snapixel magazine issue 5 - black and white

8/9/2019 Snapixel Magazine Issue 5 - Black and White

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snapixelmagazine issue 5

BLACK & WhiteJuly 2010


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Photo Booth 06Sea, Sky and Surf 08Featured Photographer: Haris Mesic 22Pretty Eerie: Interview with Adam Moore 30Pinhole Photography 32Broadway Lights 361*4*8* 40Upcoming Themes 48

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Kay Berry, Wrier

Artice: Pretty Eerielocation: Tracy, CAFavorite Photographers:

Dave LachapelleSally Mann

Annie Leibovitz

Piper Rbbins, Praper

Artice: Night Portraitslocation:San Francisco, CAFavorite Camera: Her Hasselblad, which isnamed Anna Bell

Favorite Fim: Medim ormat, in colorFavorite F-Stop: 45Portoio:http://www.piperrobbins.com/

Miikka Skaari, Praper

Artice: Pinhole Photographylocation: San Francisco, CAFavorite Eqipment: Canon 1D MK IV,

Graex Anniversary Speed Graphic 4 x 5MPC v11 (Pinhole Camera v11)

Portoios: http://www.skaari.f/Snapixel.com/Portolio/MSkaari

ContributorsSnapixel USerS

DonalD ChanDler

/donaldchandler1

eDwarD GUiDo

/edweirdo

Debbie hartley

/Grecian

heSton Kelly

/heston

Fabio pannUzzo

/ree abio

DaviD l. poneDel

/Dponedel

MavoUrneen StrozewSK

/photosbyjes

Gerry walDen

/gwpics

otherContribUtorS

JaSMin ChanG.jsmcg.cm

JUlia CoMita.jucm.cm

hariS MeSiC.fg.

UnniKriShnanraveenDranathan.ug.cm

FeatUre ContribUtorS


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Snapixel assmes that all workpblished here is original.Images pblished in SnapixelMagazine are the sole propertyo the contribting photog-raphers and are copyrightedmaterial. No image may bereprodced withot the ex-press written permission o itsowner.

2010 Snapixel Magazine. Allrights reserved. Reprodc-tion in whole or part o thismagazine is not permittedwithot the written consent oSnapixel.

Printed on demand by:Mgcud

Snapixel Magazine

Ofce330 tsd SSu #115S Fcsc, Ca 94107

[email protected]

Website.s.cm

Editor in Chieadm o

Associate Editor/Graphic Designer:K es

Chie Operations Ofceri wg

Web Director/

Inormation Technology:F Ck

B&W

photography is classic. Its where photog-

raphy originated captring light on ilm.

The photo above is a perect example, a

classic B&W photo that brings back memories o old times, old loves,even classic Coke bottles.

Or theme this month captres all o the beaty and simplicity that

can be ond in every kind o black and white photo: portraitre,

landscapes, snapshots; shooting at night, dring the d ay, with lash,

withot lash; shooting ilm, shooting digital, shooting with pinholes,

and even with photo booths.

Were constantly striving to bring new and innovative photography

to the magazine, and sometimes that means going back in time to

or photographic roots. So heres to old school, new school, and

everything in-between!

Cheers,

The Snapixel Team

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Coke Lovers, Paris by Gerry Walden


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The photo booth is a pop cltre icon. In the clt French flm Amlie, its a pho-to booth mystery that brings the protagonist and her love interest together.MTVs TRL (Total Reqest Live, or those o s who didnt grow p in the 1990s)photo booth captres celebrities in their prime, right beore they head ot tothe stage. Andy Warhol amosly photographed himsel in a photo booth.

Its the place to record spontaneos moments and show o or newest ro-mances, to be a ham. Investigate the collection on this page, yo wont bedisappointed in the array o the kind o people yo see and the relationshipsyo can try and decipher in viewing only the brieest o moments captredo these peoples lives. (Photos cortesy o Dave X at http://startlingmoniker.

wordpress.com)



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Sea, Sky and SurfSe, Sky nd SurfSnapixel User Photographers get AtmosphericSnpixel User Photogrphers get atmospheric


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Snapixel 010 I LANDSCAPES I 15Snapixel .com I TRAVEL PHOTOGRAPHY I 13


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Snapixel .com I TRAVEL PHOTOGRAPHY I 17


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UFOs? b Edward GidoSnapixe username: edweirdo

Taken on the beati Caiornia Highwa 1coastine. I was shooting waves and did notreaize nti editing that m photo had beeninvaded!

Out at the Lake b Mavorneen StrozewskiSnapixe username: theaverageie

Fremont Isand and Promontor Motnains captredwith a Canon EOS Rebe XTi dring the winter o Jan-ar 24th, 2010 at the Great Sat ake, which is ocated

jst past Sracse, utah. The cod wather prodced acear sk ree o haze, which made it eas to captrethe isand, cods and distant montains in the back-grond. I et this was more dramatic as a deep backand white to set o the white cods against the dark

and over the water.

No hay Agua Que Valga b Damaris Crz RamosSnapixe username: oamm

I dont think theres ever been a re ike this in PertoRicoThis photograph was taken dring the exposion atthe Caribbean Petroem Corp. (G) Oct.23,2009It wasnt that beati, what rea makes it that ap-peaing is that the accident hods a or senses at thesame time. I jst wanted to keep on admiring the reand a the smoke whie it rises to the sk. It was ikeo amost orgot what it cased it in rst pace.

Sea, Sky and Surf Photos By:

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photoGrapher portFolioS

www.snapixel.com/portfolio/us m

Shining Through b Debbie HarteSnapixe username: grecian

This image was taken on a recent trip to Tasmaniawhere the scener is jst beati. On the morningthat I took the image I was on a road trip throghthe contrside. It was ver ogg and mist. Whiehaving a short break rom driving throgh the og, Iwas ck enogh to see and captre this image othe morning ras as the peeked throgh the trees.The scene did not sta or ong, and I was gad I hadstopped driving and had m camera on hand to cap-tre the moment!

Refection b Heston Ke

Snapixe username: Heston

This pictre was taken in Coogne, German. I ived inCoogne or over a ear, and I passed this od hose ev-er da on m wa to work. The most incredibe thingabot this pace is that its srronded b modern apart-ment bocks and tram ines. Coogne is a great cit oconceaed contrasts and begiing beat, a pagrond

or back and white photograph.

Fog On Mountains b Fabio PannzzoSnapixe username: reeabio

Be Montains, the three sisters, NWS,Astraia



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aris

MEsi

Skate

PhotograPhe

PolitiCal PhiloSoPheI met p with Haris Sirah, or as I now properly know him, Haris Mesic (Sirah is his online psonym), intending on only asking him a cople o qestions or a brie behind-the-scenes ophotographs. Bt I ond sch a compelling, complicated person that I ended p staying times as long as I meant to, discssing photography, philosophy, and politics. Haris is too things to encompass in the short profle Ive assembled, so well stick with the photograpand the philosophyand the skating.

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Snapixel .com I BEAuTIFuL BLuR I 25

aris was born in Bosnia, moving to the u.S. when he wasery yong. He maintains a strong connection to the contry his origin, which is the sbject o his crrent work. He is

eating a series ocsing on Bosnia pre- and post-Eu. Hepeaks o how the niqe cltre o Bosnia is being sbli-ated to that o the Eropean union, Is [e EU is] isi in, all ese lile cunries wan jin. Buen culure is blierae in w ways: frs is a eyecme subjuae an imperialis memen, an sec-n ey are jinin an paricipain in a cllecie anw srie lie up se sanars. His politicalre has been elled by the recent trip he took to Bosnia orwo weeks. Hes going to contine his series next May, andas an open-ended plane ticket. Ater that hell bm arondrope, make his way to the coast, and hop on a transatlantichip to the u.S. they still have those ships that go all the

ay across the ocean, right? he asks me.

is passion or photography started in high school, ollowingm as a hobby to college, where it became his major. He wasitially stdying to be a nrse, completing the corsework pntil technical training. Bt by that point he had become sosillsioned by the way the health-care system works that hednt believe he cold work within it and really pt his heartto what he was doing. Photography, however, was some-ing he cold believe in.

is website is called One Lie Photography, and derives

rom two ideas. The frst is that Haris believes that natre, theearth, and hmans, are all sharing one lie We are all cellso one big body. The other is that each person only has ONE

lie. Haris wants to captre the powerl moments ond inhis, and others lives. He doesnt want yo to think abot hisphotographs. Jst to experience them and explore what theymake yo eel those moments that are like, damn.

Despite his argments against ocsing on the aesthetics ohis work, Haris has a very intentional philosophy behind howhe shoots and prints his photographs. Like many o s whobegan stdying photography beore the digital age ofciallyhit, he was originally trained in black and white flm shooting.Its something he contines to prse, becase as he qotesWe san n e suler e ians a s be-re us [a sayin ppularize by Isaac Newn, bu rii-

nally aribue elian Jn Salisbury], back ine 1800s. Haris is a prist, a clt-ollower o flm shootingand chemical prints.

Film gives Harris a completely dierent eeling than digitaldoes. The ormer is painting with light, whereas digital issimply measring it, not chemically eecting anything. Thelight isnt hitting the flm. The gy is a print anatic he lovesseeing the eeling o color in a traditional chemical print,its so bttery. Printing with digital is abot megapixels, sothe magic is lost. He shows me some o his photographicprints as I end the interview, and they are indeed, bttery.

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Photo CaPtionS (Behind the SCeneS)

*Top: Thats Richard, hes the craziest per-son, hell do anything [on a skateboard]!

Bottom: Ivan. These gys are great, Iveknow them both or at least 10 years.

*The hill next to the skate park covered inartists These people know their rights,they're intellectals, anarchists, they getrevoltionary literatre The girl is Maria

a great street photographer. The gy in White,John, and behind him to the right is Andre who is totally intellectal. Throghot his lieAndrew was political, an anarchist who coldalways otarge his teachers. Crrently he isedcation the yoth o the hard area he lives in

abot politics, combining city angry and politi-cal angry, making strides toward edcating theworking class that Haris doesn't think gets doneat all in the pblic school system. The kid inthe middle sneezing is Sneaks, a great ree-styler who makes videos and shoots photogra-phy. The bald one behind him, Thomas, makesbeats. Hes very artistic - paints

Behind the skate park in Berkeley there are a set otrain tracks, nderneath it a water pipe and a bridge.That's where the boys go to throw rocks and targetsand smsh coins on the tracks.

*Yo cant see it in the pictre, bt there is a lad-der to the bridge that goes above the Caltrain. Yo arent allowed to climb it, bt Haris madehis way to the top to take a pictre o his riends

rom above (he got a decent, bt not great photo, incase yo were wondering). According to Haris, withintwo seconds o his reaching the top, six cop cars andtwo FBI cars arrived (He sspects becase it was ater9/11 they were worried it was connected to terrorism).Haris and his riends were all handced, bt whenthe FBI realized it was jst a bnch o skater kids, theylet. The local police arrested his riend who had a war-rant ot, bt then the police started fghting amongstthemselves allowing Mesic the chance to take his cam-era ot between his legs to shoot pictres on the slywhen the cops were distracted.

ANothER AdvENtUREOnce Haris was arrested or taking photographsat the state park at the end o Potrero (San Fran-

cisco). Ater one Christmas there was a driedp Christmas tree that someone lit on fre. Ev-eryone was messing arond, someone olliedthrogh the fre, and o corse someone endedp calling the cops. When they arrived, theskater code kicked in and when no one woldtell the police who started the fre, they went orHaris, the one with the camera. They tried toorce him to show them his photographs, bt hedenied them the right to take his camera. Theyended p arresting him or being intoxicated inpblic, thogh he wasn't. A lietenant startedto qestion him, and when Haris begin to talk,

he got really angry: I've been doing this or 10years, yo ain't shit to me! Haris qotes, whilehe was thinking This dde's tripping. The po-liceman grabbed Haris by the arm, which hadrecently been broken. The photographer end-ed p in the drnk tank, where he met an OGrom 24th, and got the gy to meditate or thefrst time in his lie.

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*Haris and his riend Tyson went to the docks at New Year. It was blocked, so o corse they jmped theence. They went to think abot the year, to jst sitthere and ponder lie.

****Foow the stars to nd which photos go withwhich anecdote

thE StoRIES BEhINd thE PhotogRAPhS

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JiM harriS BEAuTIFuL ABANDONMENT

Dring a walk in the otlying areas o downtown Tscan,Arizona, I came across several old, abandoned bildings.

These old bildings have been part o Tscans heritage oryears, as can clearly been seen in its repair. This one strck

me or its character and its beatil contrasting colors.

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Looking at Adam Moores photogra-phy may instill viewers with a twingeo paranoia. His sbjects are oten shad-owy landscapes, empty warehoses anddsty corners; each possess an air oabandonment bt still echo with hintso activity, as i snapped by a ghost. Hisblack and white photos appear antiqat-

ed, dark and distorted. Thogh Mooresays he enjoys taking creepy photos, hehopes to also extract athentic, albeitnconventional beaty rom their eerienatre - provoking second glances bymixing the mndane with the mysterios

Moores appreciation or the darkerside o lie is something hes pos-sessed since yoth. One o his avoritememories is o breaking into an aban-doned grain silo in Washington when hewas abot o r t e e n

years old.He recallseeling si-mltaneosear ande n t h r a l l -ment pond i s c o v e r -ing the darkand emptyspace, hold-ing onlydsty rni-

tre and abroken sink.More hadond something he liked and instant-ly elt and afnity or the old silo. BtMoores frst experiences with photog-raphy were hardly as strange or spooky.My dad was a hobby photographer,so we had cameras arond my wholechildhood. I took a darkroom class withhim when I was 11 or so, bt I was nev-er that interested in it. Partly becaseI didnt like my dads photography. Hewas a classicist, so when I tried to doexperimental things he wold tell mea nmber o reasons why I coldnt.

Unable to discover photography onhis own terms, Moore was repelledby his athers by-the-book principles,and eventally qit taking pictres alltogether. He didnt retrn to photogra-phy ntil the nineties when, ater plansto earn a PhD in history ailed to pan ot,he ell into the typical 20-something sit-ation; living in San Francisco, working

a dead end job, and eventally sc-cmbing to boredom. That was whenhe decided to pick p a camera onceagain. Arond the same time, Moorealso discovered the work o MichaelKenna, whose desolate and ethereallandscapes helped validate his non-tra-ditional tastes. I saw people going ot

and doing something completely dier-ent rom what my dad did and I instantlydiscovered that there was photographyI liked. And I never looked back. Thework o James Fee also contribted toMoores renewed confdence. Havingond it only two days ater his frst ex-perimentation with dmping chemicals,trning on lights, scratching, and splat-tering. I walked into San FranciscoCamera Works and saw a signed editiono Road by James Fee, and it was exact-

ly what I haddone the daybeore. Onone hand, myheart sank be-case I ondot someonedid it beoreme, bt at thesame time itwas exactlywhat I wantedto be doing. Itwas so incred-ibly cool.

Finally dis-pelling hisathers classical principles, Moore wenton to travel throgh Germany and Rs-sia, playing with photojornalism, tra-ditional landscape, and docmentarystyles. His work contined to evolve, be-coming progressively more experimen-tal. Ive never been a person who reallyliked things that were benign. Darknessis a great vehicle. Whether its literalbecase the sn is gone, or its been in-trodced in the print. It can make yowonder, whats over there? ...Ive alwaysbeen drawn to the dark, mysterios,creepy places...bt I still want things tobe beatil. Throghot his growthas a photographer, the blk o Mooreswork retained his dramatic signatrestyle, and despite his experimentationwith color, black and white photogra-phy seems to be his niche. Were sedto seeing things in color, its what weknow. I think that 99.9% o or time ispent looking at the world arond s in

color, so black and white is dierent apotentially more mysterios. Mois also a member o the Noctrnesphotography grop based in San Frcisco specializing in night photogphy. Moore fnds that taking pictater dark plls the viewer away ra sense o normalcy becase flm

terprets light dierently than or edo. So while most people know wits like to walk down a street at nigflm provides a completely alternatview o the experience, one were able to have on or own. AccordingMoore, shooting at night is an easy wto orce people to look at what yodone more closely and think abot

Moores most passionate work cbe ond in his collection calDark Lands. To achieve its appearanhe experimented with exhasted che

cals, an enlarger to blr and move images, and the selective applicationdierent chemicals in daylight eitherporing, spraying, or painting them with a brsh to obscre the image icontrolled manner. I sort o went on tjorney to see how mch I cold destthe image that I had photographyet sill come p with something tresembled it. Becase the otcois so dark, the reslts are mrmrsthe living world, barely alight. Moses darkness more intensely than e

to draw the viewer in, orcing thempeer into the photo to ncover its ascene. Each photo contains its omystery, inspiring a sense o vlneraity, and perhaps even slight exhilarati

For now, the tre o Moores wremains to be seen. Crrently, personal projects are taking a backsto his sccessl digital stdio, SDigital in San Francisco, and his groing amily - which incldes two demaing toddlers. When I work in the droom its an eight-to-ten hor co

mitment. I cant go in or two or thhors and get anything done. At points, tis either go to my darkroomsee my kids. I still miss it. At the woit eats me p and I try to think absomething else. When Moore doestrn to the darkroom, hell have pleto work with, as he still has ntochflm rom his last trip to Rssia in 20until then, his work can be viewed his website, www.adammoore.cowhere prints are available or prcha

Darkness is a greatvehicle. Whether its

literal because the sun

is gone, or its been in-

troduced in the print. It

can make you wonder,

whats over there?

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Pretty EerieThe Dark Work of Adam Moore

Interview by Katy Berry



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PINH LE

PHOTOGRAPHY

MIIKKA SKAFFARI

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I buil my pinle cameras mysel. The latest one I made is based on Polaroid 550pack flm holder and Fji FP instant flm. This gives me exibility with my workow as I don'thave to go to darkroom to change flm ater each shot and I also get immediate reslts.

I bild the "body" o the camera rom black oam core. The distance rom flm plane isapproximately the same as the diagonal o the flm. With this kind o constrction I get similarangle o view as I wold get with "normal" lens, 50mm lens on 35mm flm. The pinhole "lens"is made rom alminim rom a soda can. I make an impression with ball point pen, sandpa-per the material thinner on the impression and pnctre as small hole as I can with a needle.Smaller and ronder hole prodces sharper images. Small hole also garantees nearly infnitedepth-o-feld or the images.

The frst order o bsiness ater the constrction is to fgre ot the needed amonto light or the camera and flm chosen. Since I can't adjst the apertre o the lens I can onlyaect the exposre by extending the time I let light throgh the opening. Ater experimentsI ond ot that my crrent camera exposes 100 ISO flm correctly in 4 seconds in bright sn-light. This makes the apertre o the camera abot /362. Based on this I calclate approxi-mate exposre times or dierent lighting conditions.

Taking the pictre is simple. First I position the camera on a steady srace and coverthe pinhole with msem ptty or even my fnger. Since the camera doesn't have a fnder theraming o the shot is somewhat approximate . I try to position the sbject directly in ronto the camera and approximate the distance to that the sbject will ft into the shot. ThenI remove dark slide rom the flm holder and open p the pinhole or the appropriate timebased on my calclations. One o the benefts o working with instant flm is that I can checkthe exposre immediately ater the shot. I everything went good I have a beatil pinholephotograph in my hand. I not, I adjst the position o the camera and/or exposre time andhave another go.

-Miika Scaarri

HOW ITS DONE

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Broadway nightS

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By the dazzling lights o San Franciscos North Beach neighborhood, and with the help o her handy Holga and ring fash,

photographer Piper Robbins shows us a whole new side o portraiture.



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storytelling in seriesPhotographs share stories. We have selected three photographers to demonstrate extraordinary story telling

in three dierent ormats: Short (1 photo), medim (4 images), and long (8 images)

Photos by Jlia Comita, Jasmin Chang, and unnikrishnanRaveendranathan

1* 4* 8*


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untitled,byJliaComita


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She,seriesbyunnikrishna

nRaveendranathan



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Upcoming Themes:


Action, Sports, Motion

Architectre

Docmentary

Fashion

Long-Exposre

Monochrome

Msic

Portraitre

Seqence/Series

Worldwide Moment


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LAST LOOK


War Veteran by Donald Chandler


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snapixel magazine issue 5 - black and white

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