milkwithtea

The Summer of 2012

noreply@blogger.com (milkwithtea) — Fri, 27 Jan 2012 09:01:00 +0000

milkwithtea will be celebrating its 3rd anniversary in July 2012.

You are cordially invited to take part in the celebratory magazine issue this summer;

Send your three images under the heading

TRIUMVIRATE

to milkwithteathirdyear@gmail.com and say a few words about them.

Deadline is 1. April 2012

Looking forward to this one!

MWT

Takeshi Suga

noreply@blogger.com (milkwithtea) — Sun, 22 Jan 2012 12:41:00 +0000

Glasgow, UK

website flickr blog

Looking at your work and activities online I quickly caught the impression that you are very passionate about photography. Apart from 'producing' art yourself, how do you follow this passion?

Really? I’m pleased to hear that. Yes, passion feeds me and keeps me well. I guess, when it comes to photography, almost all my passion goes to making or taking photographs…

Not only do you act as a photographer in your free time, you for instance also work for the music magazine NME. Do you consider yourself lucky that you're able to work as a photographer to 'earn a living', or did you consider this the only acceptable occupation for yourself from the start?

I consider myself lucky to some extent, knowing there are so many music photographers out there who are struggling to get noticed. But, at the same time, I believe that luck only materializes in conjunction with one’s talent and dedication. No, I didn’t consider photography the only acceptable occupation from the start. Having said that, I always had a list of unacceptable occupations and it seemed to rule out everything except creative ones.

Originally from Japan, you are now based in the UK, but appear to continue traveling a lot. How do you evaluate the good and bad sides of being on the move?

I’ve always longed for a life that allows me to travel constantly. There are so many beautiful places to visit in the world. I pin my hopes on my photography now. So far, it has carried me over to Mexico City and Barcelona as well as a number of UK destinations. My creative desire amplifies when I’m on the move. Home is where I lay my cameras. I can’t really think of any bad sides to it!

Would you say that you have a strong connection to Japan both personally and within you artistic work? If yes, how so?

Living and working in the UK, I often ask myself the same question. But I always get stuck before I can reach any plausible answer. It’s probably both yes and no, depending on what I’ve eaten that day. And if yes, it shows in a very subtle way.

One of your favourite cameras seems to be the Diana Mini. What do you cherish most about it? And are there any downsides to it?

I cherish her innate ability to build an instant rapport with other people. It makes my mission a lot easier. Downsides? Hmm… she gets temperamental from time to time. But I love the camera just the same.

You showed work of yours on the exhibition "Barcelona Showcase" in Barcelona this past December. Can you tell us more about it?

I was invited to exhibit and sell my work at Casa Batlló in Barcelona. To my disappointment, I couldn’t sell anything, maybe it was because I had forgotten to put price tags on my work. However, it was a brilliant opportunity to meet other photographers from different countries. Elena Ayllon, a Spanish photographer you featured on your site last year was there too. I recognized her as she spoke to me in Japanese!

Generally, do you enjoy exhibitions? Or do you sometimes prefer to stay the 'invisible man behind the camera'?

I do enjoy them. I don’t mind being invisible myself, but the photos have to be visible to the public. I’m a parent to the photos I took and I want to provide them with the best playground possible. My kids are quiet and shy, but I know they desperately want to come out and play.

Coming back to your work for NME, what do you like most about taking pictures of musicians and at concerts?

Musicians look their best on stage. And there’s an irresistible beauty in them expressing and exposing themselves in front of the audience. It’s a joy to photograph those moments where everything the artist does and lives for make a perfect harmony.

How does this differ from your other activities?

Essentially it is the same as it involves photographing something I love. The only difference is that I have a brief to fulfil.

If you could act as director of photography for a movie, at which film maker's set would you preferably work?

That has to be Yasujiro Ozu’s. He’s the filmmaker I admire most. Unfortunately, he passed away almost 50 years ago, but someday I’d like to make my version of “Tokyo Story”.

Finally, when raising your glass on New Year's Eve, what were you most thankful for when thinking of 2011?

That I could start my professional career with NME. I’ve been reading the magazine since 1997 and it’s my love and passion for music that brought me to the UK. So, it’s like a Glasgow dream come true for me. I was also thinking about all the kind words I received from the people who saw my photographs here and there. Without them, I’d be lost in the loneliness of a (freelance) photographer.

It's about irresistible beauty, take a look at his work.

John Kilar

noreply@blogger.com (milkwithtea) — Tue, 17 Jan 2012 09:16:00 +0000

John Kilar

Venice, CA

flickr website blog

What do you love about art, what do you hate about it?

I love the fact that it helps us unite and gives us the chance to express ourselves creatively via different mediums. It’s a tool for the collective consciousness to share what we're capable of creating. I don't hate anything about it. In fact I don't hate anything, period. I believe that hate is a mere choice and I tend to consciously align with frequencies that serve a higher path.

And why take photographs?

Photographs help me remember and re-live the moments I've cherished more efficiently.

You have some wild images in between your body of work. Where were the majority of your pictures taken?

All over. But mainly in California. My body of work is a documentation of all my travels and adventures and everything in between.

So at some point, one also gets the impression that you seek to take in the exceptional with your camera. Would you agree?

Sure. I try to capture anything that I find to be visually intriguing. The outcome varies.

Is it easy for you to detect where you draw your inspiration from?

It comes naturally but I get most inspired when I create new realities and experiences for myself.

Without any attempt to judge, why would you say do so many people now have the urge to be regarded as 'creative'?

It's difficult to talk in behalf of others and their intentions. I'm guessing it boils down to acceptance and insecurity.

You pick up a freshly developed film, where do you take a first look at the pictures?

In my kitchen, most of the time. I don't get physical prints when I get my film developed, just a CD. So I view them on my laptop.

And what do you drink to that?

Coconut water.

Wild child photography, take a look at his work.

Tata Vislevskaya

noreply@blogger.com (milkwithtea) — Mon, 09 Jan 2012 23:28:00 +0000

Tata Vislevskaya

Moscow, Russia

flickr website

What would you say has been inspiring you the most in your artistic work recently: people or places?

Wild places. I dream of the edge of the earth, of islands and countries. People are certainly of interest, but only as a part of those places. Besides, I need complete privacy for taking photographs successfully. Nevertheless, I think I could take shots of people, too, when I’m very inspired by them!

Do you like to talk about art and art pieces, or do you prefer to quietly observe and/or appreciate art?

Most of the time I appreciate art quietly. I don’t like vacuous talks about art and searches for meanings in art. Moreover, I’m even afraid of people who love this kind of talk: it takes away the time one could spend actively engaging in art. In my opinion, one can understand silently. Not everything needs to be discussed, not all things should have a clear and intelligible meaning. There's also just pure emotion.

Is there somebody you discuss your own work with?

Yes, I talk to certain people about my art.

Is there an art form - be it music, dance, painting ... - that you have always wanted to 'learn' professionally, but haven't had the opportunity to yet?

Yes: directing movies. I’m going to learn it.

When was the last time you were very excited and enthusiastic about photography? What was the occasion?

Actually, that occurs constantly. This happened the very last time in late autumn, on a trip to the place I spent my childhood in. When you leave a place being 10 years old, and go back to it when you're 25, something strange happens. A lot of impressions stick to the mind. The old abandoned house. The same old road. The trail. The forest. The water tower… In autumn I was drawing pictures of my summer adventures. It really was like a family idyll. And the camera was guiding me.

How much 'talent' does one need to pursue a certain art form?

I don’t believe in talent, I believe in predestination, leading to the road, which belongs to only you. To me, it is about the heart-warming feeling of anticipation. Talent can dissolve in a daily life. In this way you can create everything you want, but nobody will have to guarantee you to get a final prize.

Do you have a preferred way or technique for taking or developing pictures?

I have a favourite photo camera – the Hasselblad - and a favourite film. When you know your instruments, you know everything. I haven’t stock techniques, this process usually takes place spontaneously. The most important things for me are to feel the object and to catch a ‘wave’ of inspiration: then I can shoot 5 entire films. Of course, colour and light are very important, too.

Have you ever had a moment where you wanted to drop being a photographer altogether?

I have never decided to become a photographer, so I can’t abandon it. My photographs are echoes of the problems that concern me. For me, this is a very good way to achieve goals and to do this consciously. But there are no rules to that: today I see photography in this function for me, but who knows what will happen tomorrow?

Are you working on any projects right now?

Currently I’m working on the international project «FOREST», my first photo book and another new environmental project. I would like to focus my attention on the problems of animals.

And finally, is there a site or gallery you consider a must-see?

I highly recommend people to take a look at this site.

Relating to nature. Take a look at her work!

Tim Kaufmann

noreply@blogger.com (milkwithtea) — Sun, 01 Jan 2012 21:31:00 +0000

Tim Kaufmann

Nürnberg, Germany

website flickr blog

Most of your recent photographs have been taken during your travels last summer. Is there a photograph that for you captures your overall memory of your trip(s)?

That's quite hard to say because this summer we travelled to many different places. The place I felt most comfortable during the trip was on Spiekeroog, a car-free East Frisian island. Most of this small island's space is covered with preserved salt marsh. At the spacious beach you find yourself lost in nowhere and feel completely free. The photograph you can see above captures this freedom very well. But I wouldn’t say it is the photograph that captures my memory. If it exists, I haven't shot it yet.

Do you think that one's focus shifts, and the eye is drawn to different things or elements than in "everyday life" whilst travelling?

Well, I would say that whilst traveling you appreciate the places you visit more intensively and consciously, because you're constantly receiving various new impressions. In "everyday life" you largely have seen everything before and you try to look for new interesting motifs, which will inevitably lead to you looking for new places. My focus on the things I want to capture, however, does not change. I know what I'm interested in and which kind of photography I want to do, no matter where.

And what do you find yourself paying attention to the most generally?

I want to capture various forms of aesthetics that I see in "everyday life". It's just about going through the world that surrounds me with open eyes and simply capture (at second glance) beautiful, ironic or paradox situations and sceneries.

If you could single out a season or time, in which you have found yourself to be most productive as an artist, which one would it be?

I'd definitely say that I am most productive during spring & summertime.

Do you think that a painting at times can hold more 'truth' or let's say real elements than a photograph? Or will the photographic medium always win in this respect?

Hmm, that's hard to say. Of course photography wins the aspect of documenting and soberly portraying "reality". This is definitely more difficult for paintings, but in my opinion this is not their task at all. Paintings can also hold much "truth" and at the same time give up "real elements”. Just think of the paintings of Mark Rothko and Bernhard Schultze.

Merely as an observer, what are you more interested in: photographs of animate elements and persons or inanimate objects?

Rough: photographs that show an interaction of man and his surrounding world. Fine: photographs of people in nature.

Do you already have new travels planned? If so, where to and why there?

No, I don't. I haven't planned anything yet. But I definitely want to travel to some European towns soon.

What does your ideal Christmas holiday look like?

Hmm, I probably have a quite cheesy idea of my ideal Christmas holiday, which resembles those awful Christmas ads. It would be great if the whole family would gather in front of the fireplace in an old log cabin in the Alps to drink punch, cook and listen to old records of the 50s together. The days after that: Sliding, hiking, building snowmen etc. And it would snow all the time.

Connected to this: Do you consider yourself, or are you considered to be the main photographer among family and friends when it comes to documenting joint events and activities?

Actually I barely take photos at parties or any "family events". That's why I and the people around me do not see me as "the photographer". Photography has a different function for me. For me, it is not of primary interest to document; it has more importance to me to capture the emotions that motifs have and to hold that moment. Those events mostly don't fit that approach.

What do you love most about your favourite camera?

I have an East German "Ihagee Exa 500" from the 1960s, which has this significant odd smell. Every time I look through the viewfinder I'm always reminded of the corridor in the old apartment house my grandparents lived in for decades, where this smell was ever-present.

Chasing the same things but with different approaches. Take a look at his work!

noreply@blogger.com (milkwithtea) — Wed, 28 Dec 2011 23:15:00 +0000

Charles Guthrie

noreply@blogger.com (milkwithtea) — Thu, 17 Nov 2011 13:20:00 +0000

Charles Guthrie

Richmond, Virginia

website blog

The latest project on your website "Cheat Death" embodies your 'evolving mentality' over the recent years, you state. In retrospect, what would you now say has affected you as an artist the most?

Over the past few years I've moved around quite a bit. I moved from Richmond, VA to New York City, and then to China. I also travelled non-stop to several countries and cities near where I was living. Sometimes it felt like I was "cheating death" just because there was never a dull moment. I was constantly experiencing new things and exploring myself. I think the self-discovery that came from all of that really shows in the work.

Do you think that one can get back to a former state of mind, when a new approach doesn't seem to work?

Yeah I do. Over time you find out that no matter how many places you go, or how much time passes, so many things in life stay constant. I think this also applies to work- it's going to reflect you personally in some way.

How would you say have helped internships in creative positions helped develop you your own work and style?

Yeah, interning taught me a lot about the ins and outs of the industry. I interned for Ryan McGinley, he's an excellent photographer and businessman.

Does an artist necessarily have to have formulated a 'voice' or 'signature' in advance, or would you say that this is something that is being developed in the course of the creative process(es)?

It's definitely something that comes out in the evolutionary process.

Are there any clishés about being an 'artist' or being 'creative' that you would like to avoid being confronted with?

Not really. I don't think I really outwardly show any of those characteristics.

Do you have a muse?

No.

Something you would like to achieve by the end of the year?

I'm going to be launching a project January 1 that I've been working on for quite some time. I don't want to give much away now, but it features a number of really skilled photographers and I'm looking forward to seeing where it goes in the next year.

And things you set out to accomplish and already achieved or gave up upon?

I told myself I was going to travel one week out of the month, even if it was only 30 minutes away, to create work. But I find it harder and harder to make that happen with everything in my personal life and working nonstop on my new project.

Do you value traditions, in any area of life, or do you try to avoid them?

I was raised by a single mom, and she basically tried to reinvent so many traditions that she had with her "functional" family, but none really stuck around. It's something I think I'd like.

Where do you see photography as an art from in, let's say 10 years?

It's going to be interesting. I think it'll be heavily focused in digital work and the mastery of postproduction. I think it will be very accessible.

No clichés. Take a look at his work.

Zebulon Zang

noreply@blogger.com (milkwithtea) — Sat, 15 Oct 2011 22:27:00 +0000

Zebulon Zang

Vancouver, Canada

website blog

You have a blog where you upload a picture daily. Are there any specific criteria according to which you choose what to show?

The blog is an online record of a project I had started a few years ago. My intention was to merely take photographs everyday. Therefore the only constant criterion for the blog has been that a particular photo had to be taken at some point within the 24 hour time span of that day. Other than that, when it comes to actually choosing a photo, it tends to come down to choosing either my favourite photo for each day or one the one which best sums up the day as a whole for me (which can end up to being very different things). The blog as a whole became a lot more personal than I had originally intended it to be. It turned into a kind of journal, as photographic projects tend to do. I’m not necessarily after “attractive” photos, so sometimes better technical pictures get left to the wayside in favour of something that has a bit more affect or poignancy. My whole life is on there, at least in part.

On first sight, I thought that your work had stylistics of street photography. Would you agree?

I guess it could be classified as street photography. I find that the older works of many of my favourite photographers could in a way be called that. For the most part I’ve always found studio work extremely limiting and when I create shots where the entire environment is controlled I tend to make extremely boring pictures. I much prefer working with people, places and things I don’t know and can’t control. Having said that, I don’t personally see my work holistically as “street photography”. It really depends on the day. The collection of images I’ve amassed on my blog is somewhat frenetic and so it doesn’t seem to be able to retain a certain style or much overall unity. The only unity I tend to find in it is the simple fact that it’s a collection of things I’ve seen and experienced.

Would you say that you collect or create images when taking pictures?

For the most part I feel like I’m collecting images, when I photograph I feel a bit like I’m hunting or collecting stamps or something like that. I’m gathering this large collection of images that I just happen to be lucky and prepared enough to get. For me, photography is about preservation, though it’s not really a pure preservation, of course. So I guess it’s about hunting in order to preserve, it’s somewhat of a morbid museum-esque idea of preserving the natural world. You kill a part of whatever it is that you photograph with the photograph. A photograph is like a scar from that moment that leaves a mark you can keep with you. I’m still not sure how I feel about it.

Are there any current trends in art that you endorse ‘completely’?

I don’t think I could ever completely endorse anything, especially anything in art.

What is your viewpoint on such popular trends as in 'flows of interest' in photography anyways?

Popular trends are important in art because they give people something to either conform to or to go against. It’s always good for people to have something that they don’t like to see being popular, so they can try to work against it in order to make something similar to their own works or tastes become popular instead. If, eventually what they’ve pushed for ends up being the next stylistic trend, well then they in turn give a whole new group of people inspiration to work differently and to try to knock it off its prow. Flows of interests are vital for making new things happen. As for my own work, I try and make images in a way that just feels natural, but I’m never against learning from what’s new and shifting in the rest of the world. I can usually be pretty misinformed about what I‘m doing and I just need to see something to help me realize that. I just try and remember what my father always used to say: “I could be wrong, I remember I was wrong once. It was on a Tuesday.”

Within the proverb "all work and no play makes jack a dull boy" would you consider photography to belong to the 'work' or rather to they 'play' category?

Photography never feels like work. It’s a great simulation of work; I think that’s why photography is so popular. It has all the benefits, but few of the tedious or laborious facets of conventional “work”. If it were more like work instead of just feeling like work, it would be hard for people to want to get into it. Albeit most of my work that exists outside of the “Photo a day” project does tend to be more planned out and can fall into the work category. With projects there is a more conscious sense of photographing, because instead of just shooting what presents itself to you and what you notice, there is a much more direct mandate of what you’re looking for. It becomes almost a constant strain because you have a more definite goal or image in mind. With all of my photography though there’s a big time investment in the postproduction. To cut it a little shorter, when I’m out shooting its play, when I’m developing/editing/

printing images it becomes work, very enjoyable work, but still work. Sometimes after a few days having not left the house and having simply worked on projects, I do feel like a bit of a “dull boy”. The work, however, hopefully isn’t.

Would you ever consider working as a photographer for a news agency?

That was always my dream as a kid, I don’t know if I’d have the right chutzpa for it though.

Do you sometimes feel that the Internet does spoil things?

Entirely so. I think I don’t really understand the implications of the Internet on things especially my own artwork. It seems really innocuous, but it definitely has a much heavier hand than I realize. That’s exactly why I’ve decided to remove my online presence until I can better figure it all out. For me, photography seems to be more about knowing when to say no. Unlike other art forms, with photography you naturally produce too much, because of the ease of production, and pare it down to its most essential, “highest quality” parts. That’s why I’m removing myself in part from the Internet, at least for a while. It has played a role in the display and viewing of photography since I started, so I want to see what will happen if I eliminate it. Maybe it’s the wrong thing to do, but I won’t know until I try. In my case, having produced so much and posted it all online whether good or bad, I’ve come to realize there’s such a thing as too much. So I should probably stop talking, too.

The work and play of photography. Take a look at his work!

Greg Friedler

noreply@blogger.com (milkwithtea) — Sun, 09 Oct 2011 21:16:00 +0000

Greg Friedler

New York, USA

blog art the naked

You have a very diverse body of work, wherein the most distinct categorization seems to be between your commercial and artistic work: you also have two different websites for these, which are entitled "Friedler thinking" and Friedler working". What other reasons did you have for such a differentiations, other than, say, practical ones?

These are just for practical reasons. I really don’t want to focus on “commercial” work in this interview since I am taking a major break from it: this has cleared up my head a bunch and brought me clarity. Basically, I am focusing more of my time and energy on the art - which is great - but paying my bills has become an even greater challenge. This is now my blog, Friedler Thinking is my main art website and The Naked is where my raw figurative works are displayed. Again, I have a lot of sites, because I am very prolific and needed a way to compartmentalize the work, rather then have all the work on one website and have that be way too overwhelming for the viewer.

Do you find that you work differently, too, according to whether your dealing with an assigned or a creative work?

Yes, very different. One is art and one is for commerce.

Another - quite interesting - side to your photography are the 'Naked' collections. Concerning the city collections: what was your motivation at the very beginning when starting the first series?

I started to shoot Naked New York in the summer of 1995 while still in grad school in New York City. I first thought that I would find people and shoot them on white seamless in a studio naked. But after finding the first group of people and speaking with them, I realized that I was more interested in showing the public and the private individual. Clothed and unclothed, with nothing sexy about it. No eroticism. They are identity portraits and give the viewer a hint into who the whole person “might be” in society. Their professions were important, because I am very interested in social structures and class structures. So having the professions is a bit conceptual, because it hints at who the person is as seen by the rest of the society. But the naked portrait is supposed to better depict the true person without society’s or people’s expectations or judgments. The naked photo is meant to be more of the truth of who the person is as a person in humanity, not who the person is with regards to their place in society, the job they work, or the clothes they wear.

Why is 'naked las vegas' the only one shot in colour?

The first two cities, New York and LA were best kept in black and white. Then I did London and as I view London as a very classic and historical city, so the choice to stick with black and white was an easy one there. Naked Las Vegas was the last book in the series and I took a long while to find the right city to shoot as my last city. I shot Vegas in color because the whole place screams of color, from the signs to the lights to the extravagant entertainment. So I chose color and I believe that it works well.

In contrast to the city series the 'silent surrender' ad mattress collections don't feature any male portraits. Is there a specific reason for this?

Yes, I am much more interested in and drawn to the female form. And it is not just because I am a straight male. I love the female form and I love the (often complex) energy that women posess. Plus their bodies seem so much more interesting photographically than that of men. I did in fact shoot about 12 men for mattress and have shot quite a few male nudes, but there always seems to be something lacking. It is actually funny also that my work of these male nudes have now been included in 3 anthologies of “gay” work and I am not gay. I view the “silent surrender” project as a successful project because there is always a very strong gaze from the model and most people really don’t even see them as being nudes yet as being psychological portraits. I think they pose a lot of questions, yet render very few answers.

What motivated you to pursue a Masters of Fine Arts after studying Political Science and French the most?

I have taken photographs since I was first introduced to photography in high school. I pursued photography while also in college and took a few photo classes yet wanted a broader focus for my major. I think that studying political science helped me to understand people a little better. So after I graduated college I went to New York City and spent three years getting my Masters of Fine Arts in Photography. Graduate school was an eye opening experience to say the least. But I am very glad that I did it and it helped shape my art and allowed me some time to find my eye.

Would you say that your first studies, although maybe seeming to be unrelated to photography and art at a first sight, benefitted your artistic work and development?

Absolutely, it fueled my intense, almost obsessive curiosity of humanity.

On your site you state that you consider yourself "a documentarian of the human condition"; that you are "fascinated by identity, existence, and how people fit into a given society". Would you say that you're a artistic sociologist/political scientist, whose analyses manifest themselves in art pieces, rather than written case studies?

I would say that in many ways I am more of a photo anthropologist. Yes, I think that is an accurate statement. My analyses of humanity are better manifested through photography and art than written case studies, at least at this time. This could change, or perhaps more text will be presented alongside future artworks.

You not only engage in photography but also work with mixed media, and have various series of paintings, which you exhibit alongside your photography work. How connected are these paintings with the latter?

The paintings are made directly from my own photos. For now, the mixed media paintings are only made using the female nudes from silent surrender. Making these paintings are a joy, but it opens up some new issues which painters inevitably deal with. Like use of color, what media to use and when, and when to know that a painting piece is “finished”. Painting is tough! But it feels very liberating for me. Most of the paintings I have are fairly small at about 11 by 17 inches, but I am soon going to try to start making them a lot larger and focus on making a succint body of work of about 15 large paintings.

Finally, how important would you say are art and creativity for the individual's development?

Great question! You mean “an individual” generally speaking I take it? I think that art is important for someone’s development and growth for sure. And I believe that people should never stop growing, as an individual and in their art. I think too many artists get really stuck doing the same thing over and over again and never really allow themselves to evolve and move forward, to “progress”. Creativity is a whole different ballgame. Creativity, in my humble opinion, is massively important for human beings to develop and to stay healthy. It does not matter whether this creativity is manifested as designing and maintaining a garden, or making music or building a treehouse or making art or films. People need things in life which keep them out of their head and give them things to look forward to and I believe that most creative endeavors do this. Art therapy is “therapy” for good reason!

Connected diversity, and social studies through photography. Take a look at his work!

Simone Barbieri

noreply@blogger.com (milkwithtea) — Sat, 03 Sep 2011 00:35:00 +0000

Simone Barbieri

Milan, Italy

website flickr

What do you find most challenging about photography?

I started to take photos more than 10 years ago. I'm obsessed with billboards, signs, and minimalism among other things. I like to landscape photography landscape, including urban landscapes. I enjoy giving an unusual view of the place and objects that I photograph. Further, I like to bring forward common things through my photography: I aspire to ‘report’ about things I encounter and I try to find ways of presenting my point of view perceiving them. But at the same time I try to pay attention to portraying objects within their own contexts, because I aim to be impartial and to not decontextualize them.

Do you have a camera with you at all times? And would you say that a 'serious' photographer actually should and would do that anyways?

I don't have my camera with me all the time. I don't think a 'serious' photographer has to have a camera with him or her at all times.

Who has been your biggest supporter for your aspirations and goals in photography?

A few years ago my older cousin supported my passion, and my family has always inspired me to engage in photography. Now my girlfriend is the biggest supporter of my passion.

Is there any photography job you would refuse to do, even if the pay was good?

Actually, I don't enjoy taking photographs of kids, sport or animals.

Which is the camera you shoot with the most often?

A D90 for digital shoots, a Canon AT1 and a Olympus Trip 35 for analogue shoots.

Are you actually interested in technical equipment or is this rather of secondary importance to you?

It can be important to have good equipment, but It is more important to follow your instincts and your point of view.

You live in Milan. Have you ever considered engaging in fashion photography?

I like fashion photography and I have been already worked with a fashion photographer, but I am not particularly interested in it.

Artists whose work you have been fascinated by?

I admire William Eggleston, Luigi Ghirri, Martin Parr, Nan Goldin, Jeff Wall, Andreas Gursky, Robert Frank.

Finally, what are you working on currently?

I am continuing my research of producing a ‘catalogue’ of landscapes.

Portraying perspectives. Take a look at his work!

Cristina Altieri

noreply@blogger.com (milkwithtea) — Sun, 28 Aug 2011 18:31:00 +0000

Cristina Altieri

Milan, Italy

flickr website

When looking through your latest projects, it seems that you are fascinated with the female body. What do you find most aesthetic about it?

I don’t think that it’s a matter of aesthetics. My point of view starts from a more intimate approach. I try to create a connection between my inner world and those of the people I portray, so that they can recognize themselves through my eyes and - at the same time - I can satisfy my need of expressing what I feel. I try to capture the story of an emotion in a particular instant. Bodies became a sort of shell of a more spiritual side of us, which needs to be seen through in order to find the essence beyond the appearance. It’s easier for me to do it with girls because their feelings are so familiar and well-known to me.

Do you have any plans or projects in mind involving male models? If so, what are you thinking of?

I’m thinking about it very often lately. I’m very fascinated by the ‘male universe’. Because, to me, it’s like a land to explore anew every time I meet someone new. It never stops to surprise me. So I’m planning to take some pictures that will show what I see in them, and not what I feel through them.

On a theoretical basis: are you more interested in embedding symbols and messages into your work, or do you want to portray things and people 'as they are'?

First one. But it’s not a choice. It’s just my way. Even if, as I told in the previous answer, I’m going to try to experience something different.

Where do you think does your interest in photography or visual arts in general come from?

It comes from my research of answers and consciousness first - and from a need to manage all the light and the darkness that surround me as well.

And are there any other art forms that you are engaging in?

Music. I can’t live without it.

If you could choose a gallery or simply a place (this could be anywhere!) for your first exhibition, where would it be and why?

I’ve already had the chance to arrange a personal exhibition in Bologna. But on a theoretical basis I’d love to have the next one in Milano. Everything has started from here and with the people there. It would be my way to say thanks.

When you're working, do you follow emotional or rational choices more often?

Rational ones until that moment when I look through the lens. From that moment on, it’s not easy to explain, but I start to look at things differently and it is completely emotional.

Would you label your engagement in photography as 'work' at all? If not, how do you see it?

Not at all. At the moment photography is my great escape.

As far as I am concerned, good food makes the world go round. Do you enjoy going to restaurant serving elegant, small portions of delicatessen, or do you prefer restaurants with good tasting food of proper portions?

I prefer quality to quantity. This is one of the major leitmotifs in my life.

What is time to you?

A Gift.

Female insights. Take a look at her work!

Nicholas Lynch

noreply@blogger.com (milkwithtea) — Sun, 21 Aug 2011 22:34:00 +0000

Nicholas Lynch

London, UK

blog site

I seem to always ask what initially made photographers want to become the artists that they are. Let me ask you: What actually makes you keep doing what you're doing?

Partially habit, for sure. If you always have a camera around, you can't really help but use it, you know? But also, I'm interested to see what I can create and what images I can find and capture. It's exciting going to new places and even new parts of town and exploring. It's the same feeling I had when I was a little kid, running around in the forest behind my house, touching, smelling and looking at everything. I approach photography the same sort of way.

Has a photograph ever really 'hypnotized' you? Which was it and why did you like it?

I'm not sure about one single photograph but there are certain photographers whose work usually hypnotizes me. Tillmans, Eggleston, Engstrom, Templeton, Shore, Paul Graham, Tim Barber, Alec Soth, Larry Clark, the list goes on. All of these people take pictures that just stop me in my tracks. Culturally, we're so overloaded with images that it's very easy just to breeze past a photograph, even a half decent one. But with those artists, there work always seems to make me stop and think, all for different reasons. With Larry Clark, it's the honesty and with Templeton, it's the way he makes you feel that you've experienced what's in the picture. Etc. Etc.

Would you generally say that the art says a lot about the artist? How is it with you?

Of course, I think that you can't help but put a bit of yourself into your work, even if you try not to. But, I like when artwork has a sort of visual signature on it though, where you can tell who made it. I think it adds to the authenticity.

Have you always been living in London?

I've lived in London for the past year now, before that I was in Copenhagen for 4 months and then New York City, where I'm originally from.

If you were to guide an 'art tour' through the city, which places would be on top of your must-see-list?

In London: The Whitechapel Gallery usually has something good going on. The New Gallery in Peckham, ICA, Beach London, Claire de Rouen bookstore on Charing Cross Road is fantasic for photo books. There are some nice tiny galleries in Deptford like The Old Police Station. Magma, X Marks the Bokship, & Donlon are all really interesting shops as well.

Something in art that you feel is being overrated?

Irony. I like irony though, really, its just that its just becoming played out. I just find it a bit boring to be honest. I think people mistake pictures that are ironic and perhaps funny or clever for being automatically good photographs & that's not really true.

Which camera(s) do you use most often?

Right now, I'm using my girlfriend's old Canon Prima Mini point and shoot. I also have a Kodak S100, Nikon FE, a Olympus Trip, and a super old Ilford medium format. But I'm not loyal at all; I'll use any camera. The simpler, the better though.

Which words/adjectives would you like to see connected to your artistic work?

Whatever words the pictures conjure up, I guess. It would be nice to hear words like 'intriguing' or 'resonant' or 'powerful' but I don't have any control over what people feel, you know? So all I can do is show them my work and hopefully they enjoy it for their own very unique reason.

Is there anything you really have no interest in photographing?

I'll pretty much take pictures of anything. I'm not huge on photos of graffiti, or kids holding guns, or things like that. It's not that I don't like those things; it's more that it just doesn't interest me in that sort of way.

And anything, anyplace or anyone you could take pictures over and over again?

I can take pictures of my girlfriend Tine (who is a much better photographer then me) all day and every day. If I'm standing in a room and she's in it, I always just end up taking shots of her. I can't help it.

The new age. Take a look at his work!

Elena Ayllon

noreply@blogger.com (milkwithtea) — Tue, 16 Aug 2011 10:28:00 +0000

Elena Ayllon

Madrid, Spain

flickr website

At what age did you start taking photographs? What lit your interest back then?

I started to think about photography when I discovered that life seems more beautiful when I look through my camera.

Nature and outdoor photography seems to be one of your major interests. What is it that you like particularly about these themes?

There are so many colours out there…

You have a portrait series called "New Generation". What is the idea behind this project?

I like freethinkers; the “New Generation” comes from the idea of a new youth, strong and full of culture.

Also, is there any particular reason you decided to shoot the portraits in black and white?

I just really felt it that way in that moment.

Although you have a particular set that is titled "Les reveurs", I felt that much of your work embodies a certain notion of dreaminess. Would you agree?

Life should be full of “reveurs”.

How did the connection of Tokyo and Madrid come into place?

I spent all my childhood in Tokyo and grew up as an adult in Madrid.

Would you say that being connected to two different cities shows in your artistic work?

I have a Japanese heart but a European vision.

When summer ends, do you mostly feel sad or ready for a new beginning/season?

I love the changing of the seasons, I always feel ready for a new beginning.

Dreaming through the lens. Take a look at her work!

Jörn Schirok

noreply@blogger.com (milkwithtea) — Fri, 05 Aug 2011 12:58:00 +0000

Jörn Schirok

Berlin, Germany

website/blog

You only shoot on film, and don't edit your pictures. Why is that?

One day, I had my father’s old analogue cameras in my hands and these machines just fascinated me. I was already experimenting a little with digital photography, but it didn't captivate me as much. I remember that after using analogue cameras for a while, my good friends bought a "real" DSLR. I thought this would be our breakthrough. Take one picture with all the different apertures and exposure times. But we didn't like the style of the pictures. I just love old things, I love the "click" when I press the shutter and I love to wait for the development of the films. I know that you can make up the old style on Photoshop. But I never liked to work with the computer and to sit there using all the small buttons and making adjustments. I know that editing can be a very beautiful part of the creative process of producing a picture, but eventually, for me these pictures are not "real". This opinion is connected to the documentary style of my pictures, too. When I take a picture of a sunset and somebody tells me what a great sunset this was I don't want to tell him that I just made it up on the computer.

Streaming through the work on your blog, the viewer is traveling to some far away places it seems. Which probably is the picture taken the farthest away from the place you actually live in?

I always liked to travel and I furthermore already lived two times for one year within a totally different culture. So I spend year in Uruguay in in school and took some pictures there, too. But it was all with a digital camera from Aldi (one of the cheapest supermarkets in Germany). On the blog you'll also find pictures from my social service year in Jerusalem.

You're living in Berlin. Do you consider it a 'city of art(ists)'? Do you think that living there has an effect on your work as an artist?

It is a city with loads of artist, that's a fact. Living space is (still) cheap, so young people can afford to not work, but to just live with their parents’ support and to put some colour on some random material. But Berlin is the city of flagpole collectors, too. I mean you can find almost everything here, since it's a big city. But I just experienced something which I think wouldn't have happened to me in another German city. I went to a random coffee shop nearby to ask if they want to exhibit some of my works. This is something quite common here. In this café, they don't only exhibit pictures. There are also works of an Australian artist and another artist showing his work there is from France. They are organizing und curating whole exhibitions with vernissages. I think this is really great!

You seem to be more of a spontaneous photographer. What is it that catches your eye in specific?

Smooth light in general, especially sunlight in the early evenings or mornings. In the northwest of Germany, where I come from, the wind always comes from the west, where the sea is. So it pushes in clouds all year long. I lived under this grey cheese cover for so long. I fall in love with sunlight every time I see it!

Also one gets the notion that in general you seem to be more interested in showing situations rather than specific people of things. Would you agree?

I think this is because I mostly take pictures when I'm in a specific situation that I consider interesting. All these pictures in which you only see a person (certainly always only handsome people) might be beautiful, but not interesting at all.

If you could plan a trip for the sole purpose of taking pictures, where would you probably go?

The Moon! No, seriously, the whole life is a trip. That is the way I see it. I'm on a trip and take the camera with me.

Are you more often disappointed or more frequently simply surprised if a film turns out to be completely different than you had expected it to be?

There are very few positive surprises, much more negative ones. Looking through your recently developed films can be very frustrating. Maybe around 10% of the pictures I take actually appear on my blog. And this is, I think, a very high rate. Ask people with digital cameras. It's a little about shooting as much as possible.

Life's a trip. Take a look at his work!

Levi Mandel

noreply@blogger.com (milkwithtea) — Mon, 25 Jul 2011 15:34:00 +0000

Levi Mandel

New York City
tumblr website

What's in photography for you?

The ability to preserve ephemeral moments, allowing me to both revisit them in the future and share them with others.

Do you like to analyze imagery and visual art, or are you more interested in creating it?

As an artist, the obvious answer is that I'm more interested in creating work than analyzing it. That said, it's an important part of my practice to invest time in other people's works, other environments, other means of inspiration...

What are you studying in college/university? And what would have been your plan b if it wasn’t for that?

I study at Cooper Union, a somewhat conceptual school that requires no declared major. Rather than entering a program in say, photography, the school encourages students to explore all practices and mediums, allowing one to execute a piece or body of work in ways most appropriate to the concept. This opportunity has been crucial to my practice, as I have expanded my work from strictly photography to video and sculptural installations as well. I'm not sure what would have happened if I were not accepted into Cooper. To be honest, it wasn't an option I considered. I discovered Cooper Union after moving to New York, told myself I needed to be studying there, and applied.

You also have video work on your website. Do you like to think of it as a side-business to or rather a part of your “artistic work”?

Everything I make is a part of my "artistic work".

For both film and photography: do you think it's important to know basic theories and to be confident in various techniques to create art or can one just go out and "shoot away"?

My first actual photography class was last year. Everything I have made before that was self-taught, or better yet experimentation. Although it is important for one to know how to handle their camera, understanding photography down to a science is completely unnecessary. The beauty of art is you can make whatever you want; however you want to.

Risking that you might not like the drawing of such an analogy, I have to say that watching the Recital Video Zines I was reminded of the videos Amelie Poulain sends her elderly neighbor. Have you watched the movie? Would you say there are similarities in the videos or the idea(s) behind them?

I have seen Amelie, and although I have never considered my Recital videos and the videos within the movie related, I guess I can see a resemblance.

The video "Charles", appears to be a very personal one about your grandfather. Where do you draw the line between personal and public photography/video making?

There is no line nor should there be one.

And would you say, as I have been often told in journalism classes for instance, that a certain amount of showing one's personal life through one's work is even necessary to keep it interesting and to endow it all with your personal signature?

Again, nothing is necessary to keep art "interesting". There are no rules, this is what makes art special.

On your tumblr you keep a photo diary with one image per day. Do you actually just shoot one photo or do you often have to decide which one to upload?

The tumblr page is only curated down to a photo a day. Most often I shoot much, much more. Other times I won't make a photo for days. The tumblr page is nothing more than a photograph a day.

What are the plans for summer?

Right now I'm working on an ongoing series of 4x5 portraits, a book I'm self-publishing and a couple exciting photozines. Other than that, traveling, riding my bicycle, spending time with my cat, exploring new neighborhoods, making new friends...

Ephemeral moments standing still. Take a look at his work!

Damian Beard

noreply@blogger.com (milkwithtea) — Thu, 21 Jul 2011 14:10:00 +0000

Damian Beard

United Kingdom

flickr website blog

Which part of the "picture-taking-process" do you enjoy the most?

I'm not sure, it probably changes a lot, depending on what I'm doing. Sometimes I'm having a good time doing whatever and I'll just take a picture without thinking about it, which will turn out good, like this one. Other times I don't enjoy taking photos at all; I was having the worst day when I took this picture, for instance: I thought I was going to get beat up and robbed, I felt like hell, hung-over, and proper disgusting. But I love the picture that I came away with. I take a lot of photos, because I'll see something and will want to see what it might look like as a photograph. So I enjoy my own curiosity whether I'm having a good time or not. The best bit out of the whole thing is waiting for my films to get developed and bricking it that nothing will come out.

And what is it that you're hunting for with your camera?

What I want to get, when I take a picture, is a print or an image that is almost like a made up thought or experience or something. I take most of my photos out of curiosity to see what stuff looks like when it's photographed. The finished photo doesn't have to resemble what it was that I had actually photographed; for instance, if you went to this place, it probably might not look like this. Maybe there would be vacancies or you wouldn't be standing in the right place to see the signs or you wouldn't notice some of them, but the photo brings all the signs together to invent something that isn't really there, and that's what I want to capture with my camera. I don't really hunt for it, but I definitely keep an eye out for it.

Who has been the biggest critic regarding your photographic work?

Me. It takes a lot for me to like any of my photos, I've got boxes of prints that I think are just trash. I don't show my photos to too many people either, at the same time I'd like more people to see them, so I could get more criticism and take better pictures. Harvey helps me out though, and tells me what he likes.

In art, often it all seems or is claimed to be subjective. But what defines a "badly taken picture" for you?

Anything that just feels or looks forced or unnecessarily complicated, whether it's because it's too staged and is trying not to be, or whether it's a photo that didn't need to be taken in the first place. Sometimes you see something awesome that you really want to photograph, but looking at stuff with a camera is so different to just being somewhere or seeing stuff in person. Sometimes the two views just don't add up and there isn't a decent photo to take; if you take a photo then, then it's going to be bad.

Would you consider being a professional art critic someday?

No. Unless this question is a job offer, in which case, yes, I have few scruples and need the cash.

Which art form would you say is most similar or different to photography?

Maybe painting? You've got the same kind of decisions to make when painting as you do when you’re taking a photo. You also have to overcome the same kind of problems when presenting a painting or a photo. For instance, unlike in film or a piece of writing, there isn't a voice to describe what you're trying to say or what you're thinking, there's just a static silent image. And you're limited by all sorts of circumstances, too, for instance your canvas or your viewfinder is only so big so you've got to choose what to include, what’s important, what's dragging your picture down … You don't have an extended time period where you can show several things from different perspectives like you could in a movie. I think that in the end, photography is really unique, though.

Do you think that it is important for an artist to exchange with other artists, or do you prefer the romantic notion of the lonely individual?

It’s important for sure, even if that exchange consists of you looking at the work of somebody else. I'm pretty rubbish and don't really know any other photographers or anyone that I really talk to, and I'm not too good at doing this kind of thing over the internet either. But I think that's probably a bad thing. And it doesn't feel very romantic.

Summer in the city or summer at the beach?

Summer in Barcelona, a city with a beach.

Let's see if things work on film. Take a look at his work!

Sara Peixoto

noreply@blogger.com (milkwithtea) — Thu, 14 Jul 2011 09:12:00 +0000

Sara Peixoto

Guimarães, Porto, Portugal

flickr blog

At what point did photography enter your life?

Well, I think that photography entered my life in a really spontaneous way. It happened when I went for college to study architecture that it became my main influence, because image plays an important role in this area of study. Since then, my interest in photography started increasing highly. I was always exploring and experimenting some cool shots and trying to express myself through my photographs in some way. Then someday, on happy day, I bought my first rangefinder camera and it was then that my deep love for analogue photography was born.

Have you ever felt frustrated or disinterested so you played with thoughts of stopping to pursue photography?

No. I can't say that I have ever felt frustrated, I was not even ever so disinterested that it could somehow have influenced my pursuit in photography. There are so many talented photographers emerging everyday in this world. I guess it is just natural if at some point, after seeing such beautiful photographs, I feel just like a tiny girl with her simple photographs, trying to do her best. When that happens, I just try to take the best out of it, let them inspire me and help me in my growing process as a photographer.

There's a certain romantic and dreamy notion to your recent pictures. What is your interest herein?

I love looking at a photograph and feel completely absorbed by it. I tend to create the whole moment that is behind the image in my mind; as if it was a movie still that someone had the desire to eternalize. I wander about the whole that is portrayed, the atmosphere, the beauty of that place, and the essence of that person, the meaning of that particular moment in someone's life. I do have a very romantic way of looking at photography and all I do is try sharing this through my photographs. This is the case for especially the recent ones. I try to make people look and wander about the moments that are behind the images, to see the beauty of who and what takes part in my life, just exactly in the same way that I do.

You also seem to enjoy playing with body language. Are there certain narratives you have in the back of your mind while doing so?

Not really, but I have been exploring it more and more, trying different expressions with different people. In my recent shots it just came in a natural way... I'm lucky to have such a very expressive friends, especially my girlfriends.

Sometimes artists seem to be desperate in trying to embed in-depth messages and meanings in their works. Have you ever observed this, too? If so, what's your position regarding this "phenomenon"?

I think that a photograph can fully embed a meaningful message if created in a natural and true way. In a forced way, I guess it just looses all that power to communicate ‘its message’ to whoever looking at it. I think it has to do with the sensibility on both sides, too. The photographer has to be sensitive and true about what he or she wants to communicate and the viewer needs to be able to read and apprehend it. Subjectivity plays a big role.

And can art even be superficial? If so, does this have to be something bad?

Yes, I think so, but I'm not sure if it's good or bad. We live in a highly superficial world and in some cases art needs to follow superficial ways to express itself effectively. Superficiality has a huge power to captivate and to move the majority of the societies of our world.

What are you working on currently?

I'm currently finishing my master's degree in architecture. I intend to attend some photography classes so I can increase my knowledge and photography skills, mainly in analogue photography. I am dreaming of having my own studio, working on architecture and design, with a little gallery and a lab where I can develop my own films. Yes, I'm a full time dreamer.

A lot of my friends have been telling me that the beginning of spring has energized them. Does your motivation ever change with the seasons?

Oh a lot! I really love the neutral seasons, so spring and autumn are my favourite ones. It's amazing how these seasons can provide us with such a diversity of atmospheres on a single day. Ironically, these are the seasons that influence my emotional side the most and then I tend to feel more unstable. But, at the same time, they're also the ones that inspire me the most. Yes, I guess I’m just one of those complex human beings.

Finally, it’s summer right now: what's your favourite ice cream (flavour)?

Chocolate! I can't resist a huge yummy chocolate ice cream.

Repeating memories through visual art. Take a look at her work!

Martin Petersen

noreply@blogger.com (milkwithtea) — Sun, 10 Jul 2011 07:39:00 +0000

Martin Petersen

Odense, Denmark

website

My first impression when going on your website was that your work appears to be quite consistent. What it is that interests and catches your eye most in photography?

I became interested in landscape photography a couple of years ago, and it sort of made everything fall into place. Before that I took a lot of gloomy pictures of factories at night and abandoned buildings, but that became a bit too depressing. So landscape photography is what I do, and landscape photography is what I prefer to look at, when I go to exhibitions, buy books or look at the Internet. I like to see how others interpret nature, and the interaction between manmade objects and nature. Some photographers are able to make a big open field seem claustrophobic; others can make an old house placed in the middle of nowhere seem like the most natural thing. I find all this very interesting.

And would you describe your work as conceptual art?

No. I wouldn’t even describe it as art, and I don’t describe myself as an artist, I don’t even describe myself as a photographer. I just take photos; there is no urge in me to put neither the photos nor myself up on a pedestal.

There is a certain calmness to you pictures, regardless of the imagery or setting they portray. What do you cherish most about soft colour/light transitions and compositions?

When you look at my pictures you should get the feeling that not much is happening, and hopefully start thinking that no matter how long you would look at the scenery (in real life) not much would ever happen. You use the word calmness, and I think that the word that best describes what I cherish the most about these compositions.

When you browse through other photographers' galleries, do you feel drawn to art, which is more similar to yours or rather the opposite?

At first, my answer was that I prefer work similar to what I do, but after a quick look on the bookshelf I deleted that answer. I’m quite fond of portrait photography and landscape photography, of course. But it’s photography in all its glory with all its subgenres that tricks me, as long as it is done properly.

Without even attempting to create any generalizations, do you ever have the feeling that artists based closely geographically have similar interests and employ similar motifs in their artwork?

Not really, I mean, when you photograph landscape you run the risk that others might take a photograph at the exact same spot, but no, I don’t think so.

How would you describe the art scene that you communicate with the most?

I’m not part of a collective or an artist group, and I haven’t done a lot of exhibitions. So the correct answer is the music scene. I own a small record label, I’ve been doing reviews and interviews for a lot of years, worked in a record store for ten years and (thank you for asking) even released two EPs with songs for kids. But it makes sense, when I took those gloomy pictures I would probably listen to some early eighties post punk on my iPod while doing so, today I never listen to music while photographing. But I normally listen to stuff like Midlake when I edit the photos.

Whose work do you consider to be a "landmark" within photography?

I always get inspired when I look at work done by David Goldblatt, Sune Jonnson, Per Bak Jensen and Nicolai Howalt. Their work has helped me to define the direction I want to go with my work. Most people probably know David Goldblatt, but I would like to encourage people to google the rest.

You write that you prefer to work within short periods of time, like a couple of hours. Has it nevertheless ever tempted you to formulate a project that documents changes over a longer period of time? If so, what would you be interested in illustrating?

I would probably describe the change of something; right now they are removing a forest, field and marsh like landscape near where I live to make way for a new road being build. That could have been a cool project, but I am not all too keen on the idea that you can see the seasons, the surroundings and the light change in such a series, I prefer to keep it simple with no larger changes in the settings.

Finally, you also write that one of your interests in about emptinesses in spaces. To ask slightly more provocatively, do entirely empty spaces even exist?

They do, but they are hard as fuck to find. Entirely empty spaces really lack characteristics.

It's not conceptual, it's probably relational. Take a look at his work!

Alison Withers

noreply@blogger.com (milkwithtea) — Fri, 01 Jul 2011 16:31:00 +0000

Alison Withers

Copenhagen, Denmark

flickr tumblr one two

What led you to move to Copenhagen?

I got hooked on a Danish boy.

Has your 'artistic' eye or interest changed due to this biographical change?

Sure, it's more nuanced. My photos were blunt to begin with. I lived on the west coast of Canada, and aimed my lens at big landscapes. Urban routine in Copenhagen doesn't boast the same sort of natural 'mouth-agape' splendor, so I've learned to notice smaller things, the details.

You seem to be keen on both outdoor and indoor settings and more specifically appear to have a distinct interest in portraying different lighting situations. Would you say that light constitutes one of the most important elements/motives in your photography?

I don't use flash; I don’t have one. So technically light and available light dictates everything. I'm intrigued with coziness - or hygge, a staple of Danish culture. My photos are very simplistic; I try to preserve feelings in a given space.

Do you ever feel uncomfortable photographing people on the streets?

Can't you tell? I really admire photographers who can do this with ease. Then again, I find it pretty rude when people take my photo without asking. That sentiment doesn't translate well into making myself a stealth street photographer, and I'm too shy to ask for permission. 

What defines 'artistic freedom' to you?

Free of money woes or financial strings.

Is there a recent album cover or art that you have liked a lot?  

The Tallest Man on Earth picks these photos for his covers that are both humble and striking. They complement his music well.

Connected to this: how important are cover illustrations for music albums or books?  

Hugely important. Have you ever picked up another edition/translation of a well-liked book to notice the cover (and font) are illustrated/designed differently? That always throws me off. It shocks my understanding of the characters or theme to the story.  

Finally, which Canadian dish do you miss the most?  

Barbequed sockeye salmon.

Hygge and details. Take a look at her work!

Karen Prosen

noreply@blogger.com (milkwithtea) — Sat, 18 Jun 2011 21:25:00 +0000

Karen Prosen

Orlando, USA

flickr

something greater

The majority of your work is composed of portraiture. What do you enjoy most about working together with models/friends/family?

Everyone I know is beautiful and I love showing people that aspect of themselves. It's like being a mirror for someone, and saying, "Did you know that this is the way I see you?" I automatically feel closer to someone after photographing them.

Parallel to photography, you are also running an art project called "Something greater than yourself". What was the initial idea behind this?

This idea came after processing a few years of spiritual transitions I went through. In college I had the opportunity to be a Spiritual Care intern at a children's hospital where I witnessed people from all different walks of life caring for others without any judgment whatsoever. That's when I realized how important spiritual tolerance is to me, and I decided to start collecting people's transcendent experiences from all over the world and find other photographers to submit their work that told the stories visually. It's my way of bringing people together while still working with my aesthetics. All the photos I curate have a dreamy quality that remind me of the transitions I went through, exploring alternate states of consciousness. If anyone wants to be a part of it, I'd love that.... something-greater.com

Looking at your sets on flickr, I noticed that you have been working with a number of different analogue cameras. Which has been your favorite so far?

My favorite is my Yashica Mat 124g. I've found that when I have my favorite 35mm camera and also my Yashica Mat 124g with me while I'm out or traveling, I end up shooting 35mm for things that I like or something that won't last long. But when it's something that I love I always shoot with my Yashica because I can take my time and I really appreciate its delicacy. I'm ashamed to say but I'm really clumsy and I've dropped my canon Ae1 several times and I've only dropped my Yashica once.

Do you also like to experiment with different films?

I'll shoot anything I can get my hands on. Sometimes this backfires on me, like when I pick up some really expired film at a garage sale and the photos come back so distorted when I feel that they'd be so much better if the film was crisper. When I have the money I love to shoot with Elite Chrome, Astia 100f and Portra NC.

And where does that leave digital photography? Are there fields or moments you prefer this medium?

I've never had a digital camera. I've picked up a few of my friends' and the instant gratification is so surprising that sometimes I feel like it would be useful to me, but I really prefer the mystery of waiting to develop my film. The light leaks, the depth of field.... they're just not possible with digital. Maybe someday though, I've been known to change my mind easily. I have a feeling that the next time I save up enough money it will go towards a Hasselblad, not a digital camera. A girl can dream!

Back to portraiture: how do you gain confidence and trust in your models?

That's a good question because I normally only shoot my friends who are obviously already comfortable with me. The way I shoot doesn't involve a whole lot of planning or anything like that since I bring my cameras almost everywhere. I'm usually just in a moment with someone and then I'll ask them either not to move or to adjust their position to fit whatever I had caught a glimpse of. I already know I can take a moment and shoot in a way that shows how I feel, but I'd actually like to start shooting more things that involve creation from start to finish, because I think my perspective will grow a lot more, not to mention I could learn how to connect that way with my models.

And would you say that the communication between photographer and model should be a balanced dialogue or does it sometimes have to be based on the photographer's initiative(s)?

I've been on both sides of the camera and I was a model before I became a photographer so from both perspectives, communication and some type of connection is really important. But ultimately as a model you're completely subject to the photographer's initiative. I noticed a pattern of usually being disappointed at how a photographer interpreted me, the set, the styling, etc. and eventually realized it was just because I had a different voice and could do it my own way.

Finally, is there something that has been inspiring you a lot lately?

The influx of love I've been experiencing after coming home from being on contract for three months in Mexico City. I lived in an apartment with no windows and few people that understood me, not to mention doing work that was frustrating and far from my values and goals. The transition back to fresh air is doing something to me.

Enlightened portraiture, take a look at her work!

Levi Jackson

noreply@blogger.com (milkwithtea) — Sun, 12 Jun 2011 12:11:00 +0000

Levi Jackson

Utah

website

Having studied Sculpture in university, one might say that you come from a slightly different background than most artists engaging in photography. How did you get involved in photography?

I used to have hopes of being a photographer before I attended college so I learned some practical skills during that time. I really tried to learn the basics of composition and the fundamentals that I needed to posses in regard to the camera, so that I could take focus on what I was doing instead of how I was doing it. The way I came to use it exclusively was more out of necessity than desire. I was doing these sculptures in remote locations by myself. So the only way for me to show that my work even existed was to document it. That being said I obviously have some work that is very tied to photography because I do long exposure/time based projects that really can only exist via the camera. The second part to this question is that I do sculpture in school mostly because it acts as a "catch-all" for me. Saying, "I am a sculpture student" basically translates to “I don't really know what I do but at least I don't have to worry about it”. I used to get really bent out of shape when people would classify me as a photographer, but over the last couple years I realized that it really doesn't matter and that it is more of a compliment than anything.

A slightly provocative question: is "Documented Installation" simply and only a documentation? What lies behind this series?

You are going to hate this answer. I don't know that I have a good answer to this one, it is a tough one and it is talked about a lot in the art world. I don't want to split hair with definitions. This is the best "definition" that I personally have been able to come up with over the years for what I do: For me, I don't feel like my work is just documentation, but then again it is. The photograph is not the installation but then is it art? I don't know. For the most part it is what people see. I don't know if I worry about it too much anymore - maybe I should. Maybe I am just scared.

And if we moved beyond the pictures, what are the major thoughts behind these installations?

The major thought that transcends all of my work is relational existence. I am interested in asking questions about what it means to be in existence with other things, people, and thoughts. I find relationships to be one of the most important things as a person because so much is changed by them and through them. In general that is the thought but some of my work has specifics to it that may not all fall in that mould.

Between working outdoors and indoors, what do you prefer more?

The quick answer is outside. I really like doing gallery installations but I find that I work better outside. There are a lot more things to fight outside which helps me to be patient. Sometimes I have to wait several hours for the light to get right for a photograph. In the gallery it seems that I have more control.

You have been working in a number of artist collaborations. What do you cherish most about these?

I don't do a lot of collaborating when it comes to actually making the art. I do however talk to other artists very frequently to see what they think. Without other people and their input I don't think my art would be very successful. Being able to share ideas and concepts with others is a valuable thing. Being challenged and told my ideas are wrong is a humbling and pretty awful experience, but it helps me to see how others view my work. Finding people/artists who will give you honest thoughts on your artwork is invaluable.

Would you say that meaning could shift a lot within conceptual art from the initial idea until the final art piece?

For the artist or for the viewer? For the viewer I think it is like any type of art. People are going to see things in the art that they want to see as well as understand it based on their own context(s). That being said, I do think that especially in conceptual art it is important to give limitations to the viewer so that you can help them get where you want them to go. Titles become really important for me in doing this, along with limiting distractions in the image(s). I also think that conceptual art demands a lot from the viewer. I don't mean "conceptual art" only, but any art with an overt concept. If there is thinking behind the piece, that means there is a more in-depth investment for the viewer. That may be a good rule in life, not just for art.

Do you think that every artist's work is a 'product' of his or her time?

I sure hope so.

What are you working on currently?

I have a show coming up in October. The show deals with intentions and thoughts coupled with responsibility. The questions of if we are responsible for our intentions, thoughts and feelings and how/if they affect those around us. I am doing some more 'documented installations' lately, as well. But those are still forthcoming.

Finally, any upcoming artists you have discovered recently?

Davey Hawkins is a buddy of mine that is making really good artwork in video and installation. Alexy Tiraenko isn't upcoming, but is someone I really like lately. I have been looking a lot more at photojournalists instead of fine-artists. There is something I like about photojournalism that I would like to use in my artwork. But maybe that is a contradiction. And, I just thought of another artist that is pretty up and coming who I look at: his name is Nick van Woert. He is a sculptor and a very good one at that.

Maybe the question isn't about documentation or reformulation. Take a look at his work!

Eva Mª González López

noreply@blogger.com (milkwithtea) — Tue, 07 Jun 2011 14:27:00 +0000

Eva Mª González López
Granada, Spain

flickr website

tumblr blog

When I looked at your flickr for the very first time, my initial thought was that it reminded me of fashion photography. Is this something that you are interested in?

Yes, the truth is that it has a touch of fashion photography, but I actually like to focus on only one style. And I also like landscapes photography, still life, and I engage in producing self-portraits. I have everything on my radar, and I think I have a lot left to learn: so although I would like to concentrate on one theme, I often tend to include many more in my work.

In your resumé you write that melancholy is an important theme in your work. What does melancholy signify to you personally?

The best pictures I've made portray sad moments in my life. Maybe this sadness helps me to convey more, it enables me to create pictures with a touch of a dreamlike, unreal imagery. I get inspired to use light in different ways. For me, sadness is an ideal assistant.

You concentrate on soft colours and shapes, and therefore enjoy working with film more. Are there further reasons why you prefer analogue photography?

Mainly because it to me is much more magical to not know how it will all turn look on film: if the colours will come out right and if the focus was correct. Also because I can keep the memories on negatives and not on a chip ... for many reasons, I guess. So although I like to use digital cameras, too, it still cannot compare with the outcome of photos taken on film.

Next to the notion of melancholy, I felt that your work often also carries strong romantic imagery. Between girls, would you say that this almost a "girly" or female perspective in photography?

Yes, it’s true that my work has a strong feminine touch. That is also because my life is that way, I am very feminine and I find all that encompasses the world of women very interesting. I like to express the femininity that girls have. Maybe that's also why not many guys appear in my work. I usually have no guys not around me, and I dislike their world.

You write that for you photography is your "window to the world". What do you mean by that?

It's my way of showing the world the way that I am, my way to demonstrate my day-to-day life. For me, everything around me is a huge desert of asphalt, which I am trying to escape. I wish to preserve my innocence in a society that seems to be losing that specific quality. I have this vision of my own city, cast against this vast desert of desolate asphalt. It’s a futile resistance against the loss of innocence for me. It’s about fleeing to dreamy places, into magic. Places where loneliness is my only company, somewhere I can be myself completely.

Do you find the idea of perfection boring?

Of course. I don’t like studying images, for example, and I don´t like to play with artificial light. I think that the magic of photography lies mainly in light settings, which to me of course should consist of natural light. I feel more fulfilled when I work in open spaces and outdoors as opposed to using artificial lights in studios or shooting with flash.

Indeed you often accentuate your pictures through different light settings. How do you proceed more often: with an experimental or with a focussed and determined approach?

It depends. Sometimes I have very clear idea about what I want to see in the picture and prepare everything in advance: the light, and the place, the type of film and the camera. But sometimes result stems out of spontaneity or chance, and I get a magical light in pictures without having prepared anything beforehand.

Finally, where do you see yourself in 5 years?

Oh, I don’t know. I would love engage in photography, but in a society where anyone can have a camera and take pictures, that is quite complicated. I am content to know people like my work even if I have to work in another profession in order to eat. I sure will not stop taking pictures ever, because it is something that I love.

Escapism and romanticism. Take a look at her work!

Julie Lánsöm

noreply@blogger.com (milkwithtea) — Thu, 02 Jun 2011 14:28:00 +0000

Julie Lánsöm

Paris, France

flickr website blog

You wrote me that you got involved into photography, because you wanted to "jog your own bad memory". Now, something that has often happened to me: Does it ever happen that you can't remember where or when a picture was taken?

No, it actually never happened to me, that's why taking photos is a perfect cure. I have a visual memory, I remember everything about the photos I took, even what I felt when I did. But I remember nothing in life, apart from the lyrics of shitty songs. I don't know what's wrong with me. I think my memory is some kind of a joker and it’s having fun by embarrassing me.

Often images convey different stories than the actual situations/objects they are showing. Do you feel that this can be one of the attractive sides to visual art?

Yes, probably. It can make things prettier, stronger, sadder, etc. That's an interesting thing about it. But photography is also interesting in its capacity to show reality. Of course that's not the case when you set up things, make effects or edit the photos afterwards; but it can be amazing when it's a pure representation of a situation, a person or a moment. These are the two aspects I like about it.

And where would you generally situate photography among visual arts, in terms of its "truthfulness"?

Fuck, I think I answered a bit of this question in the previous one.

I am very much enchanted by the strong expressions you capture in your portraiture. Is this one of your motivations when shooting models and/or family and friends?

I never shoot anybody that I don't really know. I'm an amateur psychologist and I'm always looking for who people deeply are, not only in photography. That's why I only take photos of my close friends, or family. I always manage to make them feel comfortable, and they're now used to it. This is when photography becomes cool: when people stop being conscious about the fact that a camera is there, and (almost) forget it. And sometimes it works well when my friends are feeling really good and are being "too much" in front of the camera, in their poses or expressions. What we don't see on the photos is how much we're taking the piss out of each other when that happens.

The majority of your photos were taken outdoors. Is there a specific reason for this?

I only take photos indoors when I have an idea or a project that I want to realize. Otherwise, I find it quite boring and don't feel very inspired by it. I live in Paris so we all have very small flats. It would be different if we had amazing apartments, went to an old hospital, Versailles, or a castle but we never do. Also, I love the sunlight. There are so many things to do with it in photography, and it offers so much in its changings. And I turned into a fucking hippie since I moved to the big cities, I miss my countryside and thus became obsessed with nature.

You also have a blog where you display other photographers' works. What catches your eye most when browsing through art collections yourself?

I couldn't say. There are so many things. It could be a face, a landscape, a color. At the moment I have a huge weakness for portraits of old persons. Sometimes I even want to cry just by seeing it. It's stupid but it’s incredible how strong their facial expressions can be. I could stare at the photos, or at them in real life, for ages. I'm trying to find something else. I'm a bit bored by the photos we see everywhere and that are big successes on the Internet. Those often are the same ones, and they're often really cheesy and shallow (or show a butt or a nipple). Actually, my friend Amandine and I defined some examples of theses photos and we're sometimes trying to imitate them in order to see if it really works to get the same attention. And trust me, it does.

You mentioned that you are more interested in colors than shapes. Can you explain further?

I realized that colors versus shapes often make the difference between what girls and guys prefer in photography. Guys seem to be more into shapes, lines, perspectives, and all these architectural things, whereas girls rarely pay attention to such things. It probably reveals something about men and women’s natures, but that would be too long and boring to analyze here. So well, yes, this is what I noticed. When I was a kid I wanted to be a "colorist". I don't even know if this job exists but I wanted to color stuff. This is what I like, even in the way I dress (-up?).

Also, would you argue that it is it is "easier" visualizing atmospheres and/or emotions with colors?

I don't know, I think strong lines can also portray strong emotions. I'm just not so sensitive to them, so probably I am not really good at it.

Do you enjoy employing symbolism in your work?

I don't really think about it. But sometimes it happens without planning or even without being conscious about it. I'm not trying to intellectualize photography. I'm not really into all this "conceptual art". I don't get it. I'm sure it sometimes goes too far and people are seeing things in other people's work, which hadn’t even been part of the artist's intention. It can be ridiculous. I don't want to start doing that; I'm too lazy anyway. I'd rather stay focused on feelings.

Visualization of the subconscious? Take a look at her work!