. He told us stories about his family too. He showed us a photograph of his daughter in her wedding gown, as she had recently been married in Seattle, and spoke highly of the groom. The photo was on his iPhone that his daughter had gifted him, though it was apparent that his flip phone and older laptop were already a challenge for him to use. He showed us quotes he wrote, showed us a paper printout of Lazarus, his dog who had recently passed away. He truly loved his family; four daughters and his wife and “soul mate,” Marla.
Clearly for him his world was big, but was nothing without his daughters and his wife. He went from working at a bank after high school and being a vacuum salesman to a real estate mogul, football team owner worth billions, to losing everything. His story is of rags to riches to rags.
Photo Credit: Victoria
V: It was fascinating to talk to someone who was so charismatic and seemed incredibly genuine. While he was sharing with us, I noticed his suit being nice, but that it desperately needed to be dry-cleaned. I remember trying to sort through that in my head, how could a billionaire’s shirt be anything but stark white and without wrinkles? I brushed it off, remembering he had “just moved into town and was still adjusting to the area,” so maybe he just hadn’t found time to get it taken care of. He mostly spoke to Brad, which I didn’t mind. BP tried to include me in the conversation, but it was very clear who Bill was aiming for. He offered us a photography gig during his next event, asking for our contact information to let us know more. If both of our parking times hadn’t expired, we probably would have sat and listened to his endless supply of star-studded stories and his grand future plans.
As Brad and I walked out of the store, we glanced at each other with somewhat skeptical grins. Had we just randomly met a billionaire who wanted us to stay in contact and possibly shoot for his next grand event? Weirder things have happened. We said our goodbyes and ran off to our cars, praying the parking attendant hadn’t found us yet.
Within several hours BP had already done his research and learned more about our dear friend Bill. He indeed had a fascinating story, though much sadder that the one he had painted for us. . I had mixed feelings about our encounter after I read the countless blogs and testimonies about a “cheat, con artist, liar and theif.” I didn’t want to believe it. He had gained much and lost much. Walking away, I am still glad we got to meet Bill. His story is his own, we all have made poor choices at times, and regardless of his path and mistakes, he is still holding on to a dream. If he does write that autobiography he spoke of, I will buy it in hopes that its a new chapter where he can build a new future, recognizing his past and learning from it.
B: I got so caught up afterwards trying to figure out this story. Is it real? Is it made up? Are we getting conned? We weren’t the only ones who had met Bill and have heard his stories (read the comments). Like V said, I was on fire, googling him and finding this and that. The stories were true of course omitting the federal charges, and lavish spending, and other business not to do’s that LOTS of folks did in the 1980’s. It felt like V and I was in his movie.
Then I realized I forgot about living and enjoying the moment. You know those stolen moments we had with this man. I’ve had many opportunities meeting people in passing. Strangers with amazing stories. Some believable, some not. It didn’t really matter. V and I got to share time with a nice man who wanted to share stories with us. Did he hurt us? No. He simply shared his story.
It made me think how often than not, we forget to sit down and listen (or read). The world we live in moves so fast. What’s news one day, is history the next. What’s trendy one day, is out of style the next. It moves fast. We forget sometimes how these little interactions can teach us a lesson or even better, help us remember the lessons we’ve learned. Now I’m not saying go find your “Bill.” What I am saying though, is remind yourself that every moment should be cherished. Every story you are told will have meaning even if not at that precise moment. Strangers, friends, family members…whomever will enter or leave your life for a reason. This time with V and Bill reminded me of that.
The title of this article is “The Unraveling of a Billionaire.” It’s an actual title from another article on our friend Bill. But the title sounds like the story is finished which like V, I think and hope that it isn’t.
Bill already titled his autobiography which I find is most fitting to end this article: “Not Ready To Land.”
He’s not done yet. He’s not ready to come down to earth. He wants to fly and continue to chase his dreams.
Bill, hats off to you friend.
Be well.
“It’s such a shame to land with so much fuel left in my tanks”
“Life is a miracle, and the right to live is a gift. It is wrapped in a ribbon, woven with dreams, and whether you are very young or very old, life is filled with wonder and surprises.”
“I believe success is the culmination of winning, losing false starts, confusion, and the DETERMINATION to keep going anyway.”
– J. William Oldenburg
*Hint: Fast Forward to 20:00 min to see Bill and hear his keynote*
Emily Chen: Mobile Street Photographer & EyeEm Ambassador by BP
Tell us about youself:
My name is Emily Chen. I am a specialist in wealth management technology, currently I am managing a mobile app project for financial advisers. I am passionate about beautiful software, and I am also passionate about documenting the streets of Sydney.
My phone is always on stand by, I often joke about the best way to find me, is through my photo stream, I take photos of everything but what generally fills my camera roll are candid street photography. I shoot and edit with my iPhone 4S, more recently I’ve purchased a Samsung Galaxy Note 2, and have started to explore the photo apps in Google Play.
Where are you from:
I am originally from Taichung Taiwan.
During my Year 6 summer break, instead of sending me to the Scout camp down the road, my folks put me on a flight to a small coastal town in Queensland. I lived with an Australian family, played cricket and attended English classes. A summer holiday turned into something much more. I’ve been living in Australia ever since & currently I am in the beautiful city of Sydney.
How does your answer above influence your work:
Taiwan is a fair distance away from Australia, so I don’t get to see my family much! I use mobile photography as a way to stay connected with them – I shoot things I see, places I’ve been, and I share the photos real time.
Inspirations:
What really inspires me are the work of fellow mobile street photographers.
One photographer in particularly I would like to mention is Olly Lang, fellow Sydney street photographer. I first came across Olly’s work back in mid 2011, he was walking the streets that I walked everyday, yet he saw them so differently. Everyone of his posts had me in awe. How did he do that? I find myself asking.
Late 2011 I met Olly in person at one of the photo walk meet ups and he was so open to share his techniques & experiences as a street photographer. He encouraged me to chase that beautiful Australian light, and to continue to develop my own styles.
When did you start shooting:
I’ve always been interested in photography but it was when I got my iPhone 3GS in 2011 that’s when I started to shoot street photography.
I commute during the week to the Sydney CBD. I started taking photos of commuters during my train journey, the way light would fall onto their faces, the way they are immersed in reading the news or applying makeup, or simply fallen asleep.
And then I find myself getting off the train one or two stops before my destination so I can walk to the office by foot. And popping out of the office at ‘golden hour’ so I can squeeze in some shooting. I started to document the streets and getting to know the sunlight. I find myself shooting the same spots, over and over again & not get tired of it because the light was always different and the people, people are just so interesting.
What brought you into the world of street photography? What words of wisdom can you share with others who are wanting to learn more and get involved in shooting street? iPhone 4S and the wonderful streetphotographer community on Instagram were the key catalysts that brought me into street photography. To me, the user community is what differentiate mobile photography to the other forms. The way we interact with each other, provide constructive feedback and the sharing process, are what makes mobile photography special. And the realisation when I upgraded to iPhone 4S (from iPhone 3GS) that I have a real, substantial camera in my hand, all the time, made me try all forms of photography. Street photography really clicked and in the last 12 months, it’s been a consistent body of street photo work that I’ve pursued.
My two cents worth for the photographers interested to shoot street:
Shoot and shoot more! You can’t improve by simply imagining your shots. Yes, picture your compo in your head, walk the streets, keep shooting, shoot lots! Try different angles, try to shoot single figure, try to shoot urbanscape. Find your feet and find your style.Always have your mobile phone on standby. Always be ready.
Be selective with what you post. Post images that represent you, post regularly and interact with the community to seek feedback. But never spam.
Tell us a bit more about the light and its importance to mobile and street photography. Walk us through what you do to prepare to go and shoot street. Tell us more about the beautiful light of Sydney.
For me, light is the most important element in street photography. Most models of mobile phones are not great in low light situation, which makes the natural sunlight even more important to mobile street photographers.
Light in Sydney is full of characters, light is golden and warm in the morning and afternoon; strong and harsh at midday but that’s where reflections from the tall buildings & windows are most interesting.
I am a light chaser. I walk a lot, I study the light and remember how and where they fall & reflect.
My workflow is fairly simple really. Pre-set my exposure, phone is on standby and I walk and look for interesting figures and light spots. I keep walking. I don’t stop to check my shots, I complete my walk, continue with my day to day activities. And I review the shots later in the day, preferably through my iPad.
As a woman street photographer, have you found any barriers in getting your work noticed? respected? Recently there was discussion of how many women street photographers are out in the world but bigger names have mostly been by men. Can you talk about your thoughts on this?
Honestly, I don’t think there is a relevance in male or female photographer numbers on the street. I dont think gender matters. Perhaps the style of male and female photographers differ? I certainly wouldn’t shoot alone 2am in the morning, but that’s a personal choice. I don’t see or feel the barriers. The body of work is the most important thing here. Shoot, and shoot well, shoot with style are what matters.
As lame as it sounds, you know, it’s hard to tell whether one is a male or female tog through the mobile photography platforms with those little avatar photos and usernames!
I am just going to leave it at that!
Street photography requires having the eye, chasing the light, and being patient. With these photos in particular can you describe for us these 3 factors?
Commuters, Martin Place Station
Martin Place Station
This is a recent shot, taken at about 6pm in the early autumn light.
I am learning about layers and have become quite fascinated with depth and distance.
Here I was about to walk down the set of stairs, I can see my silhouette down the bottom of the stairs as I always do around this time of the day, and I saw the man hesitated about which direction he was going to turn. And when he did, I was ready to shoot.
Light is so important, as it will define and shape your image.
Being ready, and on a look out, compose the image in your mind to make a shot interesting.
Patience, ah, yes, patience in waiting for the right moment. And don’t beat yourself up when you miss the shot, there is always tomorrow.
Prayers, Martin Place Stage
Martin Place Stage- chasing the light.
This was also an afternoon shot. This lady was soaking up the sun, I got brave and walked up to get this shot. She had her eyes closed the whole time. I got lucky 🙂
Lanterns, Angel Place
Angel Place – patience & composition
Midday. The harsh midday sun created such a intriguing shadow around this little laneway.
I waited, not long, for the right composition. Lunch, was well deserved after this.
Pirate, George Street
George Street – light, and lots of luck!
Midday. One of the few shots from a photo walk. This one I recall quite vividly, I was with Olly Lang. We were lurking around this spot, sharing notes on how the light reflects off adjacent buildings. Discussing interesting subjects in Sydney. And this man slowly walked up the street. It was a quick capture but a fun one.
Commuters, Wynyard Station
Wynyard Station – light
This is an earlier work. I was learning about light, but to this date, one of my favourite shots.
I saw the light pouring into the train station. I stood and waited. I was there quite sometime, just observing how light fell on people’s faces as they exit the station. This was a moment worth waiting for.
I shoot mostly during my commute, I love morning and afternoon sunlight with elongated shadows and the way light falls on my subject’s faces. Some of my work are currently been shown in the Daily Commutes project at the Format Festival.
What apps do you use? What do you shoot with? What do you postprocess in?
I shoot mostly with an iPhone 4S.
My go to shooting app is ProCamera for colour street; and lately, the Thirty Six app for b&w street.
Majority of my colour street work are unedited, I want to show the image the way I saw it through my iPhone.
If and when I need to touch them up, I use Snapseed and VSCOcam apps. And more recently, Misho’s Perspective Correct to fix any crooked buildings. I highly recommend all the above apps, they are all great for mobile photography in general.
I have just purchased a Samsung Galaxy Note 2, will be exploring the Android apps for shooting and editing.
In closing, any last thoughts regarding mobile photography in general. Street photography in specific. and then plans for where you are going with your work.
Mobile photography is no longer a questionable form of photography. It is a legit form of photography. It is less conspicuous because of the camera size, which brings a new dimension to street photography in particular. The movement of street and documentary style of photography is being influenced by mobile, it is bringing new chllanges, and in a good way.
I plan to keep shooting. There is more to learn and there are always, always more to shoot. My style is street candid, I love and will keep improving on that. Maybe other forms of street, perhaps portraiture, when I am brave enough to talk to strangers, a bit of work to do.
And as an EyeEm ambassador, I would like to continue to help and reach out to the community here in Sydney and more, interact with other togs and people interested in photography, and do my part in pushing mobile photography further.
“Splash Dance” – The Art of Water Dancing by Dave Temple, “Kewiki”
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