Blur magazine 28

December 1, 2012

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The time has come for BLUR to have a price in order to survive and continue to thrive. But we don’t feel comfortable in setting that price. We are here to support art. So, we will allow you, the valued readers of BLUR, to decide how much you’re willing to spend for the latest issues of BLUR with a minimum price set at an essentially symbolic $1.00. Wasn’t BLUR free?

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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 free distribution advantages of the Internet to reach readers in more than 195 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 | VADIM STEIN | Ukraine

“I see photography as the process of research. I am completely open to the things happening here and now. That’s how you make the work come alive. The idea often prevents us from seeing. Subsequently, I can see similarity with the work of other photographers. It’s quite natural that everything that I observe around me appears in my work. To me, it means that I’m going in the right direction.”

PROJECT | Neil Craver | USA

” This project is meant to be consumed with your emotions, and not simply perceived with your sense organs. I wanted a transcendental meaning behind them; not only with the use of chromatics and aesthetics. But with my intended focus be on the philosophical theories, I wanted a “subliminal composition” to create an under tow of messages to stress the strong influences of unconscious elements affecting and driving people’s lives. With the creation of a strong undercurrent of incommunicable thoughts; this will be the stage for illuminating the subconscious intellect into absolute perception.”

WET PLATE | Mark Sawyer | USA

„That’s a big advantage to working in collodion positives; you can keep working on an image until it’s right. With film, you expose a negative and develop and print it later; in digital people tend to shoot a lot of images and sort through them for the best later. But in collodion, you see each photograph right after the exposure, looking very much like the finished plate. So you can change lenses, lighting, distance, composition, aperture, focus, or whatever on the next plate. Working your way through an image like that can teach you a lot about making photographs.“

INSTANTION | Bastian Kalous | Germany

“The most artistic aspect is that Polaroids develop on their own, and I immediately can see the results and how the material surprises me again and again. Especially when I take a few hours’ trip, it would be really unpleasant without this kind of photography. I try to capture the beauty on this special material, and this connection is art. It seems like the expired films take you and your photos to another world. Take a Polaroid picture and you will know what I mean!”

PLAYSTICK | Randy Jennings | USA

“I love the simplicity; there is so little control. I have to adjust my thinking, instead of shutter/aperture combinations. It takes photography back to its basic concept. Holga photos have a certain ethereal and retro quality to the images. I primarily shoot black and white and love the softness combined with the graininess and contrast.”

PINHOLE | Tony Kemplen | UK

“In today’s high tech world, the idea that I can make something cheaply and quickly from readily available materials appeals to me. Although there are a few commercially produced pinhole cameras on the market, for me the fun is in making something from scratch, and finding ways around the various technical challenges along the way.”

ANALOG WABI SABI | Reimi Adachi Corey | USA

„I think he built that connection over the years. Actually, I don’t think he had any idea what he was getting into when he first visited Japan, but soon after he became fascinated and started to appreciate the Japanese culture and the beauty of Japan, which he had never experienced in his life before being there.“

TETRA | Hengki Koentjoro | Indonesia

„I love heavy contrast with soft overtones. Normally a scene of extreme dark and bright is the one I’m looking for. On post I use Adobe Lightroom and Photoshop to convert to black and white and accentuate the mood and atmosphere.“

GALLERY 24

BLUR. Devoted to creative photography

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