Ir a la versión española

A few months ago, the organizers of the Mégapixels Photography Festival in Shawinigan (Canada) contacted us to commission what will be the first thematic exhibition designed by eyephoneography completely from scratch for an external cultural organization interested in mobile photography.
The result of that opportunity is UrbanMegaEye, an exhibition around the theme of urbanism that includes the work of four international mobile photographers: Nadine Bénichou, Richard “Koci” Hernandez, Graham Preston and Rafael Ricoy. We were already very familiar with the urban nature of the work of two of the photographers selected for this show, while the other two caught our attention during the evaluation phase of eyephoneography #3.

We have the pleasure of presenting hereafter the explanatory text that will be displayed in the exhibition space at the Shawinigan Cultural Center during the month of October. We would like to thank the four photographers for their enthusiasm and support to make this exhibition come true, and all of you for your being there.

We hope that you enjoy reading it now and visiting the show when it opens on October 6th!

UrbanMegaEye: Mobile Photographers and the Art of Chronicling the City

Chroniclers of urban life have existed since the first town settlements and they have accompanied the development of cities as silent witnesses. In many cases, their work contributed to the transformation of their object of documentation itself. The term “chronicler”, however, appeared only in the Middle Ages and it was related with a rigor, a systematic manner of recording urban events and news about firstly, the wealthier groups and, later on, everyday citizens. Their accounts usually took a written format and were always fraught with details and facts. Before the advent of photography, these chroniclers used their own drawings, or those from more talented painters, to visually support their chronicles.

The arrival of photography changed it all and the utopia of documenting everything took hold of the imaginary of citizens and public administrators alike. In this context, large projects were launched from local municipalities to perform visual census of cities and their dwellers. What began as a technical reproduction of reality slowly transformed into personal recreations of that reality. This process happened in parallel to the long held debate of photography as a perfect reproduction device or rather as a tool for creating art in the sense of personal accounts supported on a specific aesthetic language, tradition, and intention. Photographers such as Lewis Hine or the pioneers of “street photography” (Henri Cartier-Bresson, John Gutmann, or the more recently uncovered, Vivian Maier) played crucial roles in transforming the perception of photography from a technical to an artistic medium as cameras became portable.

The industrial and technological revolutions were the backdrop for the transformation of how humans organized their living together in a limited space. The urban revolution that took place in the 20th century created a huge potential for development, transforming cities into laboratories for creation and experimentation but also for inequality, isolation, and gentrification. After decades of urban decay, an increasingly significant phenomenon seems to be taking roots in our days: ‘re-localismâ€. In this context and from an artistic standpoint, the urban space is reframed as a locus where communities come together, exchange, and grow together in sustainable and participatory ways.

The exhibition presented here, UrbanMegaEye, was conceived and produced by eyephoneography, an international Spain-based initiative supporting the potential of mobile photography as a promising expression of contemporary art. UrbanMegaEye presents the work of four international mobile photographers: Nadine Bénichou, Richard “Koci” Hernandez, Rafael Ricoy, and Graham Preston. All the photographs included in UrbanMegaEye have been shot, edited and shared using smartphones and they bare witness to the peak in creativity and originality that mobile photography is currently experiencing. With their images, these four photographers not only record everyday objects, people, and settings but they also create new meanings in a brilliant combination of artistic traditions and experimental attempts.

Arbitrary Scale © Nadine Benichou

Nadine Benichou, “Nad” (France) presents the series called eSCALES inspired by her readings of Italian author Umberto Eco and by her preference for a cubist, depurated, dissected photography. The saturation of colors, the dominating red and black tones evoke a city that, while being vibrant and alive, also hides the repetition of geometric shapes. If the endless reproduction of the art object was supposed to prevent it from having a soul, there is a vital concern in Nadâ€s work that translates into an aesthetic compromise to prevent annihilation from happening.

Untitled © Richard “Koci” Hernandez

Richard “Koci” Hernandez (USA) masters the spirit of the city. The urban landscape, traditionally portrayed as alienating, becomes the scene where a given personage appears with stubborn recurrence. This faceless and colorless man in the hat becomes a central graphic element surrounded by the city: he could be alienated if it were not for his crucial visual and narrative relevance. Impossible viewpoints and perspectives; lines ending in angles and highlighted by shadows; and figures all too familiar to our eyes already used to the language of cinema, all contribute to creating an unsettling but equally attractive atmosphere.

Hunslet Carr 5 © Graham Preston

Graham Preston (United Kingdom) looks at the city of Leeds, one of the cities with the heaviest industrial past in the country, with a compassionate eye. Once flourishing agglomerations with armies of mill and mine workers, the city – a symbol for many other cities in the locomotive country of the industrial revolution – is now struggling to stand, to prevail. Nevertheless, the viewer perceives in Prestonâ€s images a re-legitimation of the urban space that emanates not from conscious urban planning strategies but from the very soul of crumbling buildings and decaying factories. The alignment of the photographerâ€s eye with the suffering and the dignity of these urban remains suggest a powerful image of the agony that increasing groups of urban inhabitants are experiencing as a result of growing socio-economic inequalities.

Geometry © Rafael Ricoy

Rafael Ricoy (Spain) updates the figure of the flâneur endlessly celebrated by Modern artists and translates it into an “image fisherman”. Ricoy lives his passion as a true exercise of coming together of the eye of this “image fisherman” and his catches. His portrays of truly ‘found sculptures†speaks of Ricoyâ€s humble look: it is as if the photographer only had to pass on a meaning that already exists while evoking a list of objects that we cross everyday in the street without even stopping to look… The legs of an old piece of furniture, a table perhaps, are reminiscent of the bicycle handlebar transformed into a bullâ€s horns by another famous Spaniard… Bags full of trash that become terrified faces in the rain. In all, a tribute to the meeting of the right look with the right object in the streets of our cities, with talent being the glue that holds both of them together.

The aim of this text is to present some joint reflections around the creation of the fours photographers included in UrbanMegaEye against the background of the transversal theme of Mégapixels 2012, the urban. A priori, their work is not connected and they were never brought together until now despite the clear common red thread that they share via intimate chronicles of the urban space.

Urbanism thinker, H. Lefebvre, hypothesized that “a urban society is a society that results from a process of complete urbanization. This urbanization is virtual today, but will become real in the future.” While we ignore what he meant exactly by “future”, nowadays there abound citizens who have experienced the world only as a completely urbanized ecosystem, a repetition of urban landscapes. Series of images like the ones included here offer a refreshing and personal look into existing and possible faces of the endless cities that we dwell.

If you’re a new visitor, you might want to know how to become an eyephoneography supporter and/or subscribe to the RSS feed or by Email, join our Facebook page or follow us in Twitter to stay updated.

Ir a la versión española

– Opening agenda (20 April 2012) –

Mobile photography has followed a development trajectory that has confirmed it as a form of contemporary creation with a lot of potential.

Since its inception in early 2010, the aim of eyephoneography has been precisely to illustrate and contribute to this potential, doing so through exhibitions and a wide array of initiatives. In this context, eyephoneography #1 was launched as a proof of concept that counted with the invaluable support of some of the pioneers of this kind of photography, while eyephoneography #2 showcased some of the most interesting proposals being articulated with smartphones today.

Today, eyephoneography and FNAC Spain jointly present eyephoneography #3 the third edition of this unique project. The work of the four selected photographers reflects a solid vision; a curatorial committee composed of top-notch representatives of the contemporary art, photography, and creative worlds, selected them in a first stage among the 378 proposals received for the open call, and in a second stage among the outstanding 14 nominees.

Karen Divine, Annie Mallégol, Masha Ru, and Dave Weekes have not only succeeded at articulating compelling stories but they tell them in an original, daring, and innovative way.

The series of “Nudes” created by Karen Divine (USA) began with the question “Do woman shoot the nude with a different vein of intention than the male?” Being the genesis of the greatest art, she wonders if the viewer of the image perceives the nude differently, depending on the gender of its maker… Drawing-looking nudes, painting-looking photography result in a variety of layers of light that speak of a very intimate poetic where women, both confident and doubtful, fill the visual space with their own halo of light.

Karen Divine, "Nude 34"

A professional documentalist, Annie Mallégol (France) captures the rhythm of the “City of Light” by appropriating the techniques of street photography, a genre that has produced some of its most notable exponents in the U.S. With Mallégol, architecture, light, and the Parisian sensitivity are the filters for this style of photography in the Old Continent. The definite protagonist of Mallégol’s images is the city of Paris, inhabited by dwellers whose faces and intentions we can only imagine, if anything. The dramatic contrasts of shadows and surfaces, the diagonals, and the framing join forces to take us back once again to that city, so often imagined and remembered.

Annie Mallegol, "The Wait"

Masha Ru left her native USSR and headed to The Netherlands, a country where she believed social liberties could be respected. In Amsterdam, where she lives, she completed a Ph.D. in Applied Mathematics (her dissertation deals with photos of nano-particles) while doing photography studies at the Foto Academie. Her professional photography work combines fashion, technology, personal stories and reportage on what Ru from calls “parallel realities”. She often works in a duo with her partner, Olga Ganzha. The project included in eyephoneography #3, “2-years contract” reflects Ru’s interest in the personal diary genre, which results in an everyday mobile photography diary. The name of the project was inspired by the signing a two-year contract with a telephone-provider company. She was not thinking about publication when taking the pictures, so she finds it interesting to observe what operates in her when turning intimate into public.

Masha Ru, "2-Years Contract #11"

Dave Weekes (United Kingdom) brings us closer to the country where he has lived for over a decade, Japan. The red geometric elements (usually circles or lines) accentuate the dramatic tone of black and white while they confuse the viewer insofar as they are not the central attention point of the images such as we are used to think from a visual standpoint. On the contrary, the location of these red dots and lines are the result of an aesthetic decision. In Weekes’ own words “there is no meaning in my work, there is no right or wrong way to view my images”.

Dave Weekes, "Red Spot #4"

eyephoneography #3 will open the 20th of April 2012 in the gallery of the FNAC Castellana flagship store in Madrid with a total of 40 images that will be for sale in limited editions signed by the authors at 150 euros. A selection from this exhibit will be included in the traveling show Mobile eyephoneography, which is visiting the FNAC galleries of 11 Spanish cities until September 2013.

Opening agenda (Friday, 20 April 2012)

Fnac Castellana (Paseo de la Castellana, 79 – 28046 Madrid)

18:30 - Round table with Karen Divine, Annie Mallégol, Masha Ru, Nadine Benichou, and Rocío Nogales.
19:30 - Concert by the band Izal.
18:00-21:00 – Projection of the images by the other 10 nominated photographers of the selection of the eyephoneography #3 open call.

Brabante, the first top of the range Spanish Premium beer, will support the opening of the third edition of eyephoneography with complimentary bottles of its beer.

If you’re a new visitor, you might want to know how to become an eyephoneography supporter and/or subscribe to the RSS feed or by Email, join our Facebook page or follow us in Twitter to stay updated.

Ir a la versión española

In this page you can read about:
– what is eyephoneography,
– what we have done so far,
– who we are,
– what they say about us.

What is eyephoneography

The introduction of manufactured paint tubes in the late nineteenth century enabled a group of restless painters to experiment with a medium that until that moment had imposed severe physical constraints; limitations that had previously kept them in their studios narrowing their creativity.

By going out of the studio, these artists were able to approach their subjects and sources of inspiration. This technical innovation gave wings to a group known later on as the Impressionists. The boldness and the vision that we currently attribute to this group is based on their forging of a new pictorial language and the modification of the dominating perceptual models at the time, supported by other technical innovations such as photography. However, only a few of their fellow contemporaries understood the artistic paradigm shift that was coming, one that entailed a new way to represent reality either through the adaptation of existing modes of representation and/or the use of new tools.

Reflecting on the entire history of modern and contemporary art, eyephoneography draws an important lesson from this anecdote and finds an inspiration for its goal therein: the impact of technology on the arts and the emergence of new languages and communication models as a result.

Founded at the beginning of 2010, eyephoneography is a project of exhibits and activities around mobile photography. Taking as a departing point the creation of a group of mobile photographers, we strive to create a space for collective and individual reflection and action around something that goes beyond a photography project.

eyephoneography has a twofold dimension, the artistic and the social, and they have developed differently within the project.

From the artistic viewpoint, we have always believed that, in order to grow and mature, mobile photography needs to break the boundaries of an increasingly wide but perversely self-referential community. It needs to reach out to and be in osmosis with as many as possible different fields like painting, visual arts, communications, advertising, art history and criticism. And we want to help to nurture this mutually enriching dialogue.

Mobile photography represents an epitome of how we communicate and create in our contemporary societies. Plus it has a fresh attitude, an intriguing aesthetic, and many practitioners. Itâ€s magic to see how amateurs are unleashing their creativity and how professionals are breaking free from some constrains (both physical and technical) that the camera imposes. Plenty has been said about the differences with traditional photography (and its ability to share the result via social networks, its playful aspect, etc.) but eyephoneography does not get caught in these discussions by focusing on quality, authors†visions, and curatorial value.

Our compromise towards artistic quality is based on the conviction that there exist unique and untransferable visions and messages still to be communicated in the current ecosystem of networks in which noise is beginning to become the rule. In other words, “anyone can, anything cannot “…

The consolidation of the artistic and the social aspects of eyephoneography go hand in hand. We approach the “social” from a double standpoint: on the one hand, mobilizing citizens as active, reflective and creative actors, and, on the other hand, launching initiatives aimed at social groups at risk of social exclusion and “social invisibility”. We believe in the potential of the arts and culture as sources of inspiration, personal and collective satisfaction but also as sources of employment and as schools of difference and democracy.

The priority of eyephoneography is to fulfill its dual artistic and social mission. To do so, be behave like a social enterprise mobilizing various kinds of resources (from sales to donations, to volunteers†time and assistance) in order to ensure the economic sustainability of the project and, ultimately, the artistic relevance and the social impact of the project.

What we have done so far

eyephoneography #1, September 2010, Madrid (Spain).

The first exhibition of mobile photography done with smartphones organized in Spain featured Sion Fullana (Spain), Marco La Civita (Italy), Isabelle MissPixels Gagné (Canada), and Greg Schmigel (USA) with 12 photos each.
The curatorial committee was composed of Michel Bricteux (photographer and diplomat, Belgium), Sally Gutiérrez Dewar (visual artist and lecturer in Contemporary Art at Madrid European University, Spain), Darren Milligan (digital media projects director at the Smithsonian Institution SCEMS, USA), Rocío Nogales (founder of eyephoneography), and Cayetana de la Quadra-Salcedo (architect, ch+qs arquitectos, Spain).

During the opening, Brad Ireland (graphic designer, USA), performed as photo jockey curating in real time a digital exhibition of images uploaded to our Facebook page from all over the world.

eyephoneography #2, April-May 2011, Madrid (Spain).

The most recognized photography school in Spain, EFTI, opened the doors of its prestigious gallery to Carlein van der Beek (The Netherlands), Matt Burrows (USA), Stefano Giogli (Italy) and Jordi V. Pou (Spain) with 10 photos each. The curatorial committee was composed of Jose Luis Amores García (director of EFTI, Spain), Ana Bolívar (photographer and photography curator, Spain), Michel Bricteux (photographer and diplomat, Belgium), Isabelle MissPixels Gagné (mobile photographer and graphic designer, Canada), Attilio Lauria (director of the Photo Library of the Province of Cosenza, Italy), Darren Milligan (digital media projects director at the Smithsonian Institution SCEMS, USA), Rocío Nogales (founder of eyephoneography),Glòria Picazo (director of La Panera Art Center, Spain), and Marty Yawnick (mobile photographer, graphic designer and blogger at lifeinlofi.com, USA).

eyephoneography #2 was accompanied by a 94-page catalog of the exhibition with all the photographs exhibited in the show and four essays devoted to the emergence, history and future of mobile photography as well as the authors†bios and statements.
Before the opening, we held a debate in the EFTI auditorium structured around three axes pertaining to mobile photography: creation and circulation; institutionalization and conceptualization; and its social dimension. The debate included Attilio Lauria, Sergio Mantilla (marketing director of Photo España), Jose Antonio Muñiz (professor of Communication Theory at the Universidad San Jorge, Zaragoza), Rocío Nogales, and Jordi V. Pou.
During the opening, Laura Baffari (graphic designer) and Paola Grilli (architect) founders of FotogriPhone (the first Italian blog about iPhone photography) performed from Italy as real-time curators of a digital exhibition of images uploaded from all over the world to our Facebook page.

Mobile eyephoneography, September 2011 – August 2013, 11 cities, Spain.

The world’s first traveling exhibit of mobile photography, composed of a selection of all the eyephoneography exhibits and touring the FNAC galleries of 11 Spanish cities for two years.

– Mobile eyephoneography Madrid, 1 September – 25 October 2011

During the opening, we organized a debate around mobile photography with the participation of Sergio de Luz (fashion photographer, Spain) and Rocío Nogales, and Sion Fullana, Jordi V. Pou, and Greg Schmigel via video conference. We also presented the YOUNG_EYE project and held the competition “Document Mobile eyephoneography” with a prize composed of the eyephoneography #2 catalog and a 50€ FNAC gift card won by Luis Rodriguez.

– Mobile eyephoneography Barcelona, 4 November 2011 – 7 January 2012

Before the opening, we organized a photo walk around the Fnac Arenas with Carlein van der Beek, Isabelle MissPixels Gagné, and Jordi V. Pou.
During the opening, we held a round table and debate around mobile photography including creative processes, the interaction between mobile photography and the social networks and the development of mobile photography with the participation of Isabelle MissPixels Gagné, Rocío Nogales, Jordi V. Pou, and Mery Viñas (Instagramers, Barcelona).
The day after the opening, Lisa Pram (photographer, Denmark) held the workshop “Tell your story with a mobile phone”, with Isabelle MissPixels Gagné as invited artist.
The competition “Document Mobile eyephoneography” with a prize composed of the eyephoneography #2 catalog and a 50€ FNAC gift card was won by Andrés De León.

– Mobile eyephoneography Murcia, 13 January – 22 February 2012

We organized the workshop “Mobile photography: storytelling on the go” with Mónica Lozano (Cienojos, Spain). The competition “Document Mobile eyephoneography” was won by Felicia Baños Pelegrin.

eyephoneography #2 RELOADED, October 2011, Cosenza (Italy).

Organized by the cultural association Arteaparte in collaboration with FIAF (Italian Federation of Photographic Associations) and the cultural association Fata Morgana, eyephoneography #2 RELOADED was in the official program of the VII Giornata del Contemporaneo (7th Day of Contemporary Art) an event organized by AMACI, the Italian Association of Contemporary Art Museums, which brings together 26 of the most important Italian contemporary art museums. The 7th edition held the patronage of the President of the Italian Republic and the support of the Ministry of Culture, confirming its position as one of the most important events of modern and contemporary art.
The show included a projection of the images of eyephoneography #2 followed by a debate around new forms of contemporary photography with Attilio Lauria (organizer and curator of the i.Phoneography contest, president of the FIAF Calabria and editor of Fotoit), Emilio Arnone (polyhedric photo editor with numerous collaborations including Wim Wenders), Marcello Walter Bruno and Massimo Celani (professors of Institutions of Cinematographic and Television Languages, and Advertising Laguages at UNICAL).

eyephoneography #3, April-May 2012, Madrid (Spain).

Unlike the previous two editions, eyephoneography #3 had an open-call process that received 378 submissions in a month for a total of 1,890 photos from all over the world. The selection committee was composed of Terry Smith (Professor of Contemporary Art History and Theory, University of Pittsburgh), Montse Cuesta (Director, Architectural Digest AD España), Natasha Egan (Director, Museum of Contemporary Photography, Chicago), Ercole Egizi (Founder & Creative Director, Kennedy+Castro advertising agency), Attilio Lauria (Director, Photo Library of the Province of Cosenza, Italy), Giuseppe Veneziano (Painter and Visual Artist, Italy), and Rocio Nogales (Founder, eyephoneography).
After a first selection round that resulted in 14 nominees, the selection committee narrowed down the list to the four mobile photographers showcased in the gallery of the Castellana FNAC flagship store in the heart of Madrid: Karen Divine, Annie Mallégol, Masha Ru, and Dave Weekes.

During the opening, we organized a round table with Karen Divine, Annie Mallégol, Masha Ru, Nadine Benichou, and Rocío Nogales, the band Izal offered an amazing free concert, and Brabante, the first top of the range Spanish Premium beer, supported the opening with complementary bottles of their beer. A slideshow of 100 images from the 10 other nominees was projected throughout the opening.

UrbanMegaEye, October 2012, Shawinigan (Canada).

The organizers of the Mégapixels Photography Festival in Shawinigan (Canada) commissioned us what turned out to be the first thematic exhibition designed by eyephoneography completely from scratch for an external cultural organization interested in mobile photography.
UrbanMegaEye was an exhibition around the theme of urbanism that included the work of four international mobile photographers: Nadine Bénichou, Richard “Koci” Hernandez, Graham Preston and Rafael Ricoy.

Who we are

While eyephoneography relies on the support of many people like the photographers we have exhibited, the professionals that have seated in our selection committees, the eyephoneography supporters, and entities like FNAC, EFTI, and TODO Aleman (Goethe Institut), at basis of the project stand Rocío Nogales (Founder) and Marco La Civita (Creative director).
Rocío’s task is to provide the theoretical rationale for the project, attract new partnerships and alliances, and explore ways of securing it financially. Marco handles the tech side of the project, takes care of exhibitions production, makes sure our social networks are alive and that we never run out of cool ideas and initiatives.

What they say about us

TV/Radio
TVE La 2 Noticias
Escenario Madrid (26/04/2012)
Telecinco
TV3 Telenotícies
7RM Informativos
BTVNOTÍCIES.cat
No t'ho perdis (TV3)
Siglo 21 (Radio 3) min 41:10

Printed Newspapers/Magazines
Guíafnac (04/2012)
FotoCult (n.84/2012)
Playboy (n.84/2011)
La Luna de Metropoli (9-15/9/2011)
El Pais (16/4/11)
El Mundo (16/4/11)
Guia del Ocio (22-28/4/2011)
El Pais (5/6/11)
Memo Grandi Magazzini Culturali (2011)

Online Newspapers/Magazines/Agencies
ojosRojos (11/12)
Join (10/12)
elcorreo.com (26/10/12)
La Press (05/10/12)
Deia (10/07/12)
elcorreo.com (10/07/12)
El Mundo (27/04/12)
El Pais
La Repubblica
El Mundo (20/9/10)
El Mundo (7/5/11)
El Pais (CiberPais)
ANSA
ABC
Guia del Ocio
Agenda POPETC (ElPais.com)
La Voz de Galicia
La Puerta Escarlata
diariovasco.tv
lainformacion.com (15/04/2011)
La Opinión de Murcia
laverdad.es
malaga21.es
lainformacion.com (22/04/2012)

Blogs/Web
Goethe Institut's TODO Aleman (28/08/12)
Kulturklik (07/07/12)
AD Architectural Digest (10/05/12)
ClubCultura.com (eyephoneography #3)
ClubCultura.com (Mobile eyephoneography)
ClubCultura.com (Open call eyephoneography #3)
Hoyesarte #1
Hoyesarte #2
El Dia
Mi autofocus y yo
Metalocus
EFTI
Culturatic
Arte por Excelencias
Iberarte
B&G Comunicazione
El Dia
ArteInformado
INSIDE ART
Life in LoFi
FotoLab
fotogriPhone
EOIZ
The App Whisperer
Fotógrafo Digital
Wayerless
InfoENPUNTO
Absolut Madrid
Underdogs (30/08/2011)
Qué pasa en Murcia
Murcia Visual
Underdogs (20/04/2012)
Xatakafoto

If you’re a new visitor, you might want to know how to become an eyephoneography supporter and/or subscribe to the RSS feed or by Email, join our Facebook page or follow us in Twitter to stay updated.

Ir a la versión española

It’s riveting to see the reaction that people from all walks of life and from different corners in the world have had to the eyephoneography #3 open call.

The selection committee has had some difficult task in order to nominate their favorite photographers. They have done a superb job in a timely manner and their opinion has unanimously been one of agreement with regard to interestingness and potential of the work presented. A great thank you goes to all of them for their true interest in eyephoneography; we are already looking forward to seeing their final choices for the list of the four mobile photographers that will be exhibited in eyephoneography #3.

We would also like to thank all of you who sent your submissions and shared your vision with us. The breadth of the proposals speaks of mobile photography as an expanding and conducive medium for contemporary creation.

In the words of Natasha Egan, “the potential of mobile photography as a vehicle for contemporary artistic photography is huge; an artist just has to find a unique voice and a conceptual angle.”

According to Terry Smith “the entries were very good, offering a broad range of subject matter, quite inventive use of formal styles, and often very clever in their use of iPhone camera functions, including a number of apps. There is a tendency to apply just one app to a straightforward photograph, or mix two together in a readily identifiable way. This is to be expected in the early days of a technology. It is difficult as yet to pinpoint approaches that are unique to the iPhone, although some entries seem to have elements of such an emergent aesthetic.”

Attilio Lauria continues to consider smartphones as “prosthesis insofar as they tend to work as notebooks to record street impressions”. However, in his view, “various attempts to push the aesthetic and linguistic barriers of mobile photography have existed since the beginning and they have increasingly become more elaborate and mature as the eyephoneography #3 open call shows.”

The fourteen nominated authors for eyephoneography #3 are (in alphabetical order):

100 Million
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Alessandro Pisu
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Annie Mallegol
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Brian Schatko
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Catan Ngan
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Dave Weekes
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Edgar Cuevas
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Felicia Baños
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Karen Divine
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Koci Hernandez
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Masha Ru
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Nadine Benichou
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Niusia Winczewski
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Stefano Pesarelli
Missing Attachment Missing Attachment Missing Attachment Missing Attachment Missing Attachment

Congratulations and good luck for the final round!

If you’re a new visitor, you might want to know how to become an eyephoneography supporter and/or subscribe to the RSS feed or by Email, join our Facebook page or follow us in Twitter to stay updated.

Ir a la versión española

After the second stop of Mobile eyephoneography in Barcelona, the third stop in its itinerary will be at the Fnac in Murcia. On Saturday, 14 January 2012, the show will open and will stay at this venue until 22 February 2012.

This traveling exhibit is the result of the collaboration between eyephoneography and Fnac and features a selection of the work by the eight mobile photographers featured in the two editions of eyephoneography held so far: Carlein van der Beek (The Netherlands), Matt Burrows (USA), Sion Fullana (Spain), Stefano Giogli (Italy), Marco La Civita (Italy), MissPixels (Canada), Jordi V. Pou (Spain) and Greg Schmigel (USA).

Since September 2011 and until at least March 2013, Mobile eyephoneography will tour eight Spanish cities aiming to establish a dialogue with local citizens about mobile photography with a vast array of activities.

This wonderful collection of images will change during the next months to include the four photographers that will have been selected for the recently announced eyephoneography #3.

Agenda of the Murcia show (keep reading):

Saturday, 14 – Friday, 27 January 2012: Document Mobile eyephoneography contest

How to participate: if you visit the exhibit during the first week or participate in the workshop (below), take as many pictures as you want and share them them on Twitter, Flickr, or Instagram using the tag #mobeyemur and mentioning @eyephoneography.

Prize: the best picture as determined by the jury will receive an eyephoneography #2 catalog (35 € value) and a 50 € Fnac gift card.

Jury: eyephoneography and some of the photographers included in Mobile eyephoneography.

Winner announcement: Friday, February 3, 2012 on eyephoneography´s Facebook page.

Participation is free of charge.

Friday, 27 January 2012, 18:00-19:00: Workshop “Mobile photography: storytelling on the go”

Instructor: Mónica Lozano, Cienojos

Description: This workshop aims to offer participants some hands-on experience on how to fine-tune their eye with a view of producing a series that tell a story; their story. After a brief overview of photographic genres and a commentary of the work of the photographers included in Mobile eyephoneography, workshop participants will be invited to share their mobile photography portfolio and receive feedback from the instructor and other participants.

Participation is free of charge although reservation is required at comunicacion.murcia@fnac.es.

Throughout the duration of Mobile eyephoneography: YOUNG_EYE contest

YOUNG_EYE is a project aimed at all young people between 16 and 30 year-old living in Spain. Until 31 January 2013, they are invited to submit a 3-picture series taken from their phones to answer the question: “What is it to be young in your city?” and have the possibility of participating in the YOUNG_EYE final exhibit (2013). Click here for more details on YOUNG_EYE.

Participation is free of charge.
 

We would like to thank our partners, FNAC and TodoAleman, for their trust and their support.

If you’re a new visitor, you might want to know how to become an eyephoneography supporter and/or subscribe to the RSS feed or by Email, join our Facebook page or follow us in Twitter to stay updated.

Ir a la versión española

The call for eyephoneography #3 is now closed!

In only one month, we received 378 submissions for a total of 1890 photos. For those who like measuring things with numbers, this represents a huge success considering that i.Phoneography (the show organized in 2010 by one of the eyephoneography #2 and #3 committee members, Attilio Lauria) was the world’s largest open gallery call and competition for mobile photography to date with 651 submissions and roughly 2600 photos received in a period of two months. Besides exceeding those numbers when taking into account the shorter duration of our call, eyephoneography #3 becomes also the most selective open call for mobile photographers, by far, with only 1% of participants that make it to the exhibit.

We would like to thank all the people who have sent their submissions: we know that it was not an “easy” call and we appreciate the effort you made to send something meaningful. Many submissions are really stunning, and each member of the committee will surely have a hard time selecting his/her favorites.

We also wanted to thank those who have shared the open call on social networks and the numerous blogs (ClubCultura, Lenscratch, EyeEm, iPhoneArt, Fotogriphone, Cienojos, just to name a few) that have promoted it.
It was extremely nice to see how often this open-call was referred to as serious, focused, solidly planned, professional, important and prestigious. A special thanks goes to Marty Yawnick of Life in LoFi for publishing the call twice.

Last but not least, we also wanted to thank all the people who have made a donation to eyephoneography and have become our “official supporters”. For those who haven’t done so yet, please consider adding you name to that list too! Without any external funding, a group of people and ourselves are working very hard in order to keep all of our activities free (from calls for submissions to workshops) and to promote mobile photography and mobile photographers. That’s why your help is highly appreciated.

An additional way to support eyephoneography and the mobile photographers we exhibit is to purchase a catalog or a limited edition print. As Susan Sontag wrote: “To collect photographs is to collect the world”.

Now it’s time for the committee to make their selections.

We will keep you all posted!

THANK YOU!

When eyephoneography started, we promised that its third edition, eyephoneography #3, would have had an official open call. And here we are, almost two years after, sharing with you the open-call details.

The eyephoneography #3 exhibition, to which this open call refers, will open in April 2012, in the gallery of the recently inaugurated Castellana FNAC flagship store in the heart of Madrid.
Eyephoneography #3 will have the same format of the previous two editions, which proved to be perfect to offer an overview of various mobile photography trends while offering the right amount of room to each photographer to present his/her vision and promote visibility of the photographers in media and promotional efforts.

Some of the eyephoneography #3 photos will also be included in the ongoing Mobile eyephoneography exhibit that is likely to continue touring after the final provisional stop in Seville in January 2013. There will also be a catalog accompanying eyephoneography #3.

What are we after in eyephoneography #3 ?

The goal is not to find single nice shots. So we encourage you not to simply submit your five nicest/most-liked any-style photos.

We are looking for people whose photographic message is powerful and original.
We are looking for interesting stories.
We are looking for mobile photographers with a vision.
We want to put the spotlight on four mobile photographers who have something to say with their images.
In other words, this open call is not a best photo contest.

If the five images you decide to submit include one street photography, one abstract, one nature, one architecture and one fashion, you may not get the attention of our selection committee.

Before submitting your work, please read carefully the following submission guidelines to avoid rejection of your entry.

SUBMISSION RULES AND CONDITIONS.

Who is eligible to enter?
eyephoneography #3 is open to people of all ages from anywhere in the world except the ones that have been in previous editions of eyephoneography (Carlein vad der Beek, Matt Burrows, Sion Fullana, Isabelle “MissPixels” Gagne, Stefano Giogli, Marco La Civita, Jordi V. Pou, and Greg Schmigel).

How much does it cost to participate to the open call?
Zero.

If selected, will I have to contribute to the costs of eyephoneography #3 and Mobile eyephoneography ?
Absolutely not.

What exactly should I submit?
You will need to submit five of your photos shot and edited on a smartphone. The longest side of the photos must be at least 800 pixels (e.g., 800×800, 800×600, 600×800 are all valid entries). Accepted photo type is JPG and the files size needs to be less than 500Kb each.
The name of your files needs to have the following format:
Firstname_Lastname-2DigitNumber-The_title_of_your_photo.jpg. So if you are Bob Dylan and the title of your first photo is All Along the Watchtower the name of your first file should be Bob_Dylan-01-All_Along_the_Watchtower.jpg.
Please, do not put any watermarks on your images as they are very distracting. Of course, it is fine to have any text in the images if the text needs to be considered an integral part of the image itself.
In the submission form below, you should also include a brief description of yourself and of your photography.
Multiple submissions are not allowed.
Any submission not compliant with these guidelines will likely be ignored.

How do I submit my images and my information?
We only accept submissions through the form at the end of this post.

For how long will the open call last?
We will accept submission until one month after the publication of this post, namely until February 3rd, 2012 at 23:29 (GMT+1).

Who will make the selection?
The world-class selection committee created ad hoc for eyephoneography #3.

How will the committee select the four mobile photographers?
Each committee member will be asked to independently nominate one or two authors among the ones who submitted. The selected two photographers by each committee member will be forming the shortlist and will be asked to send 15 additional photos. Each member of the committee will then be asked to select four authors from the shortlist and the corresponding 10 photos that could be exhibited. Combining the votes we will arrive at the final four mobile photographers that will be showcased with 10 photos each.

How will you use my images?
Copyright of images remain to their creators. By submitting you grant us permission to show your pictures on our website and in any print and digital media for promotional purposes related to eyephoneography. For example, for the previous editions of eyephoneography newspapers and TV networks have run features about us and we have facilitated some of the exhibited pictures. Nevertheless, should we decide to use any of your images, we will contact and inform you.
As in the last two exhibitions, printed limited editions of the photos of the four selected mobile photographers will be for sale. We will work out the details privately if you will be selected for the show.

If you have any additional questions please leave a comment at the end of this post.

Good luck with your submissions, looking forward to them!

CLOSED.

If you’re a new visitor, you might want to know how to become an eyephoneography supporter and/or subscribe to the RSS feed or by Email, join our Facebook page or follow us in Twitter to stay updated.

Ir a la versión española

We are thrilled to unveil the unique world-class committee that we have been able to put together for the selection of the four mobile photographers that will be featured in the upcoming eyephoneography #3.

From the eyephoneography inception almost two years ago, we have always believed that, in order to grow and mature, mobile photography needs to break the boundaries of an increasingly wide but perversely self-referential community. It needs to reach out to and be in osmosis with as many as possible different fields like painting, visual arts, communications, advertising, art history and criticism. And we wanted to help to nurture this mutually enriching dialogue.

For the eyephoneography #3 committee, we strived to gather some top-notch dedicated professionals with expertise and experience at the service of such institutions as the Andy Warhol Museum or the Biennale of Venezia, while boldly emphasizing the curatorial aspect of the eyephoneography exhibitions. With all this we far exceeded our own dreams/expectations.

In the next weeks, we will share the details about the call for submissions for eyephoneography #3, which will be open and free. For now, read on to discover the fantastic professionals that will be reviewing and studying your work.

Terry Smith Professor of Contemporary Art History and Theory, University of Pittsburgh Terry is Andrew W. Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh. He won the 2010 Mather Award for art criticism, and is the 2010 Australia Council Visual Arts Laureate. He is the author of a number of books, notably Making the Modern: Industry, Art and Design in America (1993), What is Contemporary Art? (2009), Contemporary Art: World Currents (2011). A foundation Board member of the Museum of Contemporary Art, Sydney, he is currently a Board member of the Andy Warhol Museum.

Montse Cuesta Director, Architectural Digest (AD España) Born in Valencia, Montse studied journalism at Complutense University of Madrid. Since the mid 80’s until 2000 she worked as Director of Fashion and later also of the Decoration section in the Telva magazine. From 2000 to 2004 she led the Casa y Campo magazine, and in 2005 she joined the Conde Nast group where she prepared for a year the launch of the Spanish edition of AD (Architectural Digest), which today constitutes an international reference for interiors and design publications.

Natasha Egan Director, Museum of Contemporary Photography (MoCP), Chicago Natasha is the director of the MoCP at Columbia College Chicago where she has organized numerous exhibitions including Consuming Nature, Manufactured Self, Made in China, and Loaded Landscapes. She was invited to organize The Road to Nowhere? for FOTOFEST 2010, has contributed essays to several publications, and has taught in the photography and humanities departments at Columbia College Chicago. She also serves as a juror for national and international exhibitions.

Ercole Egizi Founder & Creative Director, Kennedy+Castro advertising agency Before founding Kennedy+Castro, Ercole has been copywriter and creative director for international advertising agencies such as Hill Holliday, Publicis, Grey Worldwide, McCann Erickson and The Band and worked in Boston, New York, Rome, London, Milan and Dubai. In 2009, he was juror in the Print section of the New York Festivals. He teaches Advertising in Fashion at the Accademia del Lusso and lectures at the Faculty of Science of Fashion and Costume in “La Sapienza” University in Rome.

Attilio Lauria Director, Photo Library of the Province of Cosenza (Italy) Attilio is the director of the Photo Library of the Province of Cosenza (Italy). Lecturer in Department of Education of the Italian Federation of Photographic Associations, he is an editor of the magazines FotoIt and Riflessioni. In 2008, he was awarded the honor of Distinguished of Italian Photography. Artistic director of many cultural events including the exhibition PaolaFotografia, and Il suono della normalità in the Rome International Festival of Photography, Attilio organized and curated the international contest i.Phoneography, and co-curated eyephoneography #2.

Giuseppe Veneziano Painter and Visual Artist Giuseppe is recognized as one of the prominent figures of the Italian New Pop and of the group Italian Newbrow. He studied as an architect but is fully dedicated to painting since 2002. His work has been exhibited in numerous shows including the VI Biennale of Saint Petersburg, the IV Biennale of Prague and, in 2011, in the Italian Pavilion of the prestigious Biennale di Venezia.

Rocio Nogales Founder, Eyephoneography Rocío holds Masters’ degrees in Arts Management from Carnegie Mellon University, in Art History from the University of Pittsburgh (US), and in Management Science from the University of Liege (Belgium). She worked in the cultural non-profit sector managing the CineMuse Network, a social enterprise initiative at the Pittsburgh Center for the Arts. Since 2004, she has been the director of the EMES European Research Network, pioneer on social enterprise research in Europe. Rocío founded eyephoneography at the beginning of 2010 and co-curated the first two editions.

If you’re a new visitor, you might want to know how to become an eyephoneography supporter and/or subscribe to the RSS feed or by Email, join our Facebook page or follow us in Twitter to stay updated.

After the inaugural first stop of Mobile eyephoneography, the second stop in its itinerary will be at the Fnac Arenas in Barcelona. On Friday, 4 November 2011, the show will open with a vast array of activities including a photo walk, a debate, a workshop and two contests. The show will stay at this venue until 7 January 2012.

Agenda of the Barcelona opening (keep reading):

Friday, 4 November 2011

17.00-18.30: Mobile eyephoneography photo-walk.

Come and meet other mobile photographers (including four of the ones included in the show) and the Barcelona Instagramers community, to explore their creativity process as well as yours! Share with Carlein van der Beek, MissPixels, Marco La Civita and Jordi V. Pou a special walk around the Fnac Arenas, located in the former bullfight area, right next to the Plaza de España and the Joan Miró Parc.

Participation is free of charge.

17.00 to 24.00 (store closes at 22:00): Document mobile eyephoneography contest

How to participate: if you are present at the opening and/or participate in the photo walk, document the event by taking as many pictures as you want and share them them on Twitter, Flickr, or Instagram using the tag #mobeyebcn and mentioning @eyephoneography.

Prize: the best picture as determined by the jury will receive an eyephoneography #2 catalog (35 € value) and a 50 € Fnac gift card.

Jury: eyephoneography and some of the photographers included in mobile eyephoneography.

Winner announcement: Friday, November 11, 2011 on eyephoneography´s Facebook page.

A selection of the photos submitted to the contest will also be projected live during the event.

Participation is free of charge.

From 19.00 to 20.00: Round table and debate

Participants: Mobile photographers Jordi V. Pou (Lleida, Spain) and MissPixels (Mirabel, Canada), Mery Viñas (Instagramers Barcelona) and Rocío Nogales (eyephoneography) will share and exchange views with the audience on their experience with mobile photography including creative processes, the interaction between mobile photography and the social networks and the development of mobile photography.

Participation is free of charge.

Saturday, 5 November 2011

11:30-13:00: Workshop “Tell your story with a mobile phone”

Instructors: Lisa Pram (www.lisapram.com)

Invited photographer: MissPixels (www.misspixels.com)

Description: This workshop is targeted to people between 16 and 30 years. It aims to offer participants some hands-on experience on how to fine-tune their eye with a view of producing a series that tell a story; their story. Through a brief overview of photographic genres and references and interaction with one of the pioneers of mobile photography, workshop participants will be able to unleash their own creativity at the moment of shooting.

Space available is limited to 12 participants. Participation is free of charge although reservation is required at arenas@fnac.es before Friday, 4 November at 21:00.

Throughout the duration of the exhibit: YOUNG_EYE contest

YOUNG_EYE is a project aimed at all young people between 16 and 30 year-old living in Spain. They are invited to submit a 3-picture series taken from their phones to answer the question: “What is it to be young in your city?” and have the possibility of participating in the YOUNG_EYE final exhibit (2013). Click here for more details on YOUNG_EYE.

Submission deadline (for people living in Barcelona): 4 February 2012

Participation is free of charge.
 

Mobile eyephoneography is the result of the collaboration between eyephoneography and Fnac and features a selection of the work by the eight mobile photographers featured in the two editions of eyephoneography held so far: Carlein van der Beek (The Netherlands), Matt Burrows (USA), Sion Fullana (Spain), Stefano Giogli (Italy), Marco La Civita (Italy), MissPixels (Canada), Jordi V. Pou (Spain) and Greg Schmigel (USA).

For more than a year, mobile eyephoneography will tour eight Spanish cities aiming to establish a dialogue with local citizens about mobile photography with a large number of activities.

We would like to thank our partners, FNAC and TodoAleman, for their trust and their support.

If youâ€re a new visitor to eyephoneography.com, you might want to subscribe to the RSS feed or by Email, join our Facebook page or follow us in Twitter to stay updated.

The 8th of October 2011 within the official program of the VII Giornata del Contemporaneo (7th Day of Contemporary Art) organized by AMACI, the Italian Association of Contemporary Art Museums, there will be the event eyephoneography #2 RELOADED, organized by the cultural association Arteaparte in collaboration with FIAF (Italian Federation of Photographic Associations) and the cultural association Fata Morgana.

The 7th Day of Contemporary Art provides a well articulated program of exhibitions, workshops, events and conferences, all completely free, and features artists and new ideas to allow the public to get acquainted with the complex and dynamic world of contemporary art. Organized by AMACI, which brings together 26 of the most important Italian contemporary art museums, this 7th edition holds the patronage of the President of the Italian Republic and the support of the Ministry of Culture, confirming its position as one of the most important events of modern and contemporary art.

Among the more than 1000 events planned for this year, there will also be eyephoneography #2 RELOADED, a show that will take place in the UB!K bookstore in Cosenza and includes a projection of the images of eyephoneography #2  (Matt Burrows, Carlein van Der Beek, Stefano Giogli and Jordi V. Pou) followed by a debate around the new forms of contemporary photography with Attilio Lauria (organizer and curator of the i.Phoneography contest, president of the FIAF Calabria and editor of Fotoit), Emilio Arnone (polyhedric photo editor with numerous collaborations including Wim Wenders), Marcello Walter Bruno and Massimo Celani (professors of Institutions of Cinematographic and Television Languages, and Advertising Laguages at UNICAL).

We asked some questions to Attilio Lauria, who was also in the selection committee of eyephoneography #2.

Attilio, why do you think it is appropriate to have a mobile photography event in such an important day dedicated to contemporary art?

Contemporary art is increasingly characterized by the use of processes widely structured or contaminated by photography, up to a point that, as noted by Charlotte Cotton, identifying art as the preferred territory for their images is currently the aspiration of many photographers.

Having said that, it is obviously impossible an a priori identification between art and photography.

Another possible misunderstanding in this regard is the assumption that the results of the photographic act can be considered the founding paradigm of artistry; in other words, it is not possible, simply from the result of an operation with true aesthetic intention and dimension, to bring together the artistic approach, as expression of a techne, and the skills underlying the editing process. It would tie the potential of mobile photography artistry to a physical quality of the image, be it formal or relative to post-production.

A theoretical position, yours Attilio, in which one can recognize Philippe Dubois’ notion of photography as “art moyenne” …

Yes, of course. As Philippe Dubois said, a picture is not just an image (the product of a technique and an action, the result of doing and knowing how to do it), it is also, above all, an iconic act meaning that this act is not limited simply to only the gesture of the actual production of the image.

What rather defines and brings together the processes of contemporary art – among which mobile photography can certainly and legitimately be ascribed to via its contribution to the process of un-definition of art – is the linguistic reflection on the medium, which, by giving to photography the dimension of a cultural codification process absolutely identical to all other forms of language, makes it central the ideas and the planning at the basis of the photographic act.

And how do you think eyephoneography #2 comes into this linguistic process?

First of all, it is certainly recognizable the codification process we talked about in the broadest terms of linguistic query on the role of the artist: each one the authors of eyephoneography #2 experiments with new possibilities of signification of genres already well known to photography, beginning with the portrait, considered as its oldest application.

In all, what unites the authors of eyephoneography #2 in this set of works is a clear linguistic choice that stems from the desire to relate to reality in a cultural sense, by making of this reality a conceptual dematerialization that precedes the photographic act. And this is what mobile photography requires: while being aware of its mass practice nature, it should become a laboratory capable of stratifying different backgrounds and processualities by combining perceptual and interpretative logics, in tune with the urgency for continuous innovation of the contemporary creative process.

Mobile photography fits into the dynamics of contemporary art precisely because of this conceptual distance from the photograph in its objectual dimension; a distance that values the mode of operation of mobile photography. In other words, this would be equivalent to affirming that the status of art is ultimately decided by the dynamics of the art market.

Grazie Attilio!

Grazie a voi! You are of course all invited to the event in Cosenza (IT) the 8th of October 2011.

If you’re a new visitor to eyephoneography.com, you might want to subscribe to the RSS feed or by Email, join our Facebook page or follow us in Twitter to stay updated.

Ir a la versión española

YOUNG_EYE, the project that accompanies Mobile eyephoneography, is aimed at all people between 16 and 30 years who live anywhere in Spain.

For over a year, Mobile eyephoneography, organized by eyephoneography and Fnac, will visit Madrid, Barcelona, Murcia, Malaga, San Sebastian, Bilbao, Zaragoza and Sevilla. You can check the the itinerary of mobile eyephoneography here (cities and dates).

Here is how to participate.

How does it work?

If you have between 16 y 30 years and live in Spain, reply to the question “what is it to be young in your city?“ with a 3-image series made with your smartphone and send it to info@eyephoneography.com. You can submit your series up to the 31st of January of 2013. Copyright of images belongs to their creators, however by submitting their pictures, authors accept their promotional use by eyephoneography.

If you publish your YOUNG_EYE-related images in any social network (Facebook, Twitter, Tuenti, Flickr, Instagram) add the tags #young_eye and #eyephoneography.

What are the technical specifications?

What to send?: three images that form a photographic series. Name the photos as follows: Firstname_Lastname-PhotoNumber-Title_of_the_photo.jpg

Image size: largest side 800 pixels

File type: JPEG

What can you win?

· an eyephoneography #2 catalog

· a 50 € FNAC gift card

· participation in a group exhibit

but most of all you have the chance of telling YOUR OWN story!

What are the judging criteria?

Creativity and originality + Quality + Content (the solid idea behind the series). The jury will be composed of local and international culture/photography/creativity professionals.

YOUNG EYE counts with the support of Fnac and the Goethe Institute through its TODO Aleman project. We also would like to thank Greg Schmigel for designing the logo of the project.

Questions about YOUNG_EYE? Email Rocío at info@eyephoneography.com

If you’re a new visitor, you might want to know how to become an eyephoneography supporter and/or subscribe to the RSS feed or by Email, join our Facebook page or follow us in Twitter to stay updated.