Issue 5 Online

7/23/2019 Issue 5 Online

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PORTFOLIOS

Michael Taylor

Ellie Davies

Pierre Pellegrini

Dennis Cordell

Gary Auerbach

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FEATURES

Three Point Four

COVER STORY

Bastian Kalous

Spr ing/Summer 2012

FUZION



Analog

One2012

The magazine where the future and past meet

Analog vol 1 2012 cal l for entries

Analog is an annual publication that aims to re-establish analog photogrphy within the photography community. Photographers at any level,froanywhere in the world,can submit a portfolio of 10 images f or possible iclusion. Check the Publications page for more information.

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Published by Fuzion Magazine

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Issue 5 Spring/Summer 2012

DedicationI would like to dedicate this issue to my students. Youhave helped me gain a better understanding of whatteaching is and should be! As we forge ahead together,tearing up the rulebook, rejoicing in your successes, youembody everything I would want from a cohort of stu-dents, success, determination, dedication and individual-ity. You amaze me, challenge me, you crave and desireknowledge. Your passion to learn is challenging, but inrising to that challenge you remind me of a promise Imade to myself many years ago, to give back something I

myself received at your age. One of the most inuentialpeople in my life was my rst photography teacher, if I

can be as patient, engaging, encouraging, passionate anddemanding as my own teacher then I will have suc-ceeded.I hope I lived up to your expectations.

Feature Writers and BloggersAre you a writer looking to have your work featured?Are you interested in being a feature writer orblogger? If so then contact the editor as we are lookingfor writers and bloggers to submit either photographyarticles, book reviews, regular feature blogs and

interviws/reviews.

Submission’sIf you would like to submitt a your work forpublication you can either send it direct to the editor

ArticlesIf you have an upcoming exhibition or publication thatyou would like us to feature then send us the details.

Contributors

Bastian Kalous

Michael Taylor

Ellie Davies

Pierre Pellegrini

Three Point Four

Dennis Cordell

Gary Auerbach

Articles

Gabriel Van Ingen

Spring/Summer issue 2012

Editors note

As well as publishing this magazine and workas a professional photographer I am also a phtography lecturer. Editing this magazine givesme the opportunity to showcase the work oof my own students. As we approach the enof the academic year in the UK photographystudents will be preparing for their nal year

exhibitions. If you are a University or a groupof students who would like to feature your

year work in this magazine then get in touchFor now I bring you the work of my own 1styear photography students who are preparinfor their rst major exhibition, celebrating th

rst year of tuition.



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CONTENTS

Bastian KalousThe symbiosus of nature and polaroid

Michael Taylor Photography is light architecture

Ellie DaviesDwellings

Pierre PellegriniPhase One P20+ landsapes

Three Point FourStudent focus

Dennis Cordell

Gary AuerbachNight for day

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Front Cover - Bast ian Kalous

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Bast ian Kalous

I started photographing about 3 years ago. My rst camera

was one these plastic Polaroid instant cameras. Back then

it was all about taking Polaroid pictures and it still is. What

I’m trying to do is to capture some impressions about the

nature I live in. The fascination of taking pictures of nature

is the perfection of imperfect spots or places. The objects

I mostly nd are crooked, rough, dead…simply natural.

This is what I feel what matches perfectly to this imper-

fect expired Polaroids. The lms are going their own way,bringing their own mood and creating an impressive scen-

ery. It’s a symbiosus between nature and Polaroid. Like

they are having a baby. This is what I love about the me-

dium I am working with. Hopefully Mother Nature lasts

longer than my expired Polaroid stock.

www.polanoid.net/bastiank

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www.polanoid.net/bastiank

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www.michaeltaylorphoto.com

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Michael Taylor is a full time photographer currently living/working in Belfast. Hewas born in a small market town near the beautiful North coast of Antrim. Al-though working as a location/people photographer for twenty years, he continuesto explore personal work. He has exhibited work in Dublin, London and Mel-

bourne.In the Lumen series of projects the topic of investigation is light itself. It is a lifetimeproject in which various aspects of light are explored in separate bodies of work.My aim is to let light reveal itself.

Wave is the third body of work in the Lumen series. There is abstraction with ahuman presence. Images of light waves in water, glass, air and materials were pro- jected onto the model. Film and analogue projection techniques were used; therewas no digital manipulation in Photoshop.

MICHAEL TAYLOR



Images were captured using a Phase One system with minor embel-lishment in Capture One. Although the initial images are colour Ialso manually transform each picture into the purity and beauty ofblack and white.

Regarding equipment, I use everything from self-built pinhole cam-eras to advanced digital systems. Black and white paper and lm

negatives have intrinsic qualities that I will always love. Digital allowsgreat feedback, control, organization and productivity. Both arepowerful media requiring craft skills when used correctly. Combin-ing the power of digital with the beauty and hand-crafted element ofClassical Photography is a great way forward. For example, my twocurrent aims are to learn more about digital masking/montage andalso to learn the gravure process.

My inuences are wide-ranging. In addition to hundreds of art and

photograph books I enjoy reading science in general, cosmology,theology, philosophy and poetry. I love painting especially that of theRenaissance, Impressionist and Abstract Expressionist schools. Thelighting in art lms and theatre are also inuences.

The work of light artists fascinates me. For example, James Turrellcreates magical environments in which the qualities and properties oflight are replicated and enhanced in front of the viewer. This is revela-tory. My aim is to mediate the properties of light via photography.

Abstraction was always natural for me, so I love photographers withabstract visions of the world such as : Moholy-Nagy, Minor White,Man Ray, Alexander Rodchenko, Frederick Sommer, Paul Strand, BrettWeston, Aaron Siskind, Hiroshi Sugimoto, Tokihiro Sato, Todd Hidoand Alvin Langdon Coburn (Vortographs).

The greatest inuence is the inexhaustible reality of light around us.We just have to look deeper.

To create the work I initially imagine and sketch, then plan shoots(email/phone, collect props, organize lights, costumes etc), take thephotographs then follow with minimal post production. In paral-lel, I am continually recording light patterns that feed back into thecreative process.I always follow the light where it leads and select/decide as the pho-tographic session evolves and also later during image selection andpost production.

Photography is essentially image making, i.e., using your imagina-tion: you must mentally visualize (or have a clear direction) prior toplanning, setting lights, using a camera, post production, exhibiting.Happy accidents happen but you choose how to follow these gifts ofgrace based on personal vision. Computers or chemistry are simplyvehicles to express what is in your imagination.

Style just happens during the process of following your own path andinterests. The selections an artist makes determine that unique path-way and thus style emerges. To base a style on a technique (analogue

or digital) is dangerous as technology and materials pass so quickly:instead, the image is paramount.

There are always universals and particulars: for example, there is thevast arena of light and the specic area you choose to investigate.

There is history and personality: no-one can see/interpret this light in

exactly the same way that you can.

Every artist in some way wants to reveal the invisible

CreditsModel: Katy Cee; Assistance: François Boutemy at Simulacra Studios,London.Light images were photographed throughout Northern Ireland andSouthern France.

http://www.michaeltaylorphoto.comhttp://www.saatchionline.com/prole/167024

[email protected]



www.michaeltaylorphoto.com

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The Dwellings series explores the artist’s changing relationship to built structureswithin the forest landscape, developing on previous work to examine the notionthat we use landscape to nd a sense of our own identity. Landscape can be seen

as a cultural construct, obscured by layers of meaning that reect our own cultural

preoccupations and anxieties. Can we learn about ourselves by considering how wehave come to see and make landscapes, as a result of our material needs, and theway this has shaped our relationships with the land?

Ellie Davies

www.elliedavies.co.uk

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The woodland Dwellings are made using a variety of traditional andimprovised building techniques and created from materials gatheredfrom the forest oor. Once completed, the structures function as

signiers of a creative process in which the artist inscribes and places

herself temporarily and non-invasively within the forest landscape.These nest-like structures, reminiscent of the fairytale hovel, are aform of mark-making and explore the process of building in order to

provide shelter, sanctuary, seclusion, and play.

The creation of each Dwelling illicits a childhood pleasure in build-ing and making. The process ties the artist to the structure with afamiliarity derived from being its creator, and brings with it a sense ofownership and territory; but this relationship is short-lived.

After a period of time each structure is revisited and photographed.The Dwellings take on their own personal identity, presence andpotential, becoming inexplicably transformed into something inde-pendent from the creator, perhaps lonely, sometimes melancholy, andalien to the maker. Each has existed in the woods over a prolonged

period of time, evading destruction, remaining in wait, possibly usedby others. While some still seem newly made, others have begunto disintegrate and loose their form and function, the delineationbetween the structure and the woodland beginning to blur.

Any sense of ownership ceases to exist when construction of theDwelling is completed; it then becomes part of the forest, and an en-

tity in its own right. During the period of absence it is transformedinto a shrine or totem of a past activity, and in doing so takes on asubtly threatening otherness in its vacancy; a persona that is bothdisturbing and intriguing to its creator.

[email protected] www.elliedavies.co.uk

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Pierre Pel legr ini

Pierre Pellegrini is an award photographer from Switzerlandspecialized in long exposure ne art photography. His artistic

sense boosts the creation of extraordinary compositions ofgreat depth and clarity engaging the viewer emotionally intotimeless stories. In an interview with him we discussed his style,inuences and technique.

The pictures in this set are the result of several years of workand experimentation in the eld of long exposure photogra-phy. More than about techniques or the choice of the differentsubjects, the pictures allow me to tell you why I am attractedby this kind of photography. The applied technique requires dif-ferent rhythms in which the time factor becomes essential. You

take yourself time for the composition; during the intervals be-tween one shot and the other you can live and relish the atmo-sphere of this particular moment, think about all kind of thingsand study the next framing. This is the origin of the title of thisproject “Pensieri nel tempo” (Thoughts within the time). A wayto escape from reality and to show a world that cannot be seenwith our eyes. A different world, much closer to my thoughts.Some people consider photography as an exact reproduction ofreality. Through this technique, reality is partly transformed. It’strue that some elements are shown exactly the way they are,but is also true that others, in particular those who can changefrom one physical state to another like water or clouds, appearin a new dress, growing away from visual reality. Depending onthe direction and the force of the wind or the change of light,

the drawings we nd in the pictures will never be the way wesee them with our eyes or like we imagine them to be. Theatmospheric conditions of that precise moment, transient andtherefore unique, are transformed through photography into amagical and evocative phenomenon.

Almost as if the reality of the time was invisible to our eyes. Andso we must learn to look with our heart, with our emotions. Adifferent world, where the dynamism of the sky is emphasizedby the contrast with the perpetual movement of the water,frozen and ironed like a silk dress. We all know that photogra-phy not only frames a certain part of space but also contains athin slice of time. In this project, the passing of time is immortal-ized, conveyed and held in one single picture. Even for me, when

I am relishing that moment and the camera is recording, thepicture that arises is always an unexpected surprise. When youhave some experience it’s possible to imagine how it will be, butyou will never be able to foresee the nal result. There are no

precise rules since the variables can be unforeseeable. It’s rathergestures which one learns with the time.

Nature offers so many possibilities for compositions. The dif-cult thing is to chose the composition which - among all - is

new in an extraordinary way. An aesthetic and graphic researchof nature, where everything seems to have found its right place,where the sense of order seems so well balanced and propor-

tioned that it becomes difcult to distinguish the boundary (if it

exists) between human intervention and nature, responsible foritself. Like the choreography of a ballet or a musical composi-tion – everything seems in harmony and gives us a deep feelingof peace and quietness. Order and balance of nature mixed withimperfection and unpredictability of the record technique giveus the gift of a picture that grows away from reality.

Sometimes, I can’t even explain myself which are the mecha-nisms that make me chose one subject rather than another. Ifeel that I have to stop to immortalize what my eyes see. Byphotographing, I try to give a particular importance to what Isee. In a rst moment, this is a very personal value, where the

picture is the expression of what I feel. A kind of inner land-scape. A magical moment that I wish to hold in my memory andin my thoughts, but at the same time I want to share throughthe photography.

I love to photograph in solitude. I relish until the last instantthese unique and magical moments. I want to give a voice to asilent picture. Make the picture itself talk about this silence, thisquietness, is one of the aims of this project. I am not quite sureif it’s me who is looking for the subjects or if it’s the subjectsthemselves who are looking for me. Yet, whenever such anencounter happens, a picture arises, perfectly in harmony withmyself and with my personality. A kind of balance, harmony,quietness ....

Pierre Pellegrinihttp://pierrepellegrini.portfolio.artlimited.net/

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http://pierrepellegrini.portfolio.artlimited.net/

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Pierre Pellegrinihttp://pierrepellegrini.portfolio.artlimited.net/



For the second year running we follow the progress of a group of photog-

raphy students as they prepare for their rst major exhibition. In just a few

months this group of emerging professional’s have achieved so much. From

diverse cultural and social backgrounds, they have brought with them a gen-uine desire to learn the craft. Their determination and creativity has result-

ed in the most successful year in the history of the course, their successesso far amount to three national competition winners and four published in

national professional magazine and newspapers. I genuinely look forewordto seeing what they will achieve in their time with me over the two years of

their course.

Gabriel Van Ingen - Photography Lecturer



THREE POINT FOUR“These people are like my second family. They’re actually the group of people I spendwith 9 to 5 every Monday, Tuesday and Wednesday each week. If it wasn’t for them, I

denitely wouldn’t enjoy college as much. We are all very individual, yet we work re-

ally well together. I’ve never been around such motivated and inspiring people up untilstarting the photography course at the media and journalism centre in Peterborough.

As we’re all at college for one reason; our love for photography, we all listen to eachother’s constructive criticism, share ideas and photographers, plan days out shoot-

ing. We pretty much have our minds set to photography, which is just what I neededto keep pushing myself forward. I could just spend a whole day listening to everyone’s

ideas and how they’ve interpreted our assignment briefs, I nd it so interesting how just

one brief can spark so many unique and brilliant ideas.”

- Sarah Kathleen Page.

Follow the group as they prepare for their exhibition in June

http://three-point-four.blogspot.co.uk

https://www.facebook.com/threepointfour



www.three-point-four.blogspot.co.uk

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Lisa Leverseidge




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Glenn Woolsey




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Emma Swain




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Nikki Hopkin




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Freya Armstrong




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Giorgio Esposito




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Sarah Kathleen Page




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Bells Hann




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Lloyd Retzlaff




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Saskia Cole




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Chris Melnyk




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Klaudia Nowak



“My camera is a less archival utensil and more of

a Pandora’s box. When the shutter opens all the

darkness in the box ies out into the world, but

light enters and captures the “hope” of a goodphotograph”.

DENNIS CORDELL



Like many photographers, I was trained as a painter. I also didpottery. I do not consider myself to be an ex-painter or a potterof yore, but rather an artist currently focusing on photography. Ibought a Nikon FM about thirty years ago to aid me in paintingportraits. I would photograph my subject, then use a grid totransfer the image to canvas for painting. I soon realized that Iliked doing photographic portraits more than painted portraitsand eventually moved from the 35mm format of my Nikon tothe 120 format of the Hasselblad. I also surrendered to thesquare format of the Hasselblad as opposed the rectangularformat of 35mm. A camera lens is round and can perfectlycontain the equilibrium of a square whereas a rectangle createsstress when part of the lens has its view “cropped” by one ofthe rectangle’s sides.

Although I occasionally do landscapes, my favorite subjectmatter, either in painting or in photography, has always beenportraiture. I love the human face. I also prefer doing portraitsof Buddhist monks and other spiritual contemplatives in Asia.

Such people aren’t concerned with whether their portraits arecosmetically appealing. For them, a photo of themselves is simplya memento to gloss a particular occasion. Westerners oftenask for post-production “favors” such as bag, wrinkle, or chinremovals. Buddhist monks know that wrinkles are just part ofthe impermanence of the phenomenon we call life. Future liveswill bring more than enough facelifts. I have always consideredBuddhism to be a cult of tranquility. Tranquility is a useful agentin photography. Many of my concerns about photography, andart in general, have developed from my interest in eastern mysti-cism and spirituality. The square format of the Hasselblad corre-sponds to the sense of harmony found in the Sanskrit postulaterta. Rta is the natural cohesion that regulates and coordinatesthe operation of the universe and everything within it. Rta signi-es both “order” and “truth” and may be collectively referred to,

in its ordinances, as dharma, and individually, in relation to thoseordinances as karma. Rta is the opposite of chaos.

I nd it difcult to write about photography despite all the

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attention that has been given to critical theory, or Photo-Dis-course. Many photographers consider much of this discourse tobe mere gibberish and would like to see critics boiled in a cis-tern of ink over a pyre of burning exegeses. Yet those like MichelFoucault inspired a philosophy that there is nothing more practi-cal than a good theory combined with the rise of new mediatechnologies to bring divergent voices (and disciplines) together.These diverse inuences, in many ways, broaden the discursive

platform to include social, political, as well as artistic voices.There are coteries of Photographers, and there are cabals ofArtists who use Photography. I tend to fall, more or less, intothe latter camp as an artist who uses “lens-media.” In her copiaverborum on the subject, Susan Sontag states that photographyis predatory. I do not consider myself to be a sabertoothedpaparazzo, stalking monks or other subjects. As a photographer, Iam a gatherer, not a hunter.

For me, composing the portrait through my viewnder is

homologous with the Indian notion of darshan. Literally, darshan

implies “to see” or “sight.” But more specically darshan is

concerned with an event in consciousness that creates an inter-action between the seer and the seen. Thus darshan heightensconsciousness. Another term is rasa, literally meaning “juice” or“essence.” Rasa denotes an essential mental state dominated bya primary experience of the viewer by what is viewed. For merasa is a vital component in photographic composition, similarto what Roland Barthes has called the photograph’s noeme.

I feel that photography has a melody but not a song. It is a storywithout diegesis…a fetish without an aura. A photo is a recep-tacle without utility, the dance without movement. A painting ishyperbole, whereas a photograph is litotes. Photography is thecrown jewel of austere poverty. It is what the Japaneser poetHakuin Ekaku has called “the sound of snow.” A photograph canbe the answer to a koan that is not information but conscious-ness. There is an energy that ows between the photographer

and the subject. This energy is the source of inspiration and hasa classical association to the muse. This muse, or exuberance is



known as prana or “life force” in Sanskrit, rlung in Tibetan, ch’Ior qi in Chinese, pneuma in Greek, spiritus in Latin, ruwach inHebrew, and, perhaps the word “soul” in English. Sometimes itis necessary to be very patient for this vitality to arise. Often anexternal element such as the light and shadow on the subjectis an inappropriate ebullience for the “breath” of the muse toarise, but when the “breath” proceeds, the camera photographsand the photographer and subject fuse to create an amalgama-tion of beauty. The subject is the echo of its creator. As thephotographer Minor White said, “Spirit always stands still longenough for the photographer it has chosen.”

I shoot lm because it is easiest for me. I don’t like all the con-gurations and buttons necessary to operate a digital camera.

A light meter involves enough computation. I don’t need anentire dashboard. Actually, I shoot “hybrid” in the sense that myanalogue photos disappear into a digital binary code of postpro-duction to re-appear as an analogue mimesis. Likewise, I shoot inblack and white…again because it is easy. I also like the abstrac-

tion that black and white creates on a paper’s surface. Similar toviewing the work of a painter like, say, Franz Kline or works bygreat calligraphers working in black ink, the viewer’s imagina-tion is called into play when it encounters black and whitephotography. The mind isn’t immediately told that what it “sees”is a “realistic” image or message. The mind rst must interpret

the tonality and contrast of the viewed subject in order to gaina meaning. The highlights and shadows of a black and whitephotograph are the warp and weft that create the “fabric” ofthe pictorial tapestry. The greater the range of tonality betweenblack and white, the more pivotal, for me, is the image. A photocan never have too many shades of grey. Greys are the interme-diate tones that create the designs and textures woven into thephoto.

I have always felt that using black and white lm in my photos of

India is a bit of western hegemony. The Rajasthani photographerRaghubir Singh notes that Indian photographers prefer color toconvey what he felt is their sense of optimism. Singh notes that

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even when black and white is used, say in the lms of Satyajit

Ray, it is a psychological metaphor for this optimism. How-ever, I nd there is a wonderful minimalism to black and white

photography that justies and surpasses any contrition I discern

about this monochromatic hegemon. It is neither optimistic norpessimistic. A photograph is just an image on a piece of paper…it can be blown away in a gust of wind. It is minimal, even incolor photos. It is limited by the duration of exposure, what

John Szarkowski calls “a discrete parcel of time.” It denes brev-ity. It dees both optimism and the vicissitudes of pessimism. It

silhouettes a moment…it is the kireji , caesura or the criticalword of a visual Haiku...a machine made haiga.

The nineteenth century British photographer William HenryFox Talbot referred to the camera as the “pencil of nature.”Nature nourishes. My camera is a less archival utensil and moreof a Pandora’s box. When the shutter opens all the darkness inthe box ies out into the world, but light enters and captures

the “hope” of a good photograph.

www.denniscordell.zenfolio.com



Night for DayGary Auerbach

Gary Auerbach’s photographs articulate a tension be-tween durability and transience. He combines photog-raphy, a short lifespan medium, and the photo engravingprocess, giving his work a life of 500 to 1000 years. Photoengraving, moreover, involves the intaglio hand-wiping ofevery print, giving a personal touch to the nished result.

Concern for permanence, in an alienating instantaneousworld, may result from his life experiences. A native NewYorker, he has lived in Arizona for years: the formerepitomizes contemporary society’s eeting character,

while the latter’s landscape has all the mythic solidity of

pre-modern times. Regardless of its source, this thematicconcern structures the medium and content of all hisphotographic images. He photographs with an 8x10 viewcamera at night, and prints in platinum and in gravurewith etched photopolymer plates on Rives BFC in thenegative.

www.garyauerbach.com

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