Jasmine Deporta: A Safari of Sofas

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Jasmine Deporta´s new series Sofasafari is a brilliant play on editorial styling, juxtaposing models with couches in a camoflaging of color and texture.  Commissioned for Some Magazine, the project is one of Deporta´s latest creative endeavors, and an excellent example of Deporta´s non-traditional work. Based in Bolzano, Italy, Deporta has been featured in various galleries throughout Europe, and you can check out more of her work here.

 

via http://jasminedeporta.com/

 

Catherine Leutenegger: Kodak City

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Located about 335 miles north of New York City, the city of Rochester was known as the center of the photographic film industry and the headquarters of the giant Kodak company.  Deindustrialization and technological innovation has led to the fading of power for this empire.  Swiss photographer Catherine Leutenegger´s series, Kodak City, documents the changes within this industrial complex, her photographs a stunning portrait of a now marginalized dream.

 

 

 

 

Vía: http://www.cleutenegger.com/ 

Paul Octavious and The Book Collection

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Paul Octavious´The Book Collection is a wonderfully composed series that plays with color and form, utilizing books as chromatic building blocks with visually awesome results. Octavious is a photographer and designer based in Chicago and has had his work featured in various publications such as The New Yorker and The Paris Review.

 

 

 

via Paul Octavious

 

R.I.P. Pearl Paint

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Pearl Paint, New York City´s iconic art supply mecca is closing after 80 years in business, and we will miss getting lost while browsing its corners and aisles stuffed with all sorts of crafty goodies.  The five floor maze of all an artist may need has been a destination for artists, designers and students, and its presence will be sorely missed.  Just recently we were there to find dyes for our Washed Out collection this past January. Here is a selection of some photos of the classic downtown site.

 

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via Christian Montone

via Core77

*Interview: Carlos Molina

por Carlos Molina B. http://carlosmolina.cc/

You don’t make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.

                                                                                                                       -Ansel Adams

Santiago based designer and photographer Carlos Molina cites the above Ansel Adams quote as having been helpful in making sense of what he does. Molina´s work  has been published and featured in various international exhibits and media, and we are very excited to share his work and story with you.  In our interview with Molina, he speaks about the role of music in his life and work, the criss-crossing of creative disciplines  and about the nostalgia of analog, among other topics. Enjoy!

Portfolio: http://carlosmolina.cc/

1.How did you get into photography?

When I was young, I enjoyed going around taking photos with an uncle´s old Zenit, later on when I was 16, I began to take photos with a compact digital camera and to notice how the light illuminated objects and isolated them from their contexts. But I really got into it after watching Gus Van Sant´s Elephant at age 17.  I remember that one of the supporting characters in the film wandered around with their camera through the halls and yards at school, developed their own rolls; all this within an incredible atmosphere produced by perfect art direction.  I think that at that moment I saw myself reflected in that character because they wandered around, not bothering anyone, not interfering or generating any change in the others.  After watching that movie, I went to the flea market to buy an analog camera, a Nikon FM10, which is what I still use today.  Over time, I researched on my own what it meant to utilize the technical aspects of a reflex camera: diaphragm, aperture, exposure, light meter, depth of field, etc. Over time, this interest overlapped with my interest in music and I began to photograph shows, and when I studied art and design, photography was always a useful tool; a medium and not an objective.

2.What other creative activities do you do?

I´m a graphic designer, but I also studied art for one year before graphic design, and that experience has always been a strong foundation for the things that I do, from technical skills like learning to paint and draw, to developing a visual way of thinking with an extensive theoretical base, which has led me to consider that the difference between art and life should not exist. It´s impossible for me to imagine those jobs in which you perform the tasks required of you during office hours, and when you get home you´re another person who does other things, I believe that it is inevitable that all the things you do begin to influence each other and attribute to the development of your personal outlook. Currently I work as a freelance designer and photographer, mainly for the design firm The Andes House, as well as for the platforms Super 45 and +56. I also feel drawn towards illustration, and lately I´ve taken it up again as a personal project.

3.Where do you feel most productive or does that depend on other factors?

I think that it depends, but it has to do with what I understand as ¨being productive¨. On one hand, there´s the idea of production as doing and making things, and in that case I feel much more comfortable working in my room, I have a small desk with pens, brushes and toys, some of which I brought back with me from trips to London, and some of which were given to me as gifts, and I think that when I´m in my room I can isolate myself from time and people, it´s like expanding a mental state into a physical state of isolation. On the other hand, there´s the idea of rest and reflection, which I think is also a type of production, and I feel most able to rest and reflect when I go visit my mom at my old house in Peñaflor.

4. As a photographer, designer and creative individual, how do you achieve a balance between personal projects and projects from work?

It´s difficult and can actually be depressing. I´m obsessed with working constantly, and has resulted in a quite intense work rhythm, which has meant no rest during my free time, as I prefer to work on personal projects whenever I´m free. I think that the Chilean educational system makes young people waste a lot of time at school and then later at university, and by the time they´re finishing studying, they´ve reached an age at which young people in other countries have already achieved a very advanced level of professional experience. I have the feeling that I need to be constantly doing things in order to achieve a certain standard of quality in my work and thusly be able to develop my own language in design and photography. I see people my age that graduate from university with giant egos and try to do only one particular thing in order to avoid risk and not have to accept comments nor criticism, waiting for brands to contact them first and publish their work and convert them into instant celebrities, and this makes me feel sad because things aren´t that easy. I think that it´s necessary to fail many times and to work incessantly. Like Buddhist monks who pray and pray and meditate and meditate. ¨A good photographer is born from a state of grace¨  said Sergio Larraín, and I think that it´s through failure and suffering, through sordidness, that one arrives at that state.

5. Do you feel that your education and knowledge as a graphic designer influences your photography or viceversa?

They´re definitely related as far as wanting to communicate an idea. But in a way they´re related like two brothers with the same mother, the mother being Art, because of the shared studies in composition, form, color, texture and above all, theory.  However, other areas like literature and music have had more of a direct influence on my work.  I think that each of these has its own world with its own language, and that for me they convert into catalyzers of the imaginary and infinite references for creating things, for thinking and for living. Also, without a doubt I was affected by the experience of being born and raised in Peñaflor, an outlying neighborhood where basically there´s nothing to do.   It´s far away from everything and isolated, I think living in the suburbs isolates you as a person.

6. How present is music in your daily life and what bands have you been listening to lately?

Always, it has always been present since I began to take the bus on my own from Peñaflor to Ñuñoa to school or later to university, which was something like a two hour commute each way. Music leads me to the imaginary. I have great respect and affection for music, that´s why I like to be constantly photographing concerts, and lately I´ve been shooting portraits of bands, I think that it helps me channel part of this imaginary world and propose a meeting point within the dialogue between two camps ,which are very different in a formal sense, like music and photography. Despite listening to new music constantly thanks to my relationship with Super 45, I have also felt very attached to Blur, particularly the record ¨13¨that was recorded during a dark period for the band: Albarn had just broken up with the lead singer of Elastica, and Coxon had issues with alcohol addiction. Others that stuck are Graham Coxon´s solo albums like ¨Happiness in Magazines¨ and ¨A+E ¨, I identify strongly with him and his problems, I´ve read his work and there´s a lot of references to writers that I also like, such as Paul Auster and Salinger (the fact that before they were going to be called Seymour before Blur, named after the Salinger´s character Seymour Glass, made me like them more).

7. What kinds of cameras do you use?

I use three cameras, one digital and two analog cameras. The first is a Nikon D600, full frame digital, with which I´ve shot the projects that I´m hired to do, given the immediacy and security that digital photography allows. Then there´s a Nikon FM10 that´s the first reflex analog that I bought which I started to photograph with. Apart from being able to share the lenses between the digital and this one, this camera allow me to experiment with whatever I want in the analog world.   The third one is a Nikon L35AF, a quite simple analog point and shoot from the 80s and it´s the one I also carry with me because of its size, it´s helped me a lot with my series Wasteland.

8. What do you like the most about analog?

That it´s a roll, that it´s physical, tangible, that it´s material. That the photos are real suspensions of liquid. That in order to be able to see what you have done, you need to bring it to a laboratory where they will take an hour, a day or a week to develop it. That sometimes you begin a roll and you end up finishing it months, even years, later. Or that sometimes you finish a roll and put it in a drawer and you develop it some time later and look at it and it gives you the best surprise of your life, or the worst. It´s like loading your camera with a tiny time machine that captures and compresses moments of your life, and that is really nice.

9. Can you tell us about one of your series, how did the idea develop and how was the process?

I have two series that are quite connected. The first is ¨Los Hombres Sensatos¨(¨The Sensible Men¨) and it´s inspired by the works of J.D. Salinger, specifically Franny & Zooey and the idea that the ego is suppressed by constantly doing what you think you´re really good at, I created a series of portraits of craftsmen from different places in their workshops (like the monk in his temple). This series was my thesis project as a designer, I took a year off in order to reflect and be able to realize what I had to do, thinking ¨what would Salinger do in my position¨. It was considered a failure by the evaluating committee at the university where I studied. Today those are the photos that have helped me the most in terms of generating contacts and being contracted as a professional photographer.

*photos below from the series ´Los Hombres Sensatos´

The second series is ¨Wasteland¨.  I continued with this idea of constant practice based on the explorations of Zen Buddhism that Salinger projects in his characters, and I incorporated it into my own life as a routine act of constantly doing and observing. This series was a product of a breakup in my personal life that led me to evaluate my life and I was in a senseless vacuum, floating in nothing, in space.  I began to compose photographs in abandoned spaces in the city, streets, neighborhoods, walls and sidewalks began to seem like welcoming places. It´s a series that I have been able to carry on in cities like Santiago, London, Paris, Buenos Aires and in my hometown of Peñaflor, and it no longer has any connection with its specific context, only with the conceptualization of a particular frame of mind.

*photos below from the series ´Wasteland´

10. Can you tell us a bit about a project you´re currently working on?

Currently I´m preparing for an exposition that I´ll be in, along with Olivia Larraín, Rocío Aguirre and Mauricio Duarte, curated by Tarix Sepúlveda in a new gallery on Avenida Matta.  I´ve followed their work for a while now, and I think that we share a common language but we diverge in terms of our particular discourse and personal concerns, using analog cameras in different genres and subgenres of photography. I think that it is unusual to find a group of people who emerged during the boom of digital photography but who are devoted to the nostalgia of analog, which is a nostalgia that I don´t think is characteristic of us as a generation.

11. Is there a particular project that you dream of working on?

I´m not sure how creative this is, but I would like to be able to travel as a photographer with a band on one of their tours and make a book out of the experience, doing the editing and designing myself. Or I would also like to direct a short using my own script. Or maybe get a job at Magnum and be able to go on assignments around the world. My intentions are not to invent a new language in photography nor nothing like ¨inventing the wheel¨. I would be happy to follow in the footsteps of photographers like Anton Corbijn with his photography and video clips, or designers like Peter Saville. Or travel for work, maybe that dream will come true one day.

***

You don’t make a photograph just with a camera.  You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.

                                                                                                                                                                   -Ansel Adams

El diseñador y fotógrafo basado en Santiago, Carlos Molina, cita que esa frase de Ansel Adams le ha ayudado a armar sentido a lo que hace. La obra de Molina ha sido publicada y exhibida en varias exhibiciones y medios internacionales, y estamos emocionados en compartir su trabajo e historia con ustedes. En nuestra entrevista con Molina, él habla sobre el rol de la música en su vida y trabajo, el entrelazando de disciplinas creativas y sobre la nostalgia de análoga, y otros temas. Disfrute!

Portafolio: http://carlosmolina.cc/

1. ¿Como llegaste a la fotografía?

Desde chico que me gustaba andar sacando fotos con una vieja Zenit de un tío, luego a los 16 empecé a sacar fotos con una pocket digital y a darme cuenta de que me llamaba la atención ver cómo la luz incidía en los objetos y los aislaba de sus contextos. Pero creo que llegué realmente a los 17 después de haber visto Elephant de Gus Van Sant. Recuerdo a uno de los personajes secundarios de la película que andaba por los pasillos y patios de esa escuela paseando con la cámara y revelando él mismo sus rollos, todo esto bajo una atmósfera increíble producida por una dirección de fotografía perfecta. Creo que en ese momento me sentí reflejado en aquel personaje porque andaba por ahí, caminando, sin molestar, sin interferir ni generar cambios en los demás. Eso es un estado al que me gustaría llegar en mi vida. Después de ver esa película partí al fin de semana siguiente al Persa a comprarme una análoga reflex, una Nikon FM10 que es la que uso hasta el día de hoy. Con el tiempo fue investigando por mi cuenta lo que significaba usar una cámara reflex en sus áspectos técnicos: diafragma, apertura, exposición, fotómetro, profundidad de campo, etc. Con el tiempo se fue mezclando eso junto a mis intereses por la música y empecé a fotografiar tocatas, y ya una vez al estudiar Artes y Diseño siempre fue una herramienta, un medio y no un fin.

2. ¿Que otras actividades creativas desarrollas?

De profesión soy Diseñador Gráfico, pero antes de eso estudié un año Artes y eso siempre ha sido una base muy fuerte en las cosas que hago, desde el conocimientos y aprendizajes de destrezas como aprender a pintar y dibujar hasta desarrollar un pensamiento visual con una base teórica muy profunda, lo que me ha llevado a considerar que la diferencia entre Arte y Vida no debe existir. Se me hace imposible pensar en aquellos empleos donde te desempeñas como tal en el horario de oficina y que cuando llegas a tu casa eres otra persona y haces otras cosas, creo que inevitablemente todos las cosas que haces se influyen entre ellas mismas y van haciendo un progreso en la mirada personal. Hoy en día trabajo freelance como diseñador y fotógrafo, principalmente para el estudio de diseño The Andes House, además de las plataformas Super 45 y +56. Por otra parte siento un fuerte impulso hacia la ilustración y el último tiempo lo he ido retomando como ejercicio personal.

3. ¿En cual ambiente o espacio crees que te sientes más productivo o depende?

Creo que depende pero se relaciona con lo que yo entiendo sobre “ser productivo”. Por un lado está la producción de estar haciendo y creando cosas, y en ese caso me siento mucho más cómodo trabajando desde mi pieza, tengo un pequeño escritorio con los lápices y pinceles y juguetes que me he podido traer de algunos viajes a Londres, además de algunos regalos que me han hecho, y creo que encerrado en ella me puedo aislar del tiempo y las personas, es como expandir un estado mental a un estado físico de aislación. Por otro lado está el hecho de descansar y reflexionar, creo que eso también es un tipo de producción para mí y en este caso me siento más cómodo cuando voy a ver a mi madre a mi antigua casa en Peñaflor.

4. ¿Como fotógrafo, diseñador y individuo creativo, como logras mantener un equilibrio entre proyectos personales y proyectos de pega?

Es difícil y hasta deprimente. Tengo una obsesión con estar trabajando constantemente y eso me ha puesto en un ritmo de trabajo bastante intenso lo que me ha hecho dejar de descansar en mis tiempos libres por preferir ponerme a trabajar en proyectos personales. Creo que el sistema educacional chileno hace perder mucho tiempo a los jóvenes en el colegio y luego en la Universidad, y una vez que se termina de estudiar ya se tiene una edad en la que veo que en otros países ya hay jóvenes con un nivel de trabajo profesional muy avanzado. Tengo la sensación de que necesito estar haciendo cosas constantemente para alcanzar cierto standard de calidad en mi trabajo y así poder desarrollar un lenguaje propio en el diseño y la fotografía. Veo gente de mi edad que salen de la Universidad con un ego gigantesco y que trata de hacer una sola cosa para quedarse en eso sin aceptar comentarios ni críticas, esperando que los contacten de marcas y les publiquen su trabajo y convertirse en estrellas rápido, y eso me da un poco de pena porque las cosas no son tan fáciles. Creo que hay que fracasar muchas veces y trabajar incesantemente. Como los monjes budistas que rezan y rezan, y meditan y meditan. “Una buena fotografía nace de un estado de gracia” decía Sergio Larraín y creo que a través del fracaso y del sufrimiento, a través de la sordidez es como se llega a eso.

5. ¿Sientes que tu educación y conocimiento como diseñador gráfico influye en tu fotografía o viceversa?

Definitivamente se relacionan por un tema de querer comunicar una idea. Pero de una manera que se relacionan dos hermanos teniendo la misma madre que es el Arte por los estudios en composición, las formas, el color, texturas, y sobretodo la teoría. Aún así, la influencia directa en mi trabajo proviene de otros campos como lo es la literatura y la música. Creo que cada uno de ellos tiene un mundo propio con un lenguaje propio, y que para mi se convierten en catalizadores de imaginarios y referencias infinitas para crear cosas, para pensar y para vivir. Sin duda también me ha afectado mucho haber nacido y crecer en Peñaflor, una comuna periférica donde, básicamente, no hay nada que hacer. Está lejos de todo y aislada, vivir en los suburbios creo que te hace una persona aislada.

6. ¿Cómo esta presente la música en tu día cotidiano y a cuales bandas estas escuchando últimamente?

Siempre, está presente siempre desde que empecé a andar en micro por mi cuenta cuando chico para viajar al colegio desde mi casa en Peñaflor hasta Ñuñoa o después en la universidad, algo como 2 horas en cada viaje. La música me lleva a imaginarios que se amarran con las situaciones cotidianas. Le tengo un respeto y un cariño muy grande, por eso me gusta estar fotografiando constantemente conciertos, y últimamente con los retratos a bandas creo que me ayuda a canalizar parte de ese imaginario y proponer un punto de encuentro en el diálogo de dos campos muy distintos en lo formal como la música y la fotografía. A pesar de estar escuchando música nueva constantemente gracias a mi relación con Super 45 siempre me he sentido muy amarrado a Blur, puntualmente al disco “13” que fue elaborado en un momento oscuro de la banda: Albarn acababa de terminar una relación con la vocalista de Elastica, y Coxon se encontraba con problemas de adicción al alcohol. Otras cosas a las que me apego mucho son los discos del mismo Graham Coxon como “Happiness in Magazines” y “A+E”, me indentifico mucho con él y sus problemas, he leído sus cosas y aparecen muchas referencias a escritores que me gustan también como Paul Auster y el mismo Salinger (de hecho el detalle que antes de Blur se llamaran Seymour, por el personaje Seymour Glass de Salinger, hace que me guste más).

7. ¿Que tipo de cámaras ocupas?

Uso tres cámaras, una digital y dos análogas. La primera es una Nikon D600, full frame digital, con ella realizo los proyectos para los que me contratan debido a la inmediatez y seguridad que permite la fotografía digital.  Luego está una Nikon FM10 que es la primera análoga reflex que me compré y con ella empecé a practicar, además de compartir los lentes entre la digital y esta, me permite poder experimentar todo lo que quiera en el mundo análogo La última es una Nikon L35AF, es una análoga point & shoot bastante simple de los ‘80 y es la que suelo andar trayendo ahora para todos lados debido a lo pequeña, me ayuda mucho en mi serie de fotos Wasteland.

8. ¿Qué es lo que más te gusta sobre el análogo?

Que sea un rollo, que sea físico, tangible, que es material. Que las fotografías son emulsiones químicas existentes. Que para poder ver lo que has realizado necesitas llevarla a un laboratorio donde se pueden demorar una hora, un día o una semana. Que a veces empiezas un rollo y lo puedes llegar a terminar meses después, sino años. O que a veces terminas un rollo y queda guardado en un cajón y lo revelas tiempo después y lo ves y te llevas la sorpresa más alegre de tu vida, o la más triste. Es como cargar con una pequeña máquina del tiempo en el interior de la cámara que contiene y comprime lapsos de tu vida, y eso es muy lindo.

9. ¿Puedes contarnos algo sobre una de tus series, cómo surgió la idea y como fue la realización de proyecto?

Tengo dos series fotográficas que se relacionan bastante La primera es “Los hombres sensatos” y está inspirada en los libros del escritor J. D. Salinger, puntualmente sobre Franny & Zooey en la idea de la supresión del ego por medio del ejercicio incensante de lo que sientes que eres realmente bueno, realizando una serie de retratos a maestros artesanos de distintos lugares en sus talleres (así como el monje en su templo). Esta serie fue mi Proyecto de Título como diseñador, me tomó un año poder reflexionar y poder llegar solamente a la idea de qué es lo que tenía que hacer pensando en “qué es lo que haría Salinger en mi lugar”. Fue considerada como un fracaso por parte de la comisión evaluadora en la univesidad donde estudiaba. Hoy en día son las fotos que me han ayudado a que me contacten y contraten como fotógrafo profesional. La segunda serie es “Wasteland”. Continué con la idea del ejercicio constante basada en las exploraciones del budismo zen que Salinger proyecta en sus personajes y lo llevé a mi propia vida como un acto mecánico de constante hacer y observar. Esta serie nace producto de un quiebre de una relación personal que me llevó a considerar mi situación actual en un vacío sin sentido, como estar flotando en la nada, en el espacio. Empecé a componer fotografías en lugares abandonados de la ciudad, calles, barrios, murallas y veredas comenzaron a aparecer como lugares acogedores. Es una serie que he podido continuar en ciudades como Santiago, Londres, París, Buenos Aires y en mi pueblo natal Peñaflor ya que no tiene ninguna relación con el contexto sino que solamente con una abstracción de un estado mental personal.

10. ¿Puedes contarnos en que proyecto estas trabajando actualmente?

Actualmente me encuentro tras el desarrollo de una exposición junto a otros tres fotógrafos locales que son Olivia Larraín, Rocio Aguirre y Mauricio Duarte, bajo la curatoria de Tarix Sepúlveda en una galería nueva de Av. Matta.  He ido siguiendo desde hace un tiempo el trabajo de cada uno de ellos y creo que tenemos un lenguaje en común pero que se diferencia en distintos discursos e inquietudes personales, utilizando la cámara análoga en los diferentes géneros y subgéneros de la fotografía. Creo que es particular hablar de un grupo de personas que nació con el auge de la fotografía digital pero vive apegado a la nostalgia de lo análogo, que es una nostalgia que no nos pertenece como generació encuentro yo.

11. ¿Hay un algún proyecto creativo el cual sueñas realizar?

No sé qué tan creativo sea, pero me gustaría poder viajar de fotógrafo con alguna banda en alguna de sus giras y poder llevar eso a algún libro, haciéndome cargo yo mismo de la edición y diseño. O también dirigir algún cortometraje con un guíon mío. O quizás llegar a trabajar a la agencia Magnum y poder realizar reportajes en distintos lugares del mundo. Mis intenciones no son las de inventar un nuevo lenguaje en la fotografía ni nada tipo “inventar la rueda”. Sería feliz siguiendo los pasos de fotógrafos como Anton Corbijn con sus fotos y videoclips, o diseñadores como Peter Saville. O viajar por trabajo, quizás eso sueño lograr hacer algún día.

*Video – R.I.P. Leee Black Childers

Lee Black Childers

 

Legendary photographer Leee Black Childers, known as ¨the most original of punks¨,  passed away this week in Los Angeles. In the early ´70s, Childers was among the first to document the glam rock and emerging punk rock scenes in New York City. Childers published his book Drag Queens, Rent Boys, Pick Pockets, Junkies, Rockstars & Punks with  The Vinyl Factory  in 2012 and recorded an interview with them as well in which Childers recounts some of his experiences and the stories behind his work.

 

via TheVinylFactory

 

 

David Lynch´s Factories

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Currently on display at London´s The Photography´s Gallery, David Lynch´s series of black and white photographs of abandoned industrial buildings feature a layered composition that invokes the textures and looming shadows found in Lynch´s cinematic work. In a recent interview with Dazed, Lynch discusses his longtime attraction to the shapes and silhouettes within these industrial spaces see here.

via Dazed and  ThePhotographer´sGallery

*Interview: Armando Rodriguez

armando-rodruiguez

Hawaiian born Armando Gabriel Rodriguez´s photography  provides us with what feels like an intimate glimpse into his world. Working with both digital and analog, with analog holding his main interest, Rodriguez´s visual portraits of the people and scenes populating this world express a compelling realism and feature awesome textured compositions. His cameras of choice include a Canon A-1, Minolta SRT 101 and Samsung Maxima Zoom 120 Ti.  Below, Rodriguez talks to us a bit about his photography and his music project, The Gabriel Band (check them out on soundcloud).

 

1. How did you get into photography?

Photography has been a part of my life for as long as I can remember. My father being the biggest influence was constantly behind the lens from my childhood to my later adolescent years. I started to take an interest during my senior year of high school so I took a photo course to further my knowledge as well as get hands on experience. After shooting for about a years time, and a change in my life´s focus, I decided to sell all of my photo equipment and move on to other things. In 2013 I came to reconnect and rediscover my passion for photography, as I made room to bring my hobbies together. This time it’s here to stay.

2. What is something or someone that inspires your work?

Life. Not living quite the conventional or typical life has been a big inspiration behind what and who I photograph. I think of myself as a very visually inspired being, so to capture the things that move my mind in a positive light is a pretty important aspect to me. No matter how miniscule people, places, and things that can inspire another in their own lives deserve to be captured in time.

3. We really like your series featuring skaters. Can you tell us about your connection to skateboarding and that community?

Much thanks. Skateboarding has also been a lingering activity in my life. I’d like to say since the age of 7. Though I didn’t take full interest in it and the lifestyle till the age of 16 it became a major part of my thought processes, and I built quite a few important friendships in it. Now days I spend more time capturing skateboarding and the scene at home than time on board, but what skateboarding has done for me will last forever. Not to mention skateboarding is the sickest! Its past and what it has come to be is just phenomenal. I definitely hope to capture the skate life in places outside of home someday.

4. Can you tell us a bit about your band The Gabriel Band? How you started up, what instrument(s) do you play, what your influences might be?

The Gabriel Band is composed of myself and good friend Zachariah Bond. It is still in a creation stage, but I have other folks in mind to help make this project a full reality. I’ve been writing riffs for this since summer of 2012, after starting a two man acoustic group with a good friend of mine. My main interest is the electric guitar with a range of rock bands to back that. Being in a purely acoustic band was a nice change that helped me learn the process of song structure and how to piece riffs together over time. The Gabriel Band didn’t come to be in my mind till July of 2013. We were in the midst of working on another band, but that fell through quickly and the only two members left constantly wanting more were Zach and myself. So I decided to start using these riffs I had under wraps as material for us to bring to the studio space. Our vibes just rolled off so naturally that each practice was a big success to us, and from there it became an official thing. We’ve been put on a bit of a break for awhile, but some recording plans are due for this summer in L.A. Culture and theme play the biggest roll in the sounds I write before they hit a session with percussion. I’ve been a big fan of all things foreign and days of old since my younger days which is definitely one thing I strive to portray in the sound. Music is a story, and should ultimately be an experience. To remove a listener from their life, and take them to another place, if only for a moment, is what I wish to influence. Stay tuned for sounds to come.

5. Do you create with any other mediums besides photography and music?

I have found myself writing a lot with the beginning of this year. Lyrics, poems and just thoughts from a particular happening. I like the feeling of being able to fully express what is inside of you when you are left with a pen and paper. When you are with yourself, you can share the truest and most pure things the mind has to offer. It’s a pretty freeing outlet that works hand in hand with music and the way I try to capture moments, in my opinion.

6. Is there a particular subject, place or theme that you´d like to capture with your photography?

Nothing very particular. I just aim to document my experiences throughout life in hopes to share them with an interested audience. There is much more to come in time, and I hope to be there with camera in hand, and my lady by my side.

via Armando´s flickr / The Gabriel Band

Amanda Jasnowski is @hokaytokay

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Pamplona born and Ohio raised, Amanda Jasnowski is now based in Brooklyn and documents her days as hokaytokay on Instragram.  As hokatokay, Jasnowski has over 40,000 followers who often praise her ability to capture a striking interplay of light, color and texture. Jasnowski has participated in group shows and shot campaigns and catalogues for numerous brands including Reform School and Native Shoes. Her work is currently featured in Nylon´s March 2014 issue.

 

 

 

 

 

 

 

 

 

 

 

 

via amandajas / hokaytokay / likeknowlike

Textured Cities – Rog Walker

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Artistic director and photographer, Rog Walker has been creating a visual documentary that as he describes on his tumblr, is ¨chronicling the unique people, places and things that populate cities across the globe¨.  Based in New York City, Walker´s work often features beautiful and striking street portraits, which capture intimate moments within the  urban landscape.  Bee Walker is a frequent subject of Walker´s photography, and is an awesome photographer as well.  They also happen to be married. Together the Walkers explore and create photo essays of the mostly urban environments they come across.

 

 

 

 

 

 

 

 

 

 

 

via rogwalker.com / vsco.co

Washed Out Process

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Introducing our new collection Washed Out.  Here´s a video and some photos that provide a glimpse into our hand dying process.  It was awesome to work with the fabric so intimately and watch the color take hold of the canvas.

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Check out our Lookbook and Shop.

Impossible Project´s new blue Cyanograph SX-70: Remembering Derek Jarman

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In commemoration of the English artist and activist Derek Jarman, the Impossible Project has released a limited quantity of a monochromatic, low-contrast, blue film: the Cyanograph SX-70.  Twenty years ago, in February ´94, Jarman, an artist, film director, diarist and gardener, died at the age of 52.  Just before he passed, he released his film, Blue, which is comprised of a single image of blue, and a soundtrack of Jarman and some of his favorite actors speaking about his life and work.  Impossible´s blue Polaroid film is only made in SX-70 format, and once sold will not be produced again.

 

 

via Impossible Project

 

*Interview: Jennifer Bruget

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Rich color and dreamy compositions often feature in Jennifer Bruget´s surreal hyper feminine self-portraits. Based in Belfort, France, Bruget describes herself as a director, photographer, make–up artist, stylist and model, and works with a DSLR. Winner of several national and international awards, Bruget´s photographs have been widely exhibited and published. Here are some samples of Bruget´s work, and an interview in which Bruget talks to us about defining femininity, her influences and the latest project she´s been working on.

 

Portfolio: http://www.jenniferbruget.com/

 

1. When and how did you begin to work with photography as a medium?

Being small, I’ve always loved the world of the image that is cinema, fashion and painting.
But I really discovered the photography when I took photography courses at the University of Paris X, Nanterre, where I followed studies in cinema. I did want to do, the photo. I caught the virus of the photo.
But it was much later that I realized the creative potential that could give the picture. (I had abandoned some time since I had a period where I saw the world with brushes and paint.) And this exercise is useful to me because now I work much paint on my photographs.

2. How did you begin creating self-portraits, and what about them appeals to you as an artist?

I started self-portrait in 2007, simply accidentally turning the camera on my face, I found it interesting and I started this photographic expression. I had no models and had many ideas and seemed easier to start creating with my own face, but at first it was not that easy.  Now, I love creating pictures with emotions and work upstream my photos with plastic elements collages, painting and drawing, this is what attracts me yet .

 

 

3. Where do you look to for inspiration?

Few photographers practicing self-portrait. But I admire example of Kimiko Yoshida and his work on make up, Elina Brotherus and its landscapes, Cindy Sherman, Ellen Kooi,…I enjoy exploring themes of romanticism, fairytales, surrealism, hyper-femininity, the universe and the stars, and the beauty of the nature.

4.  Has your background in cinema influenced your work, and if so, how?

I think the amount of movies I saw during my cinema studies registered in my subconscious.
I was always amazed by the silent movies by the game, expressiveness and emotion of the actors. I like to create stories through my photos as a scenario to carry the spectator into a world elsewhere, wonderful, beautiful.  I also like working on the play of light as a film, here is finally the cinema inspires me a lot.

 

 

5.  Your work has a particular focus on femininity.  How would you define femininity or what does the concept mean for you and for your work?

Femininity is the essence , the beauty, the strangeness that all women have inside them and just waiting to bloom.  For me, the photography allows me to express my vision of the woman getting closer to painting. This is meditation and I am a simple model. Any competition to become a charter full of symbolism tends towards universality. My work expresses women’s fragrances, fleeting memories, a hymn to eternal beauty which are real wishes and desires.

 

6. Can you tell us something about your latest project?

I worked with a team of hairdresser of the Star in the international music festival ” Les Eurockéennes  Belfort”, Christophe Roffi,  and makeup artist, models, stylists to be able to present our work in a hairdressing Awards France. It was a professional and friendly atmosphere which I enjoyed, it is something different compared to my self-portrait work where I worked alone.

 

7. You have exhibited your work in various cities internationally, including Rio, Paris and Hong Kong. Is there a particular place where you´d like to present your work?

My favorite city is New York, but I wonder to exhibit in Berlin, Tokyo, St Petersburg, Moscow.

 

 

8. What bands are you listening to at the moment?

Pharrel Williams, Owlle, Barbara Carlotti, Daft Punk, Christine and the Queens, Michael Jackson, Temples, Depeche Mode, Jack Bugg.

 

9. Do you have a dream project?

To be in an agency international photographer.

 

 

 

 

78 – 87 London Youth by Derek Ridgers

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Released tomorrow, 78-87 London Youth is a collection of seminal photographs by acclaimed photographer and cultural documentarian Derek Ridgers. Taken in London from 1978 to 1987 Derek’s photographs capture our capital city in a time of change and reinvention, and features faces that have gone on to become household names alongside those that have not yet found their place in the pantheon of popular culture.

Derek’s approach is also a refreshing one, the photographer was ambivalent to fame and more interested in capturing genuine personalities rather than people seeking their 15 minutes in the spotlight.

Ahead of its publication tomorrow, we go behind-the-scenes in this exclusive short film in which Derek explains the inspiration behind this generation defining work

Imagen de previsualización de YouTube

 

 

 via:hungertv.com

*Video: MARTIN STEPANEK

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Forming part of Blickinfreie´s series entitled Dedicated,  this short features photographer Martin Stepanek describing his transition from working as a well established Director of Photographer to focusing on more personal projects.  The film follows Stepanek as he works with a collection of beautiful analog cameras and reveals his preference for analog technique, which allows for more time to process one´s artistic objectives in the moment of shooting a photograph.