Blur magazine 27

September 1, 2012

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Greeting from the Editor-in-Chief

Dear BLUR magazine reader,

It is my pleasure to welcome you to our e-zine dedicated to creative photography.

While launching BLUR several years ago, I was guided by the idea of creating a magazine focusing only on stunning, high-impact photography regardless of photographic technique and on its creators, the photographers. My intention was to use BLUR as a response to current photographic hyper-production and through it to encourage readers to reflect more on the images and to experience photography more profoundly.

Today, I’m glad to work with an international team of editors and collaborators who voluntarily support BLUR’s mission of promoting creative photography worldwide. Together, we use the distribution advantages of the Internet to reach readers in more than 190 countries and to present to them the inspirational work of both prominent artists as well as less-known, but very talented, photographers from around the world.

I invite you to join us and enjoy the diversity of creative photography.

Robert Gojević | founder | editor in chief

CLOSE-UP | Tomek Jankowski | Poland

“I always wanted to create a project that would contain a part of someone’s life connected with a cycle of seasons. I guess there’s a time in every photographer’s life when he feels a need to sum up a certain period of his creative path.”

PROJECT | Gennadiy Chernomashintsev | Ukrain

“The idea for this project was simple! It was all about nostalgia. In my opinion, period between the 1920s and the 1990s was the golden era of photography; it was the time when photography was pure art. And not just for photography, but also for fashion. I tried to express this feeling of nostalgia with appearance, style, and location.”

WET PLATE | Robert Szabo | USA

„Having said that though, with a good teacher and if you can pay attention to detail, you can learn wet plate. A lot of it just takes practice. When I started, I was pouring over 50 plates a week till I got it down. Everyday, I was out in the backyard pouring and processing plates.“

INSTANTION | Phil Garcia | France

“I shoot exclusively women, first of all, because I think they are more photogenic, they have a better aesthetic knowledge of their body, and also because I like to work with women more because they bring a different vision to the photographic project than my masculine one. I’m not very directorial to my models, so I need to get them to understand the idea of the shoot and to bring their own brick to the wall.”

PLAYSTICK | Kristin L. Ware | USA

“My choice in subject matter hasn’t changed much over the years. And I rarely ever go out with the intension of shooting something specific. I just load up my camera, go out, and shoot whatever I see. Nowadays, I choose my Holga more often than not because I really like medium format and the dark corners give an image an almost haunting or ethereal quality.”

MEET THE… | Fred Baldwin & Anne Wilkes Tucker | USA

“Things change. Technology inspires action. It must have been irritating for those secluded monks who were working away creating extraordinary illustrated manuscripts to discover that Gutenberg could whip out a bible with little comparable effort. So it goes. I sympathize with their frustration, and I feel superior to those who use their Gizmophone to record the most boring things imaginable. However, there was the Abu Gareb shot. So what can I say?”

PINHOLE | Ricardo Hantzschel | Brazil/UK

“The Multiple City project was made using five different hand-made pinhole cameras. With them I wanted to portray a strange but familiar city by showing some of the most recognizable architectural sites in multiple layers, a consequence of my imagination and the multiple eyes of those five cameras, playing with the totally unexpected.”

ANALOG WABI SABI | Yoshimichi Toki | Japan

„Wabi-sabi is, for me, a similar state of mind—it’s finished (material) object emanates this feeling of one-ness and empathy, of a certain meditative quality. In photography, this means photographs that reflect the author’s attitude toward the world around her/him, attention to small details, appreciation of often neglected everyday objects and situations, or, sometimes, just a melancholic expression of a human face lost in thought. Denis Pleić“

TETRA | Pierre Pellegrini | Switzerland

„Even for me, when I am relishing that moment and the camera is recording, the picture that arises is always an unexpected surprise. When you have some experience, it’s possible to imagine how it will be, but you will never be able to foresee the final result. There are no precise rules because the variables can be unforeseeable. It’s rather gestures that one learns with the time.“