Professional Documents
Culture Documents
BLUR 21 PRESENTS
http://www.youtube.com/user/MagazineBlur
BLUR MAGAZINE 21
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impressum
Robert Gojevi
founder | chief editor | design | dtp
e-mail: robert.gojevic@blur-magazine.com
Ivana Krnji
executive editor | marketing and PR
e-mail: ivana.krnjic@blur-magazine.com
Tomislav Mari
editor | columnist
e-mail: tomislav.maric@blur-magazine.com
Denis Plei
columnist | translator | proofreading
e-mail: denis.pleic@blur-magazine.com
Jennifer Henriksen (Holga Jen)
editor of Playstick
e-mail: jennifer.heriksen@blur-magazine.com
Jennifer Rumbach
editor of Instantion
e-mail: jennifer.rumbach@blur-magazine.com
Mark Sink
editor of Wet plate
e-mail: mark.sink@blur-magazine.com
Michael McAllister
proofreading
Igor Kalendari
video producer
elimir Koevi
expert associate
Associates for BLUR 21:
Ivan Pekarik
Petra Nenadi
ISSN: 1847-7410
Publisher: F.U.C.*
Address: street Ljubiica 19, 10 360 Sesvete
Contact: info@blur-magazine.com
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OIB: 39145219372
E D I T O R I A L
Maybe to someone it will look a bit ridiculous when
I say that we in BLUR magazine strive to be like the
Enterprise crew from Star Trek. As silly as it sounds,
thats the truth. On one hand, we like the idea of
presence in an infinite space, in our case the cyber
world, which allows us to collaborate with authors
from all parts of world and to address to readers
from around 180 countries. On the other hand, the
crew of this spaceship was successful because the
team consisted of people of different cultures and
backgrounds. Therefore, BLUR magazine entered the
2011 with a bigger, multicultural team. In addition
C O L U M N
BLUR MAGAZINE 21
march
june
september
december
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CONTENTS
COVER PAGE
02
IMPRESSUM
05
EDITORIAL COLUMN
06
CONTENTS
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GALLERY 24
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60
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167
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CONTENTS
MARK SINK
WET PLATE
Ione Rucquoi
INTERVIEW
Nacho Rojo
Reclarckgable
PROJECT
Frank Sirona
INTERVIEW
FRANJO BAHOVEC
PORTFOLIO
CONTENTS
Mario Romuli
PROJECT
Gordon Stettinius
PLAYSTICK
Arnaud Bertrande
TETRA
DENIS PLEI
COLUMN
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http://www.blur-magazine.com/submission/photo-submission/
The main mission of Blur magazine is to promote and celebrate artistic photography
and to ensure coverage of all photographers, professional and amateur alike, who capture
motifs that intrigue them in fascinating, innovative and fresh ways.
Gallery 24 is a collection, or even better, an exhibition of all of those individual, unique
and successful photographs which are not grouped by a given theme, but are based on
their quality, specific characteristics and the wow effect. Your work can be part of this collection too and thus be seen by several thousand people from all over the world.
If your work matches the description, dont hesitate a moment but submit immediately
using the (link!).
Resolution: 72 dpi
Maximum photograph size is 1MB.
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Croatia
www.gralpix.com
Sran Graovac
Old Man
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Bulgaria
http://tanyagramatikova.photography.com/
Tanya Gramatikova
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Croatia
http://sanjaprodan.weebly.com/
Sanja Prodan
Hipster Girl
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Croatia
http://buffalosoldier.fotozine.org
Matija ulac
Energy
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Croatia
http://www.dalibortalajic.com
Dalibor Talaji
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Bulgaria
http://deyanstefanov.blogspot.com/
Deyan Stefanov
Coral
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Greece
http://www.kalampoukas.com
Gregory Kalampoukas
Waiting to go
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France
http://www.benoitcourti.net
Benoit Courti
Bulles de savon
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Croatia
http://www.flickr.com/photos/dea_botica/
Dea Botica
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Czech Republic
http://www.jiriruzek.net
Jiri Ruzek
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Slovenia
http://www.sasahuzjak.com
Saa Huzjak
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Italy
http://www.eoloperfido.com
Eolo Perfido
Clown
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Russia
http://blue-velvet.ru
Dmitriy Orlov
Divinatio
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Bali
http://anggaramahendra.blogspot.com/
Anggara Mahendra
Blond:ish
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Georgia
Tamuna Lortkipanidze
Tuso
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Serbia
http://www.sonjalekovic.com
Sonja Lekovic
Serial number
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Croatia
Filip Grzincic
Strike
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USA
Happy feet
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Japan
http://tristan-photo.wordpress.com/
Tristan Hooper
Parody 1
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India
http://www.magicshutters.net
Dibyendu Dutta
The Omphalus
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USA
http://www.flickr.com/likedaffodils
Sarah Ann Loreth
Untitled
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Croatia
http://www.kovacicek.com
Tomislav Kovaiek
Misfortune
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Portugal
http://www.ddiarte.com
DDiArte
Cupidos playground
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Croatia
ANA SOE
Untitled
BLUR 20
WORLD
BLUR 21
HOME
BLUR 22
PEOPLE
BLUR 23
INTIMACY
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Bahovec, however, wasnt a meticulous scientist, historian, or an ethnologist, who used his
camera to carefully record the artifacts or events of historical importance; he was merely
an enthusiastic amateur photographer. His attention was directed more toward urban
daily life, and if such photos of daily life included any details that are today considered
valuable documents, it was more of a happy accident and valuable only from our modern
perspective. He didnt have any documentary purposes in mind. His photos have a
certain nostalgic air, and such feelings are not uncommon. However, the nostalgia for the
Austro-Hungarian Empire is not necessary for the evaluation of this photography. More
than any sentimental memory, the photos by Franjo Bahovec speak of the medium that
at the beginning of the 20th century had already won over a wide circle of middle and
upper class bourgeoisie. Free from the rules of the so-called professionals, i.e., studio
photography craftsmen, the amateurs like Franjo Bahovec have let the camera record their
perception of the personal and social everyday life. Today its well known that it is precisely
this amateurish freedom from the then-prevailing rules of the medium that improved not
only the photographic medium, but also the visual culture in general. From all the photos
presented here, we can easily see the informal enthusiasm that Franjo Bahovec expresses
in capturing personal moments of elation while turning them into a pure sensation of
portfolio
Any historian would undoubtedly proclaim these photos to be valuable and would
carefully store them in an archive. The curious scientist researching the local cultural
history to find historical documents and, naturally, preserved photos would surely open
without hesitation the imaginary locker labeled, for example, doc-1/zagreb _samobor,
where he would also find the photos by Franjo Bahovec.
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
elimir Koevi
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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portfolio
FRANJO BAHOVEC
SAMOBOR | Croatia
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the...
Federation of European
Photographers
FEP
http://www.europeanphotographers.eu/
Tomislav Mari
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The 2nd European Congress of Professional Photographers - 17th GNPP National Congress
which was on February 6th-8th 2011 in Lyon-France is a celebration of inspiration in meeting
photographers, making contacts, seeing superb images and listening to world class speakers and
looking at the newest tool of the trade.
Over 500 inspired delegates from France, Austria, Belgium, Croatia, Czech Republic, Denmark, Finland, Germany, Ireland, Italy, Netherlands, Norway, Portugal, Russia, Slovakia,
Spain, Portugal, United Kingdom, USA and Canada, celebrated the immense success of the FEP 2nd European Congress of Professional Photographers (and 17th GNPP congress)
recently held in Lyon.By their presence, they all demonstrated huge enthusiasm for the high quality of the organization and an enormous appreciation of the panel of speakers,
(in order of appearance on the stage): Pierre Delaunay, MASTER QEP from France; Peter Mathis, MASTER QEP from Austria; Belen Caballero Sanchis, MASTER QEP from Spain, Eddie
Tapp, USA, Photoshop Hall of Fame; Umberto Stefanelli, famous Fine Art Photographer, Bert Stephani; professional photographer and blogger from Belgium; Martin Parr, UK,
Magnum reporter and chronicler of our age; Paolo Roversi, Italian born photographer famous the world over for his portrait and fashion photographs; Uwe Ommer, from Germany,
who embodies the purest spirit of the reporter of our era.An indeed complete and inspiring program, without any weaknesses, which has correlated the importance and the
highest standard of the FEP European professional qualifications, demonstrated not only by the Master QEP speakers, but also through the amazing BEST OF QEP 1999-2010
presentation, achieved with the help of students from the University of Falmouth. The congress also provided an opportunity to highlight skilled photographers and international
award winners, and to publicise the results of FEP contests. The FEP European Fine Art Photograph of the Year Award (Sponsored by Towergate, won by the Portuguese
photographer, Diamantino Jesus) has become an established competition. Whilst the first edition of the new FEP European Photo Book of the Year Award (won by FASHION
FOOD, by the Austrian, Helge Kirchberger) has shown its exceptional potential for interest of the market related to photography.
The Congress also demonstrated the importance of the new postproduction tools for photographers and the possibilities offered by new media and related social networks for the
development of business. A creative use of these new communication media tools can open up new markets for visual communication professionals and artists. The Congress
showed the impact still made on the media and all the communication market, by the big names! Photographers, reporters and artists who set the trends and keep giving a huge
contribution to the history of photography in Europe and worldwide, demonstrating mutual understanding of different cultures and styles.
The mission of the FEP, said Neil Warner, President of the FEP, is to stimulate meeting and inspiring opportunities, and to elevate the professional standard, beyond, and
despite the negative trend of the economy which obviously forces everybody to some sacrifices. European photographers dont know the decline of the passion and the love for
our profession.We saw just the same example of this passion added Giuseppe Scozzi, FEP Chief Executive Officer, from the European Masters Photographers to the emerging
artists and bloggers, from the photographic students to the most renowned big names we met during the Congress. This passion is the most important assurance of a bright
future.
meet the...
EPSON, our sponsor of the FEP Photographer of the Year competition, and Hahnemhle, our new sponsor of the Golden Portrait Camera attended the Congress alongside
Towergate, sponsor of the Fine Art Photograph of the Year competition.
FEP
EU |http://www.europeanphotographers.eu/
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An event like this has been successful only thanks to a huge team job. We will never
forget the great and enthusiastic collaboration of the GNPP, and all accolades should be
reserved especially to the GNPP President, Dominique Launay, the past President Jean
Luc Renault, the GNPP General Secretary Laurence Veisenbacher, to Bernadette Guven
and Michele Wolff, President and past President of the GNPP Rhone-Alpes, to all the GNPP
Rhone-Alpes staff and to Jean Felix Bernetel, GNPP and FEP Board Member.
Gala of Galas
One of the many highlights of the Congress was the fantastic and
unrepeatable gala dinner event held chez Paul Bocuse, which certainly contributed to the
overall success of the event and to raise the enthusiasm of the participants.
meet the...
Jrgen Brandt
FEP Press Officer
FEP Board Member
FEP
EU |http://www.europeanphotographers.eu/
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Conquered world
Frank Sirona
Germany|http://www.franksirona.de/intro_e.html
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Hi Frank, we are here at your exhibition at the Photokina, walking between your
giant photographs. You obviously like monumental things, and you are very good
in translating monumentalizm of mountains into photographic paper, which is very
difficult. I know few photographers that are able to do that. Its a pity that our readers
will not be able to see your photographs in real life.
What is your secret, your way of transforming greatness of natural beauty to photo
paper?
What Im trying to do is to find what is specific about a particular landscape - is it a certain
shape, pattern or color - and then I try to find a spot, a perspective which emphasizes this key
element. I try to show the essence of the landscape, and crop away anything which detracts
from this essence.
[We are now standing in front of Frank photograph Forgotten Snow, which, as he had told me, has
been taken in Cedar Breaks National Monument in Utah, approximately five minutes before sunset.]
I have called the idea behind my work the approach of the painter and the scientist. The
painter works with a palette full of colours from which he makes his selection, and he is
concerned with shapes and composition what he aims at is harmony between the pictures
elements. And photography, as painting with light, of course does something quite similar.
But for me, there also exists the scientific aspect: Im very interested in how a particular
landscape came into existence. It is all about geology, natural forces and erosion and
nowhere more so than in the Southwest of the United States, with all its unique erosion
forms. As you can see here, when you get very close to the photograph, the rocks shown
in Forgotten Snow are made of sandstone which is quite porous. It has a lot of cracks and
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crevices, and rainwater collects in these cavities. Once the water freezes, it widens the cavities
and creates deeper and deeper cracks in the rock. Due to this freeze-thaw type of erosion,
whole cliffs can fall down. When you stand there very silently and listen carefully, every now
and then you hear a rock crashing down somewhere most of the times a small one, but
sometimes something which, as judged from the sound you hear, must be really big. Cedar
Breaks is located at an altitude of more than 3000 m, which means that temperatures drop
below zero during 200 or so nights each year. What you see here in my image is the immediate
result of the frequent freeze-thaw cycles and the porosity of the rocks: an absolutely unique
erosion pattern. I find it absolutely fascinating to combine in one image, at the same time,
pointers to those elements which are the key to the past and have been at work for tens of
thousands of years, and the result of their action, namely the landscape as we see it today.
In case of Forgotten Snow, you are pointed to three such key elements which shaped
(and continue to shape) this landscape. First, you see the porosity of the rock, and you can
immediately imagine what happens when water comes into play, second, you see the snow
which, upon melting, provides water which can freeze again and which, at the same time,
tells us of the low temperatures up there, and third we have the sun as the remaining crucial
element which provides the heat to melt the snow during the day.
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interview
Conquered world
Frank Sirona
Germany|http://www.franksirona.de/intro_e.html
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interview
Are you married, because I suppose your spouse has to be full of understanding
because you are far away for weeks at a time?
I know what you mean no, Im not married, and I think at least photography wise it is a
big advantage to be fully independent. And no one will call me crazy when I come back
from a trip with one single photograph. I repeatedly have been to the U.S. with only one
particular shot in my mind which could be taken only within a small window of time, usually
a couple of days, since only then the light conditions are right. There are some cases where
a photograph can be taken only on a single day of the year, since only then the alignment
of the sun and of the rocks used as picture elements is perfect. Explain to your spouse, that
for this particular photograph you need to travel thousands of miles and be away for a week
or two...
Conquered world
Frank Sirona
Germany|http://www.franksirona.de/intro_e.html
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interview
What about your inspiration, other photographers, do you have anybody that inspires
you or, maybe, you are only inspired by the scenery?
Actually I try to avoid being inspired by other photographers because that means you
already know how one can interpret a particular scenery, and since you dont want to merely
reproduce the work of another person you have to start again and get rid of everything you
are thinking and feeling and try to find your own way of interpretation, independent of other
work you have seen before. I find it a lot easier to visit a place without knowing it from other
photographers work already, and to then try to find my own interpretation of it. Of course
thats not always possible and I have been to many places which had been photographed
over and over by the others. Working under such conditions can give you a hard time. But
its possible, and sometimes the result of trying to avoid reproducing the work of others
can be stunning. To give you an example: one of my favorite images is Cinderellas Palace,
taken in Bryce Canyon National Park. The scenery at Bryce possibly is the most frequently
photographed landscape worldwide, and yet I dont know another picture which even
slightly resembles my Cinderella shot, neither regarding the composition nor with respect
to the light. But if were talking about inspiration in a more general meaning, Im very
impressed with the work of three photographers who also are working on landscapes of
the American Southwest: Charles Cramer, Bruce Barnbaum, and David Muench (in the latter
case Im referring to the best 10% or so of his work, since the quality across his portfolio is
not very homogeneous). I also should mention Christopher Burkett here, who is shooting
trees all over the U.S.A. Another landscape photographer who does excellent work is Hans
Strand from Sweden. He predominantly focuses on Sweden and Iceland and recently started
to work on a wonderful series of aerials. Joe Cornish should be mentioned as well, who is
working on the British Islands and has a great understanding of light. Interestingly, all these
photographers work with large format cameras, and Im not aware of anyone working with
35 mm cameras or DSLRs whose landscape work I would find really impressive. I suspect
that the heavy and slow LF equipment forces a photographer to significantly slow down
and think more than twice about each photograph he considers to take, which means that
much more care is spent on pre-visualization, on composition and on deciding which sort
of light to aim at.
Conquered world
Frank Sirona
Germany|http://www.franksirona.de/intro_e.html
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interview
Are you sleeping on location, do you have your tent and camping equipment with
you?
It differs from case to case. In a few cases I hike to the location Im interested in, find the
perfect light immediately, take a shot and return, but thats rare. In recent years, Im spending
more and more time and care to take just one single photograph. This means you have to
spend a period of time at that location, or alternatively you have to return there a couple of
times. For example, this photograph here, Outbreak, is the result of several repeated trips
to the same location. Taking these trips together, I had to carry my equipment, which weighs
around 18 kg, for more than 100 kilometers. The least pleasant of these trips was in January,
at 15 C. It took quite a number of attempts to capture the light I was aiming for, and while
I knew which sort of light I would need, it was unclear under which conditions this light
would show up. As you see, the light is very soft the shot has been made before sunrise and it has a blue cast due to the reflection of the blue early morning sky. The sun is still below
the horizon, so theres no direct sun light, but only the sunlights diffuse reflection by the
morning sky. This very light was exactly what I needed to adequately transform the spooky
atmosphere of that strange place into a picture. I visualized this photograph a couple of
years ago, but it took me years until I was able to take the perfect shot I was aiming for. I tried
in different seasons, in the spring, fall or winter, and finally this one appeared on my film.
Conquered world
Frank Sirona
Germany|http://www.franksirona.de/intro_e.html
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interview
And what materials and media are you using to present your images here in your
exhibition?
Im using transparency film, have it scanned, and have my lab make prints with a LightJet
laser printer on RA-4 paper or Ilfochrome. Finally the prints are face mounted on glass in a
process called UltraSec. The freshness and saturation of the colours are possible thanks to
the film I use, which is Fujichrome Velvia 100. But the brilliance and plasticity of the prints
are due to the face mounting.
Conquered world
Frank Sirona
Germany|http://www.franksirona.de/intro_e.html
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All the prints you see here are mounted to anti-reflective museum glass. It is fantastic; I have
never before seen prints as impressive as they appear behind this anti-reflective glass. I made
some attempts with acrylic glass and it turned out to be OK, but it was not yet perfect. So
the next step was to exchange the Plexiglas for real glass, which in that case was a special
white glass, and the results were quite satisfying glass-mounted prints are more brilliant
than Plexiglass-mounted prints due to the better optical quality of glass. But I still found the
reflections on glass (and Plexiglass as well) to be disadvantageous, so I convinced my lab,
Fachcolor Bhler in Freiburg/Germany, to try anti-reflective museum glass. That turned out
to be a major step towards perfect print quality the anti-reflective coating does not just
block the vast majority of the visible reflections (that was the expected and desired effect),
but in addition it does something magical which is very difficult to describe. It lends to the
prints an incredible directness and presence, and I never saw anything coming close.
that a digital camera could be the solution here, but Im sceptical in this respect: although
the latest digital backs have a resolution coming close to the resolution achievable with large
format film, they cost as much as a car, and will continue to do so for years. And imagine you
drop such a small cube, which measures just ten by ten by ten centimeters then you are
really in trouble.
interview
Conquered world
Frank Sirona
Germany|http://www.franksirona.de/intro_e.html
BLUR MAGAZINE 21
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Do you wish that you lived in the time of Ansel Adams, so that youd be the only one
who was there and nobody else, is it your dream?
Well of course, back then there was much more left to discover. But it also would require
carrying much heavier equipment, including large glass plates. Ansel Adams had a donkey
which carried all this stuff for him, but nevertheless there are places which would have been
very difficult for him to reach. Im full of admiration for all those photo pioneers who took
incredibly heavy stuff to extreme places. Recently I saw old photographs that had been taken
in the twenties, somewhere in the Swiss Alps, showing an expedition having the goal to
photographically document the glaciers. A dozen of people with mules, donkeys and horses
to haul all this heavy stuff up there, including hundreds of glass plates and the chemicals
needed to develop them immediately after exposure. That would not be my dream...
but if I had the choice, the time of Elliot Porter would be fantastic. Living as a landscape
photographer in the late fifties and early sixties would be a great, since it would allow to
visit what probably has been the worlds most beautiful canyon system, Glen Canyon, which
since then has been submerged for ever under the waters of artificial Lake Powell. Possibly
the worst environmental desaster mankind has ever caused, and deliberately. Whenever Im
crossing the Colorado near Page, Arizona, where this unfortunate dam has been built, I get
so sad. When looking at Elliot Porters photographs taken before the dam was finished you
realize that a paradise, and photographers heaven, has been flooded there.
Future plans, new land you would like to conquer?
The rest of the world... but seriously: theres a lot of countries which would be photographically
very attractive, and also would be a completely new challenge to me because of the different
light and the different colours. For example, Norway and Scotland rank high on my list. Spain
appears to have some wonderful spots, too... But before moving to new land, the American
Southwest has left many photographic opportunities I will tackle first. :)
interview
Conquered world
Frank Sirona
Germany|http://www.franksirona.de/intro_e.html
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digitalfoto.mbi.hr
LANDSCAPES
NEW
L
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Oniq
More tech K!
ues,
more gea
r, m
inspiratio ore
n
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Nacho Rojo, artistically known under Reclarckgable is a designer focused on advertising, currently living in Madrid.
Although not a professional photographer, photography has been one of his main interests since student days at the
University of Fine Arts.
Couples began as a simple portrait of me and my girlfriend turning into different kinds of people or social groups. At the
beginning, we made 2 images and step by step, we began investigating a little bit more. First we were thinking about how
to dress us up trying with different clothes and at the end I started retouching the photos trying to keep the genuine spirit
of the performance that we made.
COUPLES
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project
COUPLES
Spain | http://www.reclarkgable.com/
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project
COUPLES
Spain | http://www.reclarkgable.com/
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project
COUPLES
Spain | http://www.reclarkgable.com/
BLUR MAGAZINE 21
project
COUPLES
Spain | http://www.reclarkgable.com/
BLUR MAGAZINE 21
project
COUPLES
Spain | http://www.reclarkgable.com/
BLUR MAGAZINE 21
project
COUPLES
Spain | http://www.reclarkgable.com/
BLUR MAGAZINE 21
project
COUPLES
Spain | http://www.reclarkgable.com/
BLUR MAGAZINE 21
project
COUPLES
Spain | http://www.reclarkgable.com/
BLUR MAGAZINE 21
project
COUPLES
Spain | http://www.reclarkgable.com/
BLUR MAGAZINE 21
Metaphorical aspect
Ione RUCQUOI
BLUR MAGAZINE 21
Metaphorical aspect
Ione Rucquoi
UK | http://www.ionerucquoi.com
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
interview
Metaphorical aspect
Ione Rucquoi
BLUR MAGAZINE 21
Wet Plate is an antique photographic technique discovered in the mid 19th century. Also, it
was the primary method of photographing until the 1880s.
Wet Plate is a process of pouring Collodion onto a plate of thin iron or glass, then placing
the plate into a camera and exposing it to the light and, at the end, developing that plate
while it is still wet. Although quite demanding and lengthy process, Wet Plate technique
creates images of mystical atmosphere and of high aesthetic level.
Today, this technique is used by many photographers, and some of the best artists will be
presented to you within the following issues of BLUR magazine under section Wet Plate.
More about Wet Plate technology
BLUR MAGAZINE 21
USA | http://www.gallerysink.com/
BLUR MAGAZINE 21
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
BLUR MAGAZINE 21
interview
USA |http://www.gallerysink.com/
BLUR MAGAZINE 21
BLUR MAGAZINE 21
g
The Analo WabiSabi
by Denis Plei
BLUR MAGAZINE 21
Fuzuki
Yuichiro
Miki*
BLUR MAGAZINE 21
column in BLUR.
... your Rollei photos are very beautiful and gentle in a special
way - a special way of seeing and a special way of feeling which is something I call
": just the fact that you are
using film, and also in such an "old" camera, makes it worthwile. It takes an effort, it needs love, and a person capable of
seeing beauty in everyday things.
The same explanation is valid for most of the images presented so far.
So, there you are: please, accept my humble offering as a
lowly intermediary and let me present you the work of three
more gifted Japanese artists: Fuzuki, Yuichiro and Miki*.
BLUR MAGAZINE 21
FUZUKI
Japan |http://www.flickr.com/photos/fuzuki
BLUR MAGAZINE 21
You use both digital and film cameras. Which do you like more - digital or
film - and which do you use more for
personal projects?
I prefer film definitely. And I use film
more than digital for personal projects.
What is the role of photography in
your life: is it there just to record personal moments, the family, etc., or are
you trying to make art?
The role of photography in my life is
to achieve my aim. My aim is to make
peoples hearts happy in this world through photography.It sounds impossible,
doesnt it? But, it doesnt have to be my
photos that bring beauty and hapiness
to peoples hearts. So, I would like every
photographer to take wonderful photographs.
It seems there is a certain trend in
Japan for people to use twin lens reflex or other medium format cameras
(e.g. Rolleiflex, Mamiya C330, Hasse
lblad, etc.) and color film (mostly). Do
you think the number of such photographers in Japan is increasing? Any
explanation you can offer for us outsiders? Is it a trend?
I think the number of photographers
with medium format cameras and color
film is increasing in Japan.
My explanation of the trend is that
advancement of digital camera has increased the number of photographers, but
some of them are not satisfied with the
images of digital cameras, so theyve become interested in film for the first time
or theyve returned to film again. Besides,
few digital camera have square format.
BLUR MAGAZINE 21
Now, having black and white film developed by a lab in Japan is not easy.
I think its common in the world.
Are you familiar with Japanese
photography and its history, and do
you have any photographic influences
- Japanese or otherwise (i.e. the photographers whose work you admire)?
Im not familiar with Japanese photography and its history. I have some photographic influences. But they are not
professional photographers, but some
photographers I found on Flickr. :)
FUZUKI
Japan |http://www.flickr.com/photos/fuzuki
BLUR MAGAZINE 21
FUZUKI
Japan |http://www.flickr.com/photos/fuzuki
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FUZUKI
Japan |http://www.flickr.com/photos/fuzuki
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FUZUKI
Japan |http://www.flickr.com/photos/fuzuki
BLUR MAGAZINE 21
YU-ICHIRO
Japan |http://www.flickr.com/photos/miyano
BLUR MAGAZINE 21
YU-ICHIRO
Japan |http://www.flickr.com/photos/miyano
BLUR MAGAZINE 21
YU-ICHIRO
Japan |http://www.flickr.com/photos/miyano
BLUR MAGAZINE 21
YU-ICHIRO
Japan |http://www.flickr.com/photos/miyano
BLUR MAGAZINE 21
YU-ICHIRO
Japan |http://www.flickr.com/photos/miyano
BLUR MAGAZINE 21
YU-ICHIRO
Japan |http://www.flickr.com/photos/miyano
BLUR MAGAZINE 21
YU-ICHIRO
Japan |http://www.flickr.com/photos/miyano
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MIKI*
Japan |http://rollei-life.com
BLUR MAGAZINE 21
MIKI*
Japan |http://rollei-life.com
BLUR MAGAZINE 21
MIKI*
Japan |http://rollei-life.com
BLUR MAGAZINE 21
MIKI*
Japan |http://rollei-life.com
BLUR MAGAZINE 21
MIKI*
Japan |http://rollei-life.com
BLUR MAGAZINE 21
MIKI*
Japan |http://rollei-life.com
BLUR MAGAZINE 21
MIKI*
Japan |http://rollei-life.com
BLUR MAGAZINE 21
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ARTET
BLUR MAGAZINE 21
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
portfolio
Timeless landscapes
Arnaud Bertrande
France | http://www.abertrande.com/
BLUR MAGAZINE 21
The International
Exhibition of Polaroid
photography
Photo gallery Lang,
Samobor
March 20-April 3, 2011.
the
EXHIBITION
BLUR MAGAZINE 21
In early 2010. BLUR magazine launched a big international competition of analog images shoot on Polaroid film to celebrate the
success of the Dutch The Impossible Project company and to give its recognition to the spectacular comeback of Polaroid photography to the artistic scene.
At that time, we asked you to send us your favorite Polaroid photograph after which the official panel chose the top 30 works.
Through an online voting on BLUR magazine web page you have decided which 5 photos will be rewarded with rich Polaroid
prizes. Moreover, during the year, we have been presenting these 5 authors in more detail through our section Instantiation.
The International
Exhibition of Polaroid
photography
We are pleased to announce an exhibition of The Best Polaroid Photo where we will present 30 selected Polaroid photographs. The exhibition will be held between March 20-April 3, 2011., precisely on the first anniversary of the great return
of Polaroid photography. It will held in photo gallery Lang, the only gallery in Croatia specialized in photography.
We look forward to seeing you!
the
INstantion
BLUR MAGAZINE 21
The International
Exhibition of Polaroid
photography
Photo gallery Lang,
Samobor
March 20-April 3, 2011.
the
EXHIBITION
BLUR MAGAZINE 21
INstantion
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Jennifer Rumbach
I have been working with Polaroid material since 2004. Instant picture
photography has a very special and unique intimacy which I admire a lot. The
view through the viewfinder of the camera equals the view through a keyhole
to a secret forbidden area. It is kind of a game in which neither a certain
technique nor strategy play an important role. You are alone with yourself
and the motive and together you experience an intimate private adventure.
This impression is emphasized through the uniqueness of the films and the
special washed-out colorization.
My Polaroids very often deal with topics that are standing outside of
everyday life. They deal with the very rare and sacred personal moments
of the protagonists. This is why the viewer becomes the observer. This is
why the observer becomes the voyeur. Those snapshots which capture the
essence of a moment are indescribable when they are shot with an instant
picture camera at exactly the right second.
To my mind one of the greatest advantages of Polaroid photography is the
fact that the technique is reduced to the absolute minimum which brings the
motive and the topic right in the centre of attention.
This is why Polaroid is my personal passion and my chosen expression of art.
Jennifer Rumbach
GERMANY
http://blog.retina-reflections.de/
INstantion
sta tion
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the
----------------------------------------------Biography
Jennifer Rumbach lives and works as
a freelance photographer and artist in
NRW/Germany. For many years now
her passionate work is dedicated to
instant picture material. The Polaroids
of her photo reportage Ausrangiert,
ausgestorben, auferstanden (part of
famous the Impossible project) were
published in art-Magazin.
As a result of that, in early 2010 she
was shortlisted for the prestigious
Henri Nannen prize. Jennifer Rumbach
is also a test photographer at the
Impossible Project responsible for the
field tests of the new film material. She
is also a member of the Impossible
Collection, which was created referring
to the Polaroid Collection. In early
2011 she is going to publish a Polaroid
coffee table book in association with a
group (www.polacommune.net) of 5
other photographers.
Jennifer Rumbach
GERMANY
http://blog.retina-reflections.de/
INstantion
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GERMANY
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the
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GERMANY
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the
I ldik O V O r O s
Art, photography, for me is one way to express the pain of the human
condition. It is this constant, the struggle, the joy of each moment and
overcoming its fleetingness, that I try to explore in my work. I use only
simple techniques; I cherish their traditions, and perpetuate them whenever
possible. Polaroid films, especially the SX-70, are an integral part of this love;
I first came across the SX-70 through a school friend, and immediately had
to borrow his field camera. Pretty soon it became obvious that from the
borrower, I became the owner, never wanting to part with it. It is often my
camera of choice for travel, and I am thus very happy that the film is now
being manufactured again.
First and foremost, I am in awe of the pictorial quality of the SX-70 film. Its
color scheme: the faded hues, the soft color palette and most importantly,
all those blue and cold tones; the film is inimitable. Polaroid images always
have a nostalgic feel for me, in a way reminding me of the childrens book
illustrations I grew up with in the early 70s, often magical, almost eerie. The
fine grain and color give an impressionistic feel, one that is perfectly in tune
with my own wistful self. Slowly, in a patient daze as the film develops, the
subject matter transcends the fragility of the film itself, and evolves into a
graceful permanence.
I also am attracted to the small, human size of the images, a stubborn
product in todays world, where everyone wants it bigger and louder. With
these Polaroids, I feel like I create a world of intimacy, imploring one to step
closer and contemplate the delicate details often missed when viewing from
afar. And that is my ultimate goal: to arrest the eye of the viewer by sharing
myself and the often-missed details in what already surrounds us.
IldikO VOrOs
Hungary/USA
http://www.ildikovoros.com
INstantion
sta tion
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the
----------------------------------------------Biography
Born and raised in Budapest during
the final decades of communism,
Ildikos love of hidden beauty and
ambiguous connections is instinctual,
as evidenced in her art. Having
asked a camera for her high school
graduation, she furthered her passion
in Oxford, UK, where she was first
exhibited, then during university in
Montpellier, France.
Her hunger for the larger world led
to photography school in Boston,
where she developed a technical
appreciation for the craft, without
altering her initial vision. Still, she
prefers the most basic of tools, such
as 4 x 5, 35 mm, and Polaroid SX-70
cameras.
Having survived numerous
transatlantic relocations for career
and family, she now resides in New
York City. Though she creates art
in many mediums, she favors small
compositions, preferring to focus the
attention inward.
IldikO VOrOs
Hungary/USA
http://www.ildikovoros.com
INstantion
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the
Hungary/USA
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IldikO VOrOs
Hungary/USA
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IldikO VOrOs
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the
IldikO VOrOs
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http://www.ildikovoros.com
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the
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Hungary/USA
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the
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Hungary/USA
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PLAYSTICK
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Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
BLUR MAGAZINE 21
playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
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playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
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playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
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playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
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playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
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playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
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playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
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playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
BLUR MAGAZINE 21
playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
BLUR MAGAZINE 21
playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
BLUR MAGAZINE 21
playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
BLUR MAGAZINE 21
playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
BLUR MAGAZINE 21
playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
BLUR MAGAZINE 21
playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
BLUR MAGAZINE 21
playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
BLUR MAGAZINE 21
playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
BLUR MAGAZINE 21
playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
BLUR MAGAZINE 21
playstick
Enjoying the
romantic vignette
Gordon Stettinius
USA | http://www.eyecaramba.com
BLUR MAGAZINE 21
ICELAND
Mario Romuli
Croatia | http://www.romulic.com/
BLUR MAGAZINE 21
Note: All shown photos are taken from the air, although sometimes you might get the
feeling youre looking at a macro image.
project
Weve all heard of Iceland, but few of us have ventured there. Iceland is a land of volcanoes,
geysers, glaciers, rivers, waterfalls, caves, unique landscapes, small cities, old farms, and a
distinctively rich array of wildlife as well as peculiar and distinctive people.
Its far away, its expensive However, we have far too little first-hand information on this
place.
Saa Poldan and Mario Romuli visited Iceland with a last-minute cancellation from Draen
Stoji. Mario, an experienced photographer and cameraman for Croatian Television and
RTL, spent more than six months photographing tourist sites and natural beauty along
the Croatian islands and coastline with his partner Draen Stoji. Nice jobs such as these
can bore the hell out of a man, so they decided to take a break from the everyday and
take a relaxing holiday. So where do photographers go to vacation? Well, they load up
their gear and go wherever they can photograph in peace. Prime candidates would be
safjrur or xnadalur. One might definitely consider both Mvatn & Dettifoss or Akureyri
& Eyjafjrur, although my personal favorite has got to be Kirkjubjarklaustur. Imagine a
client calling you up and asking when youll be available for the next photo shoot: Im in
Kirkjubjarklaustur; contact me next month.
Lets move on to some facts. Yes, everything is expensive. Very expensive. Pack a lot of cash.
The hotels are extremely pricey, with less than luxurious rooms costing hundreds of euro
per night. The most interesting locations are without hotel accommodations altogether,
but they offer plenty of fun for the camping enthusiast. This will set you back 10 to 20
per night, depending on location, but no one will bother you too much if you put up a tent
outside a camp site.
Renting an all-terrain vehicle is a good bet, considering only the main roads are suitable for
regular automobiles anything worth your attention requires exploration of side roads or
even some off-road action. The bad news a 4x4 will set you back at least a thousand euro
for a week. If you have your own vehicle, you can save some cash getting to Iceland via
ferry, but ask around for seasonal ferry discounts beforehand. Hiring a professional driver
with a specialized all-terrain vehicle can get you closer to hard-to-reach locations for 1000
to 1200 , whereas a panoramic airplane flight will cost as little as 110 . But watch out, it
could be a trap! After seeing all those spectacular locations from far above, youre likely to
spend a fortune trying to get there by land to actually take the photo. ;-)
The trip is best planned for the summer solstice around June 21st. During this time of the
year, tourist numbers are tolerable and the arctic Sun is relatively low. Even at its zenith,
its suitable for photographing landscapes, with 24 hours of daylight and the Golden Hour
stretched across a six-hour period (from 9 pm to midnight and from 3 am to 6 am). To put it
simply, thats a hell of a lot of time to take a good photo.
Summing it all up, all you need is a lot of cash and a good attitude: everything else
is there waiting for you. Beautiful landscapes are popping into your view every few
minutes breathtaking landscapes, filled with color and texture, as is clearly visible on the
accompanying photos. Although a photographer is best rewarded during the summer
solstice, dont dismiss the other seasons Iceland is always beautiful and holds new
surprises all year round.
ICELAND
Mario Romuli
Croatia | http://www.romulic.com/
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I browsed through...
Mario Testino
MaRIO DE JANEIRO Testino
Its interesting how things complete and entangle each other, be it in real
life or in the world of book reviews. :-)
Both Mario Testino and Sebastio Salgado were born in South America
(Mario in Peru, Sebastio in Brazil). Both studied economics, lived in London
and did charity work (Mario concerned himself with children suffering from
cancer and AIDS, whereas Sebastio dedicated himself to the starved and
deprived of their rights). After the initial similarities, however, everything else
turns into complete opposites. Mario became interested in the world of fa
shion, whereas Sebastio dove into photo reporting infused by strong social
themes. Mario dyed his hair pink in high school, attracting attention from an
early age. Sebastio hid from the military regime due to his left-wing political
views. Both are great, famous and acknowledged artists, although Sebastio
impresses with his timeless principles and devotion hes an inspiration. But
enough about Sebastio - were entering the realm of Mario.
Rio de Janeiro is a book -slash- tourist postcard from an artist truly in awe
of the carioca way of life. The culture of naked bodies, beaches, tiny bathing suites (thongs, if we must name them), sexual freedoms, open lust all
recorded in the manner of candid camera, voyeuristically, combined with
breathtaking panoramas of the city bathed in sunset or even helicopter aerials. The main star of the story is played by the supermodel Gisele Bndchen
(whos even done her homework an essay on the theme), shot in some
pretty explicit scenes. After Sebastio, this is an easy, care-free read that
doesnt demand of you existentialistic contemplation, but rather directs your
thoughts to summer, vacation and blissful emptiness.
Perhaps these two books, seemingly completely incompatible, are meant to be read together. One can bring you down, the other back up, taking
you frolicking at the beach, catching up with Mario (a far more effortless of
a task). Therefore get both of them. But if youre short on cash, Africa is a
favorite.
http://www.mariotestino.com/
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http://www.sebastiaosalgado.com/
Salgado was born in 1944 in Aimores, a small eastern town in Brazil, as the sixth child of a rancher. He
earned his masters degree in economics at the University of So Paulo. Being a left-wing activist, he fled
to France from the military authorities in 1969. He earned his doctorate in Paris, after which he moved
to London in 1971, where he began work for the International Coffee Organization. This job brought
him to Africa, where he first started seriously taking photographs. After returning to London in 1973 he
decided to fully devote himself to photography. In 1974 he began work for the Sygma photo agency,
then the Paris-based Gamma and finally for Magnum Photos, where he spent the following 15 years. We
remember him by his photos of gold diggers from the muddy mines of Brazil, oil workers operating the
wells in Kuwait and the heart wrenching depictions of the Rwanda refugees after the first Gulf War. Llia
and Sebastio formed their company Amazonas Images in 1994, driven by the desire to work on topics
they considered to be interesting and of public interest. Sebastio Salgado is the Goodwill Ambassador
with the UNICEF, an honorary member of the US Academy of Arts & Sciences and has received several
honorary doctorates by various universities.
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BLUR gives away a book of photograps by a prominent Croatian advertising photographer, eljko Koprolec. The book
could be yours if you are the first one to answer this question:
In which year was BLUR magazine founded?
Send your answer to info@blur-magazine.com with the subject Advertising photography. With your answer, please
indicate your full name and family name and the country where you come from. You can submit your answers by May 30,
2011, at the latest. We will announce the lucky winner in the next issue of BLUR magazine and contact him/her
personally by e-mail.
This book is provided courtesy of eljko Koprolec who is also enabling free shipment to any country of the world.
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cialties, out of which every one has its own very strict limits
and as such places a lot of demands upon a photographer.
Digital technique of snap shooting has put the technical
skill of taking photos on the back burner, but it intensified
some other, almost scenic skills. The contemporary photography demands certain skills such as the skill of artificial
lighting, the skill of preparing the scene, aesthetic and
style sensibility, and many other skills in order to perform a
successful job. The work of eljko Koprolec from Zagreb,
Croatia is an ideal example for the analyses of the above
mentioned skills. He began, hypothetically speaking, as a
fashion photographer; in the eighties he became famous
for his photographs of the well known entertainers of that
time, thus creating the first local celebrity and entertainment scene on the pages of domestic magazines and reviews, together with his fellow photographers. That romantic period demanded from a photographer to build his own
style, which meant that he had to deal with the vanities
of certain celebrities of that time. He often had to be a set
designer and fashion stylist at the same time, what automatically gave him the role of a certain trendsetter. Thats
where his photographic skills came out, showing that his
talent was far beyond technical photographic procedures.
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photos of glass and liquid with the same skill, and his virtuosity can equally be found
on his photos of fresh seashell or the ones on which we can clearly see a drop of olive
oil on a juicy leaf of a fresh green salad. As a refined stylist eljko Koprolec chooses his
objects very carefully, he studies their visual values and if necessary adds certain props
and adjusts light in order to accentuate the best characteristics of the object. I had the
privilege of working with Koprolec on several projects. The patience and carefulness
with which he creates the photographic scene, taking care of every detail are really
incredible. After all, his excellence can be seen in only a quick view of his photographs.
The banality of a glass of beer or milk, the prosaicness of a slice of smoked ham or a tomato in eljkos interpretation turn into real aesthetic experience. The ability to reveal
and accentuate the tactile and light values of the object surface can be found on his
every photo which proves his excellent photographic sensibility that elevates his work
high above the usual technically perfect photograph. His still life photos are perfectly
composed as far as style and aesthetics are concerned. eljko Koprolec managed to
add aesthetics to the applied photography which places his work in the field where the
applied and the artistic intertwine.
Ivan Doroghy | Translated by Elia Pekica Pagon
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Make sure you dont miss new Blur magazine issue - sign up for our
newsletter and we will keep you informed!
NEWSLETTER
BLUR MAGAZINE 21
project submission
As we already explained in Gallery 24, the aim of this magazine is to provide space for all those amazing
and special photographs, without insisting on certain techniques, tools, instruments or topics. In case
you produced a thematically connected series of photographs, submit your whole photo project!
How? This is very simple:
1. Write some info about your project: where it was taken, what inspired you, what the idea behind was,
which message you are trying to get across and how many photographs there are in your project.
2. Send us your URL where the whole project can be seen.
3. If your project is selected, you will be contacted and asked to provide further detailed information
about the project and yourself (brief biography).
http://www.blur-magazine.com/submission/project-submission/
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The Kung-fu
Photography Course
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Studying directly from these kung-fu masters is the best possible way for any amateur
photographer to learn, and it is one of the biggest strengths of this course.
If you currently dont own your own DSLR camera, dont worry. Foto-teaj has enough
top-shelf brand equipment to go around, along with different kinds of lenses - from
macro to telephoto - as well as a wide range of accessories flashes, studio lighting,
filters, and other gadgets. The entire course is held in a spacious and newly renovated
photography studio that quickly transforms from a classroom to a workshop, depending
on the needs of the course.
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If you currently dont own your own DSLR camera, dont worry.
Foto-teaj has enough top-shelf brand equipment to go
around, along with different kinds of lenses - from macro to
telephoto - as well as a wide range of accessories flashes, studio
lighting, filters, and other gadgets. The entire course is held in a
spacious and newly renovated photography studio that quickly
transforms from a classroom to a workshop, depending on the
needs of the course.
The Basic Digital Photography course lasts for two months (four
hours per week) and consists of two major parts. The first is mostly
theoretical, where Stripy, Sinia, and Igor get the students more
comfortable with the history and development of photography,
the mechanical principles of cameras and lenses, technical
aspects of the trade, compositional and aesthetic principles,
and working with flashes and studio lighting. The theoretical
knowledge is applied during studio workshops in which students
are challenged to take technically sound photographs as well as
create an aesthetically and compositionally pleasing photo with
only a handful of studio tools. Sounds tough? Dont worry, the
lecturers say theyre constantly amazed by the creative solutions
students come up with.
The Basic Digital Photography course lasts for two months (four hours per week) and
consists of two major parts. The first is mostly theoretical, where Stripy, Sinia, and Igor
get the students more comfortable with the history and development of photography,
the mechanical principles of cameras and lenses, technical aspects of the trade,
compositional and aesthetic principles, and working with flashes and studio lighting.
The theoretical knowledge is applied during studio workshops in which students are
challenged to take technically sound photographs as well as create an aesthetically and
compositionally pleasing photo with only a handful of studio tools.
The second part of the course is practical, with each class dedicated
to a particular kind of photography. These workshops give
students concrete tasks, and the resulting photos are projected
onto a big screen for all lecturers and students to comment on.
The classes start with portrait photography, concentrating on
the use of different lenses and types of studio lighting. Then you
go on to macro photography, where students aim special macro
lenses at 2 cm tall toy soldiers with the task of creating the effect
of a real-life battlefield. The third workshop demonstrates various
tricks and techniques to produce fantastic special effects such
as capturing a high-speed still of an ice cube falling into a glass
of water. Further, the students will master product photography
with the challenge of shooting silvered bottles without getting
any reflections of their cameras in the glass. When it comes to
fashion photography, the students will work on putting a model
on the cover of Vogue. Last, but not least, the final workshop will
teach you how to take sophisticated, artistic nude photos. The
closing lecture then tops everything off by teaching the students
some basic photo manipulation and post-processing techniques
to bring the best out of their digital artwork.
After youve passed all the stages of the Basic Digital Photography
course, youll have great general insight into different aspects
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After youve passed all the stages of the Basic Digital Photography course, youll have great
general insight into different aspects of photography. Should you find any of the explored
avenues particularly appealing, Foto-teaj can offer you further instruction in the chosen
field through individual courses and practical experience. For example, if youd like to go into
advertising/product photography, the Foto-teaj trio will take you under their wing and work
intensively with you in the studio to help you create a representative first portfolio, get business
contacts, and complete several real-life jobs for paying clients. The same is true for fashion or
wedding photography, but the guys from Foto-teaj will be able to accommodate even special
requests you may have and find a suitable solution.
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BLUR offers you the opportunity to attend an excellent Basic Digital Photography course at
Foto-teaj conducted by photo association Omnibus from Zagreb, completely free of charge.
To win this amazing prize, you would need to assure us how you are the best Ambassador
of BLUR magazine. All you need to do is to follow these three simple steps:
1. Invite your friends to check out the new issue of BLUR at www.blur-magazine.com
2. Ask them to fill out this short questionnaire
3. Instruct them to put your name in the blank field BLURs Ambassador
The person who gathers the most votes will become BLURs Ambassador and win the Basic Digital Photography course in the value of 2.400,00 HRK, courtesy of Omnibus association.
Remember, the more friends you invite to check out BLUR magazine, the greater the opportunity to win this amazing award. You can invite as many friends you want, but each of them
can vote only once.
The contest is open until midnight on May 20th, 2011. The results will be announced in the next issue of BLUR in June 2011.
Please note: Basic Digital Photography course is possible to attend only in Zagreb, Croatia. Winner of the contest has to arrange the starting date of course directly with Foto-teaj
depending on place availability. BLUR magazine will provide Foto-teaj with information about the course winner and inform the winner whom to contact to peruse the prize.
OPEN THE QUESTIONNAIRE!
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PUNI KRUG (FULL CIRCLE) is a program of rounded support of Croatian photographers, initiated by BLUR magazine in cooperation with cinema Europa. The goal of the
project was to present the Croatian photographers of outstanding quality, but who are
not, in our opinion, visible enough in public, and to provide them with paid-for exhibition at the Zagreb city center, in order to support the development of the local photography and cultural scene.
The rounded support which FULL CIRCLE provided included the exhibition space on
attractive location, printing, foamcore matting, transport and hanging the photos, but
also the media exposure.
In February this year we exhibited the works of Mario Leko (you can read more about
him on the following page), which will complete the FULL CIRCLE, since Mario is the last
author to be presented within this program. FULL CIRCLE was initiated exactly a year
ago with the exhibition of Jelena Bali, thus enabling a free exhibition at the center of
Zagreb to eight authors, including David Mihoci, Biserko Ferek, Maja Joki, Tomislav
Moe, Aleksandar Nedi Uzengia and Dalibor Talaji, with those already mentioned.
The project has been accomplished with the generous support of cinema Europa,
which provided the exhibition space, and Prizma d.o.o., distributor of photo equipment,
who covered the full costs of printing of photos at special prices, as provided by the
print studio Borovac&Bence. The media partners PlanB and web portals Fotografija.hr
presented each of the chosen authors in detail, and other specialized photo magazines,
like Fotomag, supported the project. We would like to thank everyone who supported
the FULL CIRCLE project.
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PUNI KRUG
Mario Leko
http://www.flickr.com/people/mariol/
Mario Leko was born in 1982 in Split. After graduating from the School of Visual
Arts, he continued his education at the Textile Technology Faculty in Zagreb, majoring
in Fashion Design. Costume designer by profession, Leko had his first encounters with
stage productions at the Youth Drama studio at the City Theatre in Split. He assisted
the well-known costume designers, and in parallel did his own costume designs since
2006. He has been doing photography (only analog, film-based) for several years, and
his works were published in several Internet-based publications and in printed media.
Lekos photos are immediately recognizable due to their strong emotional charge and
the feeling of nostalgia they invoke in the viewer. This atmosphere is largely influenced
by the analog photography technique, but also by the motives themselves, i.e. the ca
ptured moments, inspired by the stage and the movies, enabling Leko to merge his
two worlds stage and photography. This exhibition will thus be a premiere showing of
the photos from the movie set of Lea i Darija, directed by Branko Ivanda, a movie which
will premiere in cinemas in the summer of 2011. Mario Leko has already exhibited on
group and individual shows in Croatia, France and Bulgaria. He is one of the artists of the
traveling exhibition Culture Matters: UNESCO localities in Southeastern Europe, where
in his photos he presented the cultural heritage of Split, Trogir and ibenik. He has been
a member of ULUPUH for costume design since 2010.
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Lets keep
in touch
www.blur.magazine
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