BLUR_39.pdf

BLUR magazine | ISSUE 39 | October 2014

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3BLUR magazine is published by Photography Association CREATUS (F.U.C.*), a nonprofit association founded in August 2009 with the aim of contributing to the development of the photography scene in Croatia, while promoting and connecting Croatian

photographers with their international colleagues.

ISSN: 1847-7410Publisher: F.U.C.*

Address: street Ljubiica 19, 10 360 Sesvete, Croatia

Contact: [email protected]

Bank account: Privredna banka Zagreb 2340009 1110540685

MB: 2580837

OIB: 39145219372

Publishing and distribution ofBlur magazine is supported by

Zagreb City and City Office forEducation, Culture and Sports

Artistic and educational photographic discoveries in BLUR Magazine often feature artistic imagery that might not be suited to underage children. Although none of the content featured in BLUR could possibly be regarded offensive, it does contain artistic nude photography which is an integral part of photography since its beginnings. We recommend that minors explore

the content under adult guidance.

Parental advisory

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OR Our ship just got another brave sailor wholl help us make our exploration of the infinite expanses of photography even more interesting. Michael Kirchoff is our new

editor of two BLUR sections - Instantion, a section devoted to instant photography, and Wide, reserved for landscape photography.

Whenever we get a new team member here at BLUR we like to present him with his own body of photography in the section hell be editing, before he takes over the editorial baton. In this case, Ive decided to showcase his excellent Polaroid photos in the Instantion section, leaving Michael to edit Wide in this months issue of BLUR.

I trust his impeccable taste will be as pleasing to you as it was to us here at BLUR! Michael, welcome!

Robert Gojevi, founder and editor in chief

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impressumfounder | chief editor | design | art director | desktop publishinge-mail: [email protected]

editor of Pinhole & Playstick

e-mail: [email protected]

editor of Instantion & Wide

acting executive editor | PR


Maurcio Sapata

Michael Kirchoff

Ivan Pekarik

BLUR Magazine social media


Petra Nenadic

Robert Gojevi

proofreadingMichael McAllister

6CONTENTS

PROEYECT SARA STOJKOVI

OPEN NUNO HORTA

PINHOLE JANSEN TANG

TETRA MICHEL RAJKOVIC

WIDE CHRISTA BLACKWOOD

WET PLATE ROBERT KENNEY

PROJECT GAVIN STOKES

INSTANTION MICHAEL KIRCHOFF

PLAYSTICK NINO CANNIZZARO

CLOSE UPOLEG OPRISCO

CONTENTS

IMPRESSUM

GALLERY 36

INTERACTIVE ELEMENTS

COVER PAGE

BLUR INFO

A WORD FROM THE EDITOR

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F e b r u a r y | A p r i l | J u n e | A u g u s t | O c t o b e r | D e c e m b e r | 2 0 1 4

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9Gallery 36 is a collection specifically, an online exhibition of 36 outstanding and impactful photographs put together with the aim of demonstrating the diversity and beauty found in the world of photography. Photographs presented in Gallery 36 are

selected for their high aesthetic quality, composition, and wow factor.

Your photograph can also be part of this collection. Make your work visible to thousands of people from all over the world by submitting your photo.

by Robert Gojevi

GALLERY 36

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GALLERY 24by Robert Gojevi

Norwegian BeautyAmber SpitsNetherlands

1

Color And Pastel EditorialDominika Komowska

Polandhttps://www.facebook.com/dkomowska.shot

2

3UntitledLuciana Rodriguez

Argentinahttps://www.behance.net/anemites

4Old BeautySrinavin Kumar

Indonesia

BelaAdriano Silveira

Brazilwww.adrianosilveira.com.br

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6BlueJessica Simpson

USAwww.jessicasimpsonphotography.us

7Ancient SphereCarmen Carcamo

USAhttps://www.facebook.com/carmencarcamo.photography?fref=photo

8Bride of desertMehran Rahimzadeh

Iranwww.mehranshot.com

9Wendy in the forestNikos Kostopoulos

Greecehttps://www.facebook.com/pages/Koustoz/397560593660971

10

In silent moments I imagineKoki Jovanovic

Serbia and Montenegrohttp://500px.com/Kokisrb

11

Song of the NileLameyFrance

www.facebook.com/marc.lamey.7

12

Current PlaceKaleb M. Starr

USAhttp://www.dinostarrfunk.com

13

Paulo PampolinFloating Market

Brazilwww.paulopampolin.com

14

Mont Saint MichelCarlos

Spain

15

Working with the giantMuhammad Islam Alwi

Indonesia

16

John and YokoAlvaro Gomez Pidal

Spainhttp://cargocollective.com/agomezde

17

BlueJeansWhiteShirtMilos Jovanovic

Serbia and Montenegro

18

Street GeniusJeffrey Itum

Philippineswww.facebook.com/blackhoodshots

19

Pier 40Patrick Hamilton

USAwww.behance.net/patrickhamilton

20

The little fishermanMaria Tomova

Bulgaria

21

Visible souls of a dayDeniz Okan

Turkeywww.denizokan.com

22

ALG2968Cem Edisboylu

Germanyhttp://ungemuetlich.de

23

Stormy WeatherJill Hyland

USAhttp://www.jillhylandphoto.com/

24

BreatheFrancesco Gregori

Italywww.francescogregori.com

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GALLERY 12by Robert Gojevi

25

SavannahKayt Silvers

USAwww.bowkerhousephoto.com

26

FayeKelly Bird

United Kingdom

27

GreenhouseMischa Buckow

Germanyhttps://www.facebook.com/MischaBuckowFotografie

28

MedusaCristian Munteanu

Romaniahttp://cristianmunteanu.ro/

29

Safe HavenClara Wilson

USAhttps://www.facebook.com/SmokeandMirrorsPhotography

30

FlawPaphawarin Rattanapuree

Germanyhttp://www.makeupberlin.com

31

LostWaldemar Markiewka

Poland

32Mad ame from Simple Stories

Dominika KomowskaPoland

https://www.facebook.com/dkomowska.shot

33Derwent waterGraham Hunt

United Kingdom

34No Mans LandKris LouUSA

www.krisandeerik.com

35Presque Isle Lighthouse

Fred HansenUSA

www.fredhansenphoto.com

36

RoseValery Selezneva

Ukraine

GALLERY 36 SPECIAL ARCHIVEGALLERY 36 is designed as an inexhaustible source of inspiration, and thats why we created a SPECIAL ARCHIVE of all these striking photos from around the world published in this column of BLUR over the years. With a single mouse click, you can see all the photos from GALLERY 36 that we collected in more than 5 yearsin one place.

So start browsing!

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Close-up | brings readers closer to a photographer by providing extensive insight into his work. The photographer is presented through a wide selection of photographs, a detailed interview, and by highlighting important biographical information. Imagine talking with a photographer whom you admire over a cup of coffee. This is exactly what BLURs editor-in-chief does in this sectionvirtually, of course.

BLUR magazine | ISSUE 39 | October 2014 50

by Robert Gojevi

Good idea + good composition + color + atmosphere

Ukraine

OLEG OPRISCO

We live in exciting times. Even using only one site you can become famous. There are excellent possibilities. Photographers and artists in the past had a much more difficult time showcasing their work.

BLUR magazine | ISSUE 38 | August 2014 51

How would you describe your photography to someone who understands photographybut has never seen your photos?

I can describe them in a few words: Good idea + good composition + color + atmosphere.

In your opinion, is it even possible today to go unnoticed on the Internet if thephotographers work surpasses the average?

We live in exciting times. Even using only one site you can become famous. There are excellent possibilities. Photographers and artists in the past had a much more difficult time showcasing their work.


In what ways are you promoting your work, and do you see it as an integral part ofyour photographic efforts?

This is very important. Correct positioning on the Internet opens up many opportunities, sales and other offers.I use several photo sites and several pages on different social networks. I try to make every page easy for the viewer and ensure that he immediately sees the best work.

Do you have the time to research what is happening in the world of photography (not photo gear), and if so, how do you do it? Surf blind or do youhave trusted destinations?

I have tabbed several photography sites that interest me. And I sometimes look at lists of the best works of large photo sites.To be honest, Im very focused on my art, so I do not want to be distracted by others. I think it is very important not to become hostage to others creations. Im looking for inspiration from others.


How did your photographic journey start? Are you self-taught? How long have you been photographing?

I was born in the small town of Lviv, in western Ukraine. When I was 16 years old, I began working as an operator in a small photo lab. I started taking photos of friends and acquaintances. At age 18, I moved to Kiev, where I became an assistant to a well-known advertising photographer. We worked together for four years, but that work did not bring me pleasure. There was no creativity, only commerce. When I was 23, I started from scratch, taking my own photos. So Ive been doing photography for six years.


How are your photos made? Is there a formula or routine? Is your approach well planned orcasual?

It all starts with the little black book where I write down all the ideas. When I feel ready to shoot (find the right woman or the desired location, for example), I start preparing. Ive found it best to do everything myself. I come up with a concept, create the clothing, choose the location, and direct the hair and makeup.When I was working at the photo lab, I would look at hundreds of photos a day trying to understand what the client wanted and needed: warmer, richer, brighter images always had more success. So that dictated my choice. I worked with what was best. Nowadays I am constantly experimenting. Before shooting, I plan the overall color scheme. According to the chosen palette, I select clothes, props, location, etc., making sure that all of it plays within a single color range.The accepted images go through the process of scanning and color correction in Photoshop. Its all very simple.


What must a photo have for you to be satisfied with it?

For me, the main thing is atmosphere. The best photography gives the viewer an experience like watching a good movie or reading an amazing book. I aspire to this.

Are there any of your photos that you are more satisfied with, more than the others?

Of course, but I believe that my best photos will be in the future.


Almost all your photographs were taken outdoors? Besides the natural lighting, is thereany other reason for this?

I love natural light, and I really want my photos to reminded people of real life, as if the viewer is just passing by or is spying.

Almost all of your models are women, and if a man appears, he is paired with a woman.Explain why?

Because I love women and their beauty can photograph indefinitely. I do not shoot professional models. It is very important that the person inside, the character, is associated with the concept of the photo. Many photographers miss this point and get very artificial pictures. Its like shooting in the role of the rider a man who had never seen a horse.


How do your friends and family respond to your photography? Dothey understand your passion? Do you have their support? And are they aware of youruniqueness, your quality? Are you aware of your qualities?

Yes, I have great support from family and friends. I cant speak about that uniqueness or any achievements; its too early, I just started.

If Im not mistaken, all of your photos are made with an old Kiev 6C. Tell us something aboutthis camera.

It is the easiest medium format camera, and it was my first camera. Of course, I have other systems, but I do not see advantages to them. In Ukraine, this camera can be purchased for $30 to $50. I often hold workshops, and its very funny sitting in front of many photographers with $2,000 to $3,000 cameras and lenses, and on my table is an old Kiev 6C.


Medium format requires deliberate photography, certainly in my case with my Kiev 88. :)How many frames do you usually shoot for one scene?

I have a lot of experience; so I do not make beginner mistakes. I very seriously prepare, and I know what I will shoot, so I shoot 12 or 24 frames, which is one or two rolls of film.

How often does happen that you have a roll with several good photos and you find it hard tochoose the best one?

I do not shoot photo series, so choosing the best shot is very easy.


Your color photos are incredibly rich. How do you manage that? Reveal your secret. :) Is it just a matter of choosing the right film and time of day?

Of course, the timing of shooting and the choice of film are very important. It is the foundation of the resulting color. After scanning, I edit the color in Photoshop without fanaticism. The final shots are not much different from the source.

Do you own a darkroom or are you giving your film to someone else for development?

I do everything myself except development. Color film processing is very expensive and risky.


What is your attitude toward digital photography in general and of modern technology, like smart phones and the millions of filters on them?

I like that photography has become so affordable. We have to wait until there is more thought and meaning.

Tell us about your inspiration. What inspires you, where do you draw it from?

Each of my photos is a scene from real life. That is the perfect source of inspiration for me as there is so much beauty to it. Perhaps today on my way to work, when I was observing the world around me, that was the scene to inspire my next photograph. Of course, there are my own changes that I add to the reality, such as characters, props, location, and light ... I am constantly searching for inspiration and ideas. We live in exciting times. Everything changes very quickly: the weather, architecture, landscapes, people, time. We can all see in real time and in real time share these impressions. Im sure all that surrounds useverything that happens in our livescan be a unique source of inspiration. No sense in stealing someone elsesonly the original, only a unique creation. You can be sure that any artist of the 18th or 19th century would be very jealous of us. We can live anywhere and create anything and show it around the world. Everything is in our hands.

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Copy editor: Michael McAllister

CLOSE UP by Robert Gojevi

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Project | is a section that presents a photographer through a series of photos united by a particular theme that works as a cohesive whole and is elaborated on by an artist statement.


by Robert Gojevi

Ireland

Sleeping Saigon

GAVIN STOKES

These photos were taken over a three-month period in Ho Chi Minh City (formerly Saigon) in order to capture the way in which the citizens of Ho Chi Minh City (HMC) are at ease within their chaotic metropolis sprawl. Although there are many aspects of day-to-day lifelike exercising, dancing, Tai Chi, family meals, or board gameswhich are actually carried out on the frantic streets of HMC, the ease with which the Vietnamese sleep, no matter what the location or time of day, for me captures their relationship with the city.

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PROJECT by Robert Gojevi

GAVIN STOKES Bio Photography for me is something that I have been discovering, enjoying, and striving with for the past 15 years. It is a means to express how I feel about a subject, whether it is through a single image or a series of images. Transferring that one moment to an image that is experienced through so many more senses than just sight is something I always try to consider when taking photographs.


The mission of BLUR magazine is to provide a venue for unique and extraordinary photographs without insisting on the use of specific techniques, tools, or themes. Do you have a photo project the world needs to see? You can submit your whole seriesits simple:

1. Tell us about your project: where it was taken, what inspired you, what was the idea behind the project, and how many photos are in the series.

2. Send us a URL where the project can be seen.

3. If your project is selected, you will be contacted and asked to provide more information about the project and yourself (brief bio).

A photo project can be submitted by any photographer who develops a good idea and then makes it a reality, Were looking for photographersprofessional or amateurwho can plan and execute.

Although we always publish each photo on a separate page for the best viewing, its expected that all photos in a series will work as a cohesive whole. We also expect the photographer to communicate something in his or her work thats not found in their biography.

There are no limits when it comes to theme or subject matter.

What kind of projects are we looking for?

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PLA

WET PLATE is a section dedicated to an antique photographic process discovered in the mid 19th century, which was also a primary photographic method used until the 1880s. It refers to a process of pouring a solution collodion onto a plate of thin iron or glass, then placing the plate into a camera and exposing it to the light and, at the end, developing that plate while it is still wet, which is the reason of naming the process (and our section) wet plate. The images resulting from this process can be ambrotypes, glass negatives or tintypes. Although quite a demanding, expensive and lengthy process, wet plate collodion technique is gaining back its popularity among many contemporary photographers.

FRIENDS OF WET PLATE section

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PLA

Time slows

Wet plate is of a different era, a different sense of time. Time slows. Sometimes to a meditative state. It has a pulse and rhythm all its own. It engages the maker and the subject. Ones presence is required. It is primitive and difficult, an authentic experience. Not easy to dismiss. Whats not to love?

ROBERT KENNEY

Canada

by Robert Gojevi

W

PLA

BLUR magazine | ISSUE 39 | October 2014 97W PLAMr. Kenney, you are not easy to present. Behind you is a 27-year professional career and your work could fill an entire issue. :) Even for our Wet Plate section, it has not been easy for me to make a choice of your photos. You are equally amazing in portraits, fashion photography, nudes, and still life. Tell us when and where you first encountered the collodion process. And how is the wet plate scene in Canada?

I started this journey about three years ago. Im a big fan of Sally Manns work. She came out with a book entitled Deep South. About a third of the images are done with wet plate. When I first saw them I was blown away. I knew then, I had to do that.

The scene in Canada is kind of non-existent. It was a struggle at first to find the various components and chemistry to make it work. Everything has to be shipped into Canada, which is expensive, and setting up a darkroom and finding lenses and cameras was time consuming. Thankfully the re-emergence of this art form was gaining momentum in the States, so all the necessities were readily available.

BLUR magazine | ISSUE 39 | October 2014 98W PLAHow much time passed from the time you first saw wet plate photography to your own attempts with the technique? How did you become acquainted with the collodion process? Who introduced you to it?

It took about a year to get organized and put all the components together. I have an existing studio so that part was easy. Finding Bostick & Sullivan and Lund Photographics and Ray Morgenweck and John Coffer were harder, but once I had the components and resources I jumped in and by trial and error and the patience of Dana at Bostick & Sullivan, I managed to find my way. Its worth noting that Im self taught and spent many years shooting large format and working a darkroom, so it wasnt like I jumped in the deep end.

BLUR magazine | ISSUE 39 | October 2014 99W PLAWhat gave you the most problems in the collodion process? Did all go smoothly, or where there beginner problems?

Interestingly, it wasnt the process that was problematic. With anything new and complex there are plenty of hiccups, but all in all it didnt take long to master the technique and the chemistry issues. What did prove challenging was shooting the mosaics. Getting the perspective right. Having a model sit for 5 hours. The weight of the final pieces. These were problems.

For me, aside from the final image, the big attraction is the limitations presented by this process.

Sally Mann got it right when she said, May the angel of uncertainty visit my plates. She qualified that by adding, but not too much. Until you see the plate, you dont know how much. Thats a big part of the joy.

BLUR magazine | ISSUE 39 | October 2014 100W PLAW PLAMany wet plate photographers emphasize how collodion is full of surprises, and thus the failure too. What can you tell us about that from your own experience?

I love the look of film, but Id never go back to it for commercial work. Digital is so easy when you shoot tethered to a big iMac. I used to evaluate a shot based on a small Polaroid, now I can de-construct everything and make micro adjustments as required. The sacrifice is, of course, craft, which has been replaced by image enhancing software. I think the younger generation is being shortchanged by technology. As convenient as it is, its inherently superficial and unsatisfying. I know that through my own experiences. Regardless of my personal feelings, and though I believe it has devalued the image making process, digital is a fantastic tool, especially in capable hands. Erwin Olaf comes to mind.

Wet plate is of a different era, a different sense of time. Time slows. Sometimes to a meditative state. It has a pulse and rhythm all its own. It engages the maker and the subject. Ones presence is required. It is primitive and difficult, an authentic experience. Not easy to dismiss. Whats not to love?

BLUR magazine | ISSUE 39 | October 2014 101W PLATell us about your Anthropomorphia series. In this project, your fashion experience is very obvious. How did you come up with the idea of the mosaic of several plates into one piece?

As I was driving the other day, I noticed a car with big eyelashes over the headlights. It made me smile. As humans, through naivety and arrogance, we place ourselves at the center of experience. We forget that, in reality, our experience is very limited and, as a result, very limiting. Anthropomorphia is a gentle reminder that there are so many things we do not, and may never, understand. Its the mystery that makes experience so exciting. In defining experience as a set of absolutes, you forget that you are an inseparable piece of the mystery.

The mosaics were simple problem solving. My current camera shoots 8 x10 plates. Bigger is de rigueur. Scanning and printing bigger images solved the size issue, but everything about the mystery got lost in translation. While researching daguerreotypes, Chuck Close came up. He is the American painter who paints very large portraits using small abstracted squares. That reminded me of David Hockney and his multiple Polaroids to create a single scene. Mosaics! Problem solved. :)

BLUR magazine | ISSUE 39 | October 2014 102W PLAI wonder, given the time required for the collodion process, how you managed to do it? It must be very demanding both for you and for the model. Do you have assistants who help you during the process?

Having the background I have serves me very well in producing the mosaic scenes. Ive learned through the demands of commercial work to be very organized, so all elements are in place before we turn a camera on to the scene. I also have the luxury of a very proficient support team and especially a very patient model. I work extensively with the same model. She is a willing and invested collaborator. I cant say enough about how important this is. When you have a model on set and in position for five hours, you want to know she is on your side. Its exhausting for everyone, but so worth it.

Tell us about the series Numina?

Numen means the spirit or divine power presiding over a place. Numina are represented in the form of the divine feminine, her power expressed through extraordinary historical figures, strong and warrior-like in spirit. These women reference the archetypes of a time that pre-dates the current patriarchal zeitgeist and pay homage to the feminine as the source of all creation.

BLUR magazine | ISSUE 39 | October 2014 103W PLAReverentia and Arte Factum are something completely different; I would say calming and meditative. Was their making also like that, calm and meditative?

Reverentia and Arte Factum are for me expressions of another aspect of an inner search. Flowers represent for me a deep sense of quiet reverence, so willing to express their fleeting beauty for everyone and no one in particular. Natures flamboyant little show offs.

Arte Factum is to some degree the examination of the value placed on objects. Their design, their utilitarianism, their patina, their history in general or in our own lives. This group of images is often referenced as decorative, but I would argue that beauty for its own sake is a worthy pursuit. Joseph Campbell would argue it vehemently.

BLUR magazine | ISSUE 39 | October 2014 104W PLAW PLAOne famous American wet plate photographer said that he does not like flirting with pornography in our Wet Plate section. I was immensely surprised by the statement because I carefully watch what we publish in BLUR. Your series of nudes, Anatomie, is beautiful, so I wonder what you think of people who do not see a clear distinction between pornography and artistic nudes?

People see what they see. If you believe its pornography, you will see pornography. We all have levels of acceptance and a righteousness around the thin veneer of our beliefs. I cant be bothered getting all worked up about it. If you dont like it, dont look. What has been interesting with my Anatomia work is that women are the most responsive to and appreciative of it.

BLUR magazine | ISSUE 39 | October 2014 105W PLAWhat is your opinion of the fact that violence is more tolerated than an artistic act? How open are people in Canada to artistic nudes?

It is a curiosity for sure, and of course, pornography can also be another form of violence. The question that comes to my mind is about human propensity to any kind of violence. Are we violent by nature or is it a learned and culturally encouraged behavior.

As to nudity in Canada, artistic or otherwise, there are small pockets of enlightenment and a mostly overarching puritanical ethos. Whats amusing is that Playboy is no longer necessary as a source of softcore titillation; you can just buy a fashion magazine. :)

BLUR magazine | ISSUE 39 | October 2014 106W PLAWhat is your biggest challenge in photographing, despite your great and rich experience?

Its difficult to be an artist in this current climate. Getting people to see the value of a photograph, even just holding their interest for more than a few seconds, is labor intensive. Getting them to part with their cash is close to impossible. :)

Do you follow what is going on in the world photography scene, or do you live isolated in your own creative world? Where do you find inspiration for your work?

I have moments of frenzied research and others of deep introspection. I need to work from a balanced place: neither socialite nor hermit, in the world but not of it.

In my work Im not really interested in historical accuracy or re-enactment per se. Im not faithful to formulaic ideas or processes and not beholden to the current photographic zeitgeist. Im interested in chasing contextualized beauty and the deeper longings of the soul. An intuitive journey informed less by intellect, more by the heart. Wet plate has given me the means to express these ideas outwardly.

BLUR magazine | ISSUE 39 | October 2014 107W PLACan you name a wet plate photographer whose work you are impressed by?

Sally Mann.

BLUR magazine | ISSUE 39 | October 2014 108W PLA

116W PLA

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WET PLATE by Robert Gojevi

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119W PLATraveller box, for 912 cm or 45 inch plates.

For up to 24 plates, aluminum or glass (up to 3 mm thick).

Uses:

- Storage of glass plates after cleaning, before a work session.

- Transport of freshly made plates, even wet, avoiding marks and dust.

- Occasional transport & storage of tintypes and ambrotypes.

It has three grooved slats that hold the plate by three points. His semicircular profile minimizes the contact with the plate.

The slats are interchangeable, avalaible for 912 cm or 45 inch.

Other formats on request.

Made of plywood okoum. Grooved slats made in iroko wood. Water resistant.

Finish: tung oil.

Measurements: 295 x 160 x 170 mm

Weight: 990 gr. aprox.

120W PLA

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INSTANTION is a section dedicated to instant analog photography. The name of this section combines the words instant and station, or as we call it, a place for instant photography. Instant photography refers to any photographic process that allows photo development without the darkroom. Instant photography was developed in the 1930s by Edwin Land, founder of the Polaroid Corporation. Because of its popularity, most of the photographers in this section use Polaroid film, but artists using Impossible or Fuji instant film are certainly welcome.


It was difficult to understand the contradiction between the harsh ideas Americans had of Russia and the whimsical nature of what I was seeing on television. I now satisfy my curiosity by traveling there, and capture these dramatic scenes with the same feeling of wide-eyed wonderment I had felt as a youth, mimicking the visions of my earliest ideas of Russia.

MICHAEL KIRCHOFF

USA

by Robert Gojevi


An Enduring Grace

An Enduring Grace is an ongoing project based on my exploration of the cultural landscape of Russia, as well as its surrounding countries and former territories that have seen its continuing influence. The images are a fulfillment of distant childhood curiosities of Russia, then the Soviet Union, as a place very few people seemed to know much about. I remember watching black and white television in my room and seeing news reporters broadcasting from the center of Red Square in Moscow. That image of St. Basils Cathedral behind the reporter reminded me more of Disneyland rather than the evil empire of which he spoke. It was difficult to understand the contradiction between the harsh ideas Americans had of Russia and the whimsical nature of what I was seeing on television. I now satisfy my curiosity by traveling there, and capture these dramatic scenes with the same feeling of wide-eyed wonderment I had felt as a youth, mimicking the visions of my earliest ideas of Russia. I have been entirely caught up in the beauty and scope of this amazing land, and have been rewarded with a culture that preserves its heritage and landscape, so dearly held by its people. An impressive thread of history runs through Russia that never seems to have been forgotten.

I believe these images require mystery from deep shadow to portray the unclear ideas of my youth, and my chosen artistic process to give them the gritty texture and depth they so deserve. With this process I also strive to strip away much of the realism and highlight the surreal qualities of my early dreamlike notions. These are the expectations that were not always so clear and contain a perspective slightly askew of monuments on a grand scale. The framed and fractured photographs of An Enduring Grace are born from my childhood minds eye, and respect a land where the strength and character of its people are also reflected in the landscape, cathedrals, and memorials to its fallen soldiers.

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Artist BIO

Michael has spent his years capturing the still image of people, cultures, and landscapes from around the world, to around the block, with a very unique and distinctive style. A native Californian, Michael resides in Los Angeles, though equally at home trudging through Redwood forests, riding the rails deep into Siberia, or navigating the chaotic streets of Tokyo. He photographs with many types of cameras and film, from a clunky toy camera to the latest digital model, using each as a tool for a specific use.

Michaels fine art imagery has garnered recognition from the International Photography Awards, the Prix de la Photographie in Paris, Photographers Forum, and Critical Mass. He has been published in Black & White, PH, Square, Seities, Adore Noir, Fraction, and Diffusion Annual, as well as high profile photography blogs such as Lenscratch and Light Leaked, and continues to exhibit his prints internationally.

The wisest words Michael ever gleaned from his father were to do what you love as your lifes work. Truer words have never been spoken.



INSTANTION by Robert Gojevi

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PLAYSTICK is a section dedicated to toy camera photography. The name Playstick comes from a well known simplified male figure illustration called Play Stick. The name also contains the word plastic as an association to plastic (or toy) cameras like Diana, Holga, Lomo LC-A, Lubitel, and others.

FRIEND OF PLAYSTICK section


by Maurcio Sapata

NINO CANNIZZAROUnstructured_City

Italy

The idea behind the project developed some time ago, when I watched the Qatsis trilogy by Godfrey Reggio. I then modified my toy camera, a Holga 120, to make panoramic pho-tos. In Unstructured_City, I superimpose, overlap, decompose and deconstruct cityscapes while Im photographing. By doing this, Im able give them another meaning and a dif-ferent vision from reality, with the focus on the modern human being and his supposed progress.

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Nino Cannizzaro was born in Palermo, Italy. He started taking photos in 2006 as a self-taught photographer. Hes currently living and working in Italy.

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PLAYSTICK by Maurcio Sapata


http://www.fojo.me/

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PINHOLE | is a section, as its name says, dedicated to pinhole photography. This type of photography is created with a pinhole camera, a camera that uses a small aperture, usually the size of a pinhole, instead of a lens. Basically, the smaller the hole, the sharper the resulting image. Because of their simplicity, pinhole cameras are often handmade. The concept behind the pinhole camerathe camera obscuradates back to the time of the ancient Greeks and Chinese. It was even mentioned by great thinkers like Aristotle, Euclid, and Mo Jing. However, the first photograph created with a pinhole camera was by a Scottish scientist, Sir David Brewster in the 1850s.

ONDU

FRIEND OF PINHOLE section


by Maurcio Sapata

Singapur

Vicissitudes of NatureJANSEN TANG

Using a pinhole camera (especially like the ONDU) is a visceral experience. One experiences an organic rawness, in a way that one subjects oneself to the vicissitudes of Nature. Francis Bacons Nature, to be commanded, must be obeyed rings in my mind every time I load film...


My name is Jansen Tang. Im a travel, landscape, and stock photographer based in Singapore. Like many readers, I fund my photographic passion (and my family) with a day job.

After some years at the art, I have considered myself to be equipment agnostic, and instead, concern myself with one fundamental question: how does one create hauntingly evocative images using the gear that one has at hand? As humans, the combination of technical factors that brings about the emotional wow factor in a photographic creation remains a popular topic.

As a tinkerer, I indulge in Gear Acquisition Syndrome (GAS) in a

manner that does not break the bank, and each purchase brings me a little closer to understanding the question above. I have stopped purchasing digital cameras of late, and instead have gone back to the world of analog photography where the emphasis was on making photographs instead of pressing buttons.

Sometime in 2013, I funded two Kickstarter projects, both, which in retrospect were the most important investments in my journey. The ONDU wooden pinhole camera (http://www.ondu.si), and the LUMU light-metering device were projects and products that complemented each other immensely.


Ever since I onboarded ONDU officially into my tool collection, I have discovered the complementary world of black-and-white, color and slide film and their respective processing methods.

I used a Think Tank as my larger-than-full-frame bag and since have added two more ONDU cameras to my photon collectors.

Using a pinhole camera (especially like the ONDU) is a visceral experience. One experiences an organic rawness, in a way that one subjects oneself to the vicissitudes of Nature. Francis Bacons Nature, to be commanded, must be obeyed rings in my mind every time I load film into an ONDU and every time I take a light

reading with the LUMU or lift the shutter arm of the camera to expose the film. The almost entirely wooden construction blends in with the natural objects that are the subjects of my light study.

One learns to be kind to oneself when using an ONDU.

Equally so when I prepare the film for development in the darkness of a light tent or count down the seconds to the next chemical change.

Especially so when the scanned image appears on screen, and in contemplation of apparent success or seeming failure.

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When Elvis Halilovi of ONDU reached out to me and suggested that I write a feature for BLUR magazine, I hesitated. How does one write a memorandum of ones photographic journey? The answer came to me in a personally profound statement: get out of the way and let the images speak for themselves.

I hope I have done so successfully here. To those readers who are reading this: do be kind to yourself, and more importantly, continue to make photographs.

Jansen Tang BLUR magazine | ISSUE 39 | October 2014

156BLUR magazine | ISSUE 39 | October 2014

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PINHOLE by Maurcio Sapata

TAKE THE TIME TO STEP BACK AND ENJOY PHOTOGRAPHY ONCE MORE!

BUY ONDU PINHOLE CAMERA

ONDU.SI

ONDU

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TETRA | is a section dedicated to a specific type of photography: black and white, square-format images that are recognizable for their minimalism and high aesthetic value, often making use of long exposures. The section name comes from the Greek word for the number four, which symbolizes the four equal sides of the format.


by Robert Gojevi

France

A dream in the middle of NowhereMICHEL RAJKOVIC

There are places that carry you, lights that you freeze, and emothions that you feel. It is through a long period of research and location scouting that his work begins. Michel Rajkovic does not try to capture the landscape as we perceive it. On the contrary, patiently, with long exposure techniques, he invites time and chance to have their say. Giving great care to each composition, taking the necessary time to research and obtain the best conditions for shooting: time, light, framing, etc. In these moments, forgetting the time of seeing, Michel Rajkovic just tries to share the emotion he felt: a dream in the middle of Nowhere..

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There are two main series in my work: Nowhere and Iceland

Nowhere : In this series, I concentrate on the imaginary part of the image. What interest me in photography is the imagination beyond the reality. Thats why I work with long exposure times, to get away from the reality. But all places Ive photographed are real and without digital manipulation (even if I work in digital). The only alteration is the B&W conversion.Some of my work is very minimalist, like this one. My goal is to give space to the viewer to put their imagination into the images. I dont try to tell a unique story, I prefer that viewersfind their own story.

The best part in my work is to take the images, to wait for the good light, and to think about the framing. Often in my work I visualize the result I want even before I take the image, even before I leave home for the trip. I know for each place Ill photograph the light I expect; sometimes the light is perfect, sometimes is not, so I plan to come back. Im excited like a child when the light is perfect for my needs (no sun, and I really like fog).

Iceland : I went to Iceland twice for this series: In October and February of the next year. My goal was to shoot two different views of Iceland. My work on Iceland differs from the Nowhere series. Here I concentrate on the natural wonders of Iceland, but Ive tried to keep my touch of Nowhere.

To follow

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Beyond

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Last Trip

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Gullfoss #1

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Gullfoss #3

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Iceland in Winter

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Icelands rock

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In the blizzard #2

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Lost in Iceland #3

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One in Five

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Only one

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Ray of Light

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Skogafoss #1

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The Lighthouse

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The Rock

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TETRA by Robert Gojevi

Petrified Troll

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WIDE | section devoted to promoting landscape photography. This section strives to expand our presentation of these kind of photos, which have been somewhat underrepresented in BLUR magazine in their classical form. Sometimes it seems that landscape photography isnt very creative because it relies mostly on Natures beauty and is, therefore, more technical than artistic. In this section we want to prove that human creativity, indeed, plays a major role in capturing the beauty of Nature in its full glory. Since landscape photography is a rather general term, we will try to present various approaches to this genre in this section, regardless of techniques used.

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by Michael Kirchoff

CHRISTA BLACKWOOD

USA

A Dot Red

a dot red, a series of hand-pulled photogravures, explores new perspectives on traditional genres and images found in landscape and portrait photography. By combining historical photographic techniques with more contemporary conceptual strategies, these works shift the focus of attention, and enable a reconsideration of its classical subjects.


naked lady: a dot red

Blackwoods work employs both historic and modern photographic techniques to critique and

give a contemporary and feminist voice to her photography. Exploring the idea of the figure with

a red dot, backgrounded by historical landscape photographs, tradition and contemporary theory

mingle, merge and clash. These traditional landscapes - historically photographed by men - act

as metaphor for amale view, and through this the feminine metaphor

of the red dot emerges and creates a visual enigma which deliberately defies this tradition. Often and

traditionally portrayed as nudes, the female body in photographs stands in stark contrast to the portrayal of men - often the ones taking the portraits - famous

male photographers such a Weston, Steiglitz, Man Ray, etc, who commonly employed the male gaze approach. A final, distressing statement is made in

the last photo of the series, the red dot itself, with an anonymous female figure, divided.

W. Tanner Young, Filter Photo



WIDE by Michael Kirchoff

the boys of collodion

The young bare-chested men in this series of portraits, with their free-flowing dark hair and their wide-opened stares, seem to harken back to the first decades of photography, as much as having been pulled

from the local skateboard park. Glued to whatever it is that is confronting them head-on, their fixated gazes might betray the name of the place that they mythically hail from: Collodion, from the Greek

kollds, meaning gluelike. Looking as though they have become suddenly entranced by the song of the sirens, or nearly petrified by the head of the gorgon, the boys of collodion are our modern day kouroi.

Stripped of colour except for a single red badgemedal and scarthey are glued and unglued at once.

John Paul Ricco

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OPEN | section in which we try to widen our horizons by crossing the boundaries of themes weve emphasized in BLUR during the past few years. This section will host street, documentary, concert, experimental, and other types of photography, and even photo manipulation. The creative approach is still the most important aspect in choosing photographers, but we will show preference for those who could be described as different.


by Robert Gojevi

Portugal

NUNO HORTAWhite Wedding

The White Wedding series is more an immersion in the universe perplexing, but always with the beauty present, and where the irony and humor also mark a space. This time, making it invisible not only the faces but also the bodies of two unlike-ly betrothed, a singular ceremony coming from a black dream photographed in white.


White WeddingImagine a reality coexisting with two parallel dimensions. One of these dimensions would be simply the one that we live in, where we exist as ourselves.

The second, an alternate reality where all of us would have another one, a projection of a world without constraints of any order, an almost cinematic existence within an imaginary admittedly obscure.

Who are the characters that Nuno Horta creates for shooting? And in which way models and characters can be the same for the shoot, an alternative imaginary, disturbing dreams?

The photographic work of Nuno Horta establish this passage. His gaze interprets people who see a real dimension, then they are transfigured.

An exercise of discovering the self, then settles a visual manifestation of some hidden appeal that lodges in the most inaccessible places of the human mind. This artistic fiction is as bleak as effulgent. The atmosphere is terrifying, but enigmatically seductive. Where it forms the border?

The allure of Nuno Horta by this dichotomy between good and evil, if we may define it, is also the result of his rebellious youth, marked by gothic and punk influences, and a latent thirst for transgression.

The White Wedding series is more an immersion in the universe perplexing, but always with the beauty present, and where the irony and humor also mark a space. This time, making it invisible not only the faces but also the bodies of two unlikely betrothed, a singular ceremony coming from a black dream photographed in white.

Festive pictured with bandages. Smiles of faces not disclosed. The union of two strangers, nonexistent beings. Crosses and guns, karaokes of deceased, a plastic child, giveaways and a cleaver.The dance between life and death satirized by the lens.

Sergio Currais, May, 2014

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OPEN by Robert Gojevi

Nuno Horta, 1977, Portugal.Works and lives in Oporto, PortugalVisual Arts | E. S. Soares dos Reis, OportoDesign | ESAD, Matosinhos

Since 1994Developing works in Web and Graphic Design, as well in Photography.

Since 2004CEO at the design studio Nhdesign. www.nhdesign.pt

Individual Exhibitions2014 White Wedding, Nuno Sacramento Arte Contempornea, lhavo. 2013 Mask, Viriato & Viriato, gueda. 2012 Mask, Palcio das Artes, Oporto.2012 Mask, Teatro Municipal da Guarda, Guarda.2012 Oporto Landscapes, El Corte Ingls, V. N. Gaia.2012 Mask, Espao 110, Oporto.2009 Extreme Ways, Centro de Artes e Espectculos, Guimares. 2004 Dgitos, Cirurgias Urbanas, Oporto. 2003 X-Rays, Galery Labirintho, Oporto.

Collective Exhibitions2014 Vinho & Fado, Curadoria Nuno Sacramento Arte Contempornea, Museu do Vinho da Bairrada, Anadia. 2013 Bakalhau, Curadoria Nuno Sacramento Arte Contempornea, Centro Cultural de lhavo, lhavo.

PublicationsVinho & Fado, Art Catalog, 2014.Blur Magazine, International Photography Magazine, n 32, 2013. Bakalhau, Art Catalog, 2013.arte.es, International Art Magazine, n 53, 2013.

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PROEYECT | is a little brother to the PROJECT section. Its purpose is to present mini projects, i.e. sets of photos, which are too few to included under PROJECT, but by their quality, unified theme, and story, deserve collective publication. Photographers often tell a kind of story through several photos, and this is the place for such stories. The number of photos is not a primary concern, so in this section, we may publish several unrelated stories.


by Robert Gojevi

The Old Northern Cemetery (Alter Nordfriedhof) in Munich enjoys a somewhat unexpected fate over the summer people sunbathing, reading, hanging their hammocks or playing with their dogs among the tombstones.

Serbia

An Afternoon

SARA STOJKOVI


// Project description

The Old Northern Cemetery (Alter Nordfriedhof) in Munich enjoys a somewhat unexpected fate over the summer people sunbathing, reading, hanging their hammocks or playing with their dogs among the tombstones.

How we use and transform public space defines us as a society. Our relationship to the holy in general, to the sacred space and, as such, to cemeteries defines our relationship to life and death. In my opinion, a re-appropriation of this kind is a powerful component of social and urban education. We draw lines, set boundaries and set up monuments all in the effort of sharing concepts of value and identity as a society. My aim with the series is to draw in and involve the viewer with the subtle feelings of comfort or uneasiness resulting from the encounter.

// Biography

Sara Stojkovi is a photographer and educational scientist born in 1985 in Subotica, Yugoslavia. In her photographic practice she is interested in perception shifts and visual transformations; exploring public spaces, the themes of beauty and urbanism, and attitudes towards the holy and the sacred.



PROEYECT by Robert Gojevi


www.artlimited.net is an elegant high-featured community for creative artists, art lovers and critics. It features personal and original creative works that are well recognized and appreciated. If you wish to only comment on the art and take advantage of the message center and forums to engage in dialog with the artists (art dealer, gallery di-rector, curator, artist agent, publisher, gallery representative, image researcher, collector, press, communication),you can do so through an "observer" account. If the quality of your work is recognized and original, join us now

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gallery 1gallery 2gallery 3gallery 4gallery 5gallery 6gallery 7gallery 8gallery 9gallery 10gallery 11gallery 12gallery 13gallery 14gallery 15gallery 16gallery 17gallery 18gallery 19gallery 20gallery 21gallery 22gallery 23gallery 24gallery 25gallery 26gallery 27gallery 28gallery 29gallery 30gallery 31gallery 32gallery 33gallery 34gallery 35gallery 36CLOSE UPPROJECTWET PLATEINSTANTIONPLAYSTICKPINHOLETETRAWIDEOPENPROEYECTEDITOR WORDSIMPRESSUMCONTENTSGALLERY 24GALLERY 12INTERACTIVEFUCEDITORPOCETNA GALLERY 36_GoBack

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PROEYECT SADRZAJ: OPEN SADRZAJ: WIDE SADRZAJ: TETRA SADRZAJ: PINHOLE SADRZAJ: PLAYSTICK SADRZAJ: INSTANTION SADRZAJ: WET PLATE SADRZAJ: PROJECT SADRZAJ: CLOSE UP: CONTENTS: IMPRESSUM: A WORD FROM THE EDITOR: FUC: COVER PAGE: sadrzaj playstick: sadrzaj instantion: sadrzaj wet plate: sadzaj project: sadrzaj close up: GALLERY 36:

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ARHIVA: Larry: SADRZAJ zadnji 16: GAVIN: NEXT 5: Page 80: Page 81: Page 82: Page 83: Page 84: Page 85: Page 86: Page 87: Page 88: Page 89: Page 90: Page 91: Page 92: Page 93: Page 94:

fotoinvents: fotoinvents 1: EPSON 2: Button 133: ROBERT: NEXT 6: fotoinvents 4: Button 131: NEXT 7: Button 134: IMPOSSIBLE: MICHAEL: NINO: FOJO: NEXT 3: TANG: SADRZAJ zadnji 9: SADRZAJ zadnji 14: SADRZAJ zadnji 15: RAJKOVIC: SADRZAJ zadnji 8: SADRZAJ zadnji 10: IAN 2: Nuno: Sara: refoto: Button 135: BLUR MAGAZINE: YOU TUBE 2: FACEBOOK 2: TWITTER 2:

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