Blur magazine 20
December 3, 2010
…There is a very good reason why BLUR is read in the whole world and why some professionals think of it as the best online photo magazine. It is because our team is driven by a desire of providing high quality content from various aspects of photography, world expansion and internationalization of the editorial – with the aim to create a unique photo journal. We are proud to announce our new editor of Playstick, Jennifer Henriksen from Canada, also known as Holga Jen, a photographer and a passionate toy camera user. In addition, we are introducing a new section called Wet Plate where we will present the truly mystical and romantic works shoot with this antique photo technique. Finally, we decided to give another perspective of the world of photography which is why we interviewed Suzanne Pastor, a respected collector of photo artworks who revealed her experiences in the photography market.
PORTFOLIO | Franjo Bahovec
Three years ago, Croatian photography became richer for the unique work of Franjo Bahovec which was discovered by Mr. Josip Horvat, a local collector of antiquities, and first presented to the public by an adviser of the Museum of Arts and Crafts in Zagreb, Mrs. Marija Tonković.
Franjo Bahovec was a successful businessman from Samobor, a small town in Croatia, and a passionate amateur photographer. Due to his wealthy position, enabled by his job, Bahovec had the opportunity to capture different moments through stereography, at that point, in the late 19th and early 20th century, a new medium of photography. This photography technique was capturing images on glass which, when viewed through a stereoscope, resulted in an optical illusion and turned into a 3D experience.
Collection of Franjo Bahovec is truly versatile. In it, you can find cities like New York, Vienna, London, Prague, Trieste, Samobor and Zagreb, as well as stories from his intimate life such as family, sports and romantic moments. Because of its documentary and artistic value, it is indisputable the importance of this photography collection to the Croatian heritage.
MEET THE… | INTERVIEW | Suzanne Pastor
The first time I met Suzanne Pastor was in Liptovsky Mikulaš, Slovakia, many years ago; she held a workshop “Photography in the third dimension,” about transferring photography into three-dimensional objects — by means of collages, sequencing, books, video, etc.. We became friends almost instantly, spent many hours talking about photography and working together (she was my mentor). After that we met in Prague, Lodz, Paris, Zagreb; I hope we will continue to do this in many other cities. Every time we met I saw her in a different role. She is an artist in every aspect of her being, but she is also collector, curator, gallerist — with photography at the root of everything she is.
INTERVIEW | Pascal Baetens
Yes. I believe that when you are standing naked in front of a camera you are in vulnerable position. I’ve been shooting nudes for more than 20 years, and most people in front of my camera felt that way, with a lot of emotions coming up.
Once they gain trust, and realize that I respect them and listen to them, they open up and often start sharing their emotions, sometimes telling me their traumatic stories, which have been crying for years to get out.
From the start of the sessions, they feel that my interest in their personality is at least as important as my interest in their physical appearances. I want to go beyond the mask of the fake sexual availability you find in “babe” and other kinds of sexy photography. The aim is to show a real facet of them and make them go home feeling good about the session, and about themselves.
PROJECT | Tamara Dean
Ritual is a protocol, a guide, for that most fundamental of human needs: meaning.
But when protocol loses meaning, snubbed out by the distractions of life, it is merely repetition. Baptism becomes bath, marriage a party with rings. And so on the Western world ambles, away from what was once the light, out into the secular unknown.
One wonders, in this state, if bath can become baptism – if, on meditation, the mundane can take up meaning and repetition become ritual. This is the margin I seek to explore: the contemporary quest for purpose, rite in the Australian landscape.
Ritualism delves into the shared desire to understand our existence and our mortality, the purpose ritual holds in explaining moments of life, to mark them and imbue them with meaning.
WET PLATE | INTERVIEW | Igor Vasiliadis
This process existed for 100 years before the digital photography was invented. And due to very different emulsion response to spectrum, together with “some mystical vision” not available for our regular sight, this technology still has lots to say. People are tired of unnecessary details and realism of digital photography. It is always pleasure to eat with a silver spoon in the world flooded by plastic.
THE ANALOG WABI-SABI | Denis Pleić
Photography is a strange medium, and it is often said that the “camera does not lie”. Nothing could be further from the truth – and by that I don’t mean “extensive post–processing” and “doctoring” of photos, using image editing software (or advanced darkroom techniques). I mean that the camera lens (or lensless cameras, as the case may be – let’s not forget pinhole cameras….) sees the world differently than we do. Without delving too deep into biology, physics and the characteristics of human vision, let me just say that, like probably many of you, I have taken photos of things that seemed interesting and important at the time, just to be vastly disappointed when I got the photos back (that was in pre–digital era for you whippersnappers), where I had to play “where’s Waldo” in order to find the subject of my photo, which loomed so large in my mind at the time I pressed the shutter (photos of birds, anyone?).
TETRA | INTERVIEW | Hakan Strand
First of all I am a photographer, but I also love to travel.
I find it easier to work when I am alone and away from home. When you are home there are always things that you must do and take care of. When I am away on a photo trip, the only thing I have on my agenda is to take photographs. That makes it easier to focus and conce¬ntrate on my work.
INSTANTION | PORTFOLIO | Alexey Kurbatov
Alexey Kurbatov is a 24 years old self-taught photographer from Russia. Although a graduate from Technical University, Alexey dedicated himself completely to photography. His first works were for local magazines and sites, events, concerts. At one point he fell in love with analog photography and after an experimenting period and a long search for ‘his’ camera, he sta¬rted using Polaroid, Holga, Leica M6 and Pinhole camera. Alexey is not focused on creating photo series or projects; he perceives each of his photographs as a project on its own which makes it cha¬llenging for him to set up a thematic exhibition.
PLAYSTICK | PORTFOLIO | Noelle Swan Gilbert
I’ve been a photographer since the day my father gave me his argus 35 mm camera when I was 12 years old. I fell in love with photography and was rarely without a camera in my teen years. It was how I felt most comfortable, as I was fairly shy, so I used my camera as a social tool to fit in with my high school classmates by taking pictures of them for our school yearbook. By then I had graduated to a Nikon with an actual internal light meter. I spent many hours in our high school dark room and I still have a lot of of the photos I printed back then.
I started using “toy cameras” when I met Aline Smithson, a fellow toy camera photographer, who suggested I might like shooting with a Holga. So I bought a Holga at Freestyle, put it in my camera bag and took it to Seattle on the trip I take every summer with my kids to visit their cousins. I shot several rolls of film on that trip – that camera was not modified in any way, and not taped. I had no idea what I was doing. Several of images from “The Edge of Innocence” were on the last roll of film that I shot on that trip.
LOCK ME UP…AND THROW AWAY THE KEY | Tomislav Marić
The story is very interesting visually from afar: it gets quite a different dimension when you come closer, and when you surf the ‘Net a bit – quite a new perspective opens behind the forest of locks. All those locking devices are dedicated to human relationships, which are (only theoretically, of course) unbreakable. The names which are written on the locks in various ways (engraved, scratched, forged, written in plain felt pen) symbolise the pledge of love, friendship or perhaps something quite different….
- File size: 82.3 MB
- Pages: 240