9 7 7 2 2 5 4 7 1 8 3 6 9 0 0 0 0 1 24,00€ AUSTRIA €30 BELGIUM €30 DENMARK DKK280 FRANCE €30 FINLAND €36 GERMANY €30 GREECE €30 ITALY €30 JAPAN JPY 5990 LOUXEMBOURG €30 NETHERLANDS €30 NORWAY NOK300 PORTUGAL €24 SWEDEN SEK300 SWITZERLAND CHF50 USA $40 UK GBP26 COVER “SEIZE THE DAY” BY SHYNNIA UMETSU. N1 IN PRAISE OF THE EPHEMERAL SHOOTERTHEFIRSTPHOTOMOBILEMAGAZINE THEFIRSTPHOTOMOBILEMAGAZINE IN PRAISE OF THE EPHEMERAL N1 S tart project 2012
Human beings are odd in our behaviour, in our impulses, sensations, emotions,and feelings. We are often unaware of this oddness, though it is what moves theworld.
Although this project has involved an immense scenario that I call the “life net-work”, I often find it necessary to retreat to my particular refuge in the north-west of Spain, with its damp but welcoming landscapes, where everything looksmuch easier. Here is where ideas and thoughts flow freely, at a distance fromthe great “cloud” that keeps us going at a frenzied pace. But while the rhythmsare different and the contrasts stark, passion connects and unites them as thenexus between the instantaneous and the eternal.
As I write these lines during the summer hiatus, I am mindful of Albert Einstein’s sage advice: “If you want different results, don’t do the same thingover and over again”. And indeed, it is the energy that we invest in all this thatdifferentiates or identifies us, for the resulting cocktail cannot be achieved if anyof the ingredients are changed.
I like to believe that people have goals, though I’m not so certain about destinies,but it is that, beyond our loved ones and acquaintances, that puts all the ma-chinery in motion, and motivates us to carry on, day after day.
For me the goal is shooter…
This project rests on four basic ideas: to CREATE, to ENJOY, to SHARE, and toGROW. Accordingly, at a time of extreme digital dependence, this publishingproduct returns to the essence of humanism: paper.
The modern age was ushered in by two singular events: the discovery of Amer-ica, and Gutenberg’s invention of moveable type. We want paper to serve as animmortal and sensitive witness, and a tangible support of the virtuality that such
a “matrixed” world makes us forget in less than a tenth of a second, as in thesong by the great Antonio Vega “Un momento en un agenda, una décima de se-gundo más. Vuela (…) Ahora tú, no dejes de hablar“ [“An instant of an agenda,a tenth of a second more. It flies away (…) Now you, don’t stop talking”]
We are CREATINGa product based on an idea. We ENJOY searching for, select-ing, elaborating, and producing the contents of the publication, which we nowSHAREwith you to GROW together. It seems almost obligatory here to quotethe dying replicant Roy Batty in Ridley Scott’s film “Blade Runner” when he says“I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoul-der of Orion. I’ve watched c-beams glitter in the dark off Tannhäuser Gate. Allthese moments will be lost in time, like tears in rain. Time to die.”
Nothing could be further from the truth, for our time is now. The immediate ex-piration of the ephemeral that the new photographic social networks show usbecomes praise and an eternity in shooter. We are born with an even more re-bellious streak than Roy Batty’s, for we are born to grow with you, because un-like most of the entrepreneurs around us and despite the hard times in whichwe live thanks to the greed of a minority, we remain true to our creative creden-tials when we proclaim: “We do not seek customers, but partners, friends, col-laborators, and patrons!”
The rules of the shooter game are HONESTY, TRANSPARENCY, and SUSTAIN-ABLE BENEFITS. If you would like to be one of our 3,000 partners/patrons/shareholders, contributing ideas, recommending artists, or simply enjoying thelook, feel, and contents of the magazine, all you must do is to order an annualsubscription. You will receive four personalised issues and participate as ac-tively as you like take part in this unique and pioneering project.
These are hard times and it is our lot to dwell between disaster and miracle.You are part of the miracle! MILOS
All of us have at times captured surprising images, lovely sunsets, un-usual settings, and charming family scenes. Today's technology enablesus to pull our little cameras from our pockets and become artists for aninstant.
Then we can use the camera's little screen to proudly display the beautiful im-ages to our friends and family. But many of these pictures needn't be con-demned to remain forever in our phones or simply downloaded to our PC orMac. Some of them certainly deserve to be enjoyed by everyone who loves goodphotography.
Some months ago a "complete unknown" who was overflowing with enthusi-asm and clear ideas suggested that I should do something with those fabuloussnaps which practitioners of "mobile photography" around the world give usevery day on the social networks and in their blogs. Why not render some ofthese small works of art truly "immortal", by printing them on paper? Why notcreate a cultural space displaying different styles, techniques, and forms of
creativity, a space in which photography enthusiasts can regale us with theircaptures of magnificent moments?.
It has been a hard slog but I think the result of these months of work do justiceto the original idea.
I wish to express my gratitude to all the artists and colleagues who have takenpart in this first issue, and to all those who have so generously contributed tothis modest and pioneering project which is intended to operate as a meetingplace for lovers of photography, regardless of the device used, the techniques,or the style.
I also thank the "complete unknown", now a close friend and companion, forchoosing me to carry out the project.
Shooter is like a second son to me, and I dedicate this first editorial commentto Martin –my first! LUIS
milos kalvin & luis torresPUBLISHER EDITOR AND EDITOR IN CHIEF
SHOOTERPHOTOMOBILEMAGAZINEP006
OURGUESTEDITOR
IN PRAISE OF THE EPHEMERALThe word “instant” shares its Latin root and its initial meaning with “statue”,since both are derived from stare, to stand, immobile. Both terms imply thequality of the present time. The instant is the fleeting present, the uncatchablehorse that will never again exist and the other into which it will be trans-formed, or the river in which it is impossible for us to bathe twice. The statueis an infinite present, an artful manner of freezing an instant of beauty, pain,or the past glory of bodies, to render them miraculously eternal. Instare orstare –all art fluctuates within this apparent paradox.
Baudelaire, the discoverer of modernity, called it “the transitory, the fleeting,the contingent; it is one half of art, the other being the eternal and the im-mutable”. Thus it is up to the artist’s gaze to capture the eternal, as the posses-sor of the gift of translating banal and everyday life into something valuable,something essentially sacred. In this way the eternal and the fleeting coexist inthe emotions that are spawned by any artistic expression via words, pictures,or sounds. It is the artist’s difficult task to extract the intangible, that which can-not be weighed up by reason alone. After all, the aim of music is to render au-dible the unheard of, and that of poetry is to cause us to think the unthinkable,and perhaps that of painting is nothing more than to make invisible visible.
Buadelaire, the prophet of the modern (from the Latin modo, meaning “justnow”) found photography, then a new invention–to be an abomination for nar-rowing the scope of fantasy, eliminating the intrinsic fleetingness of beauty,
and offering us reality sans artifice, as something immediate and flat. He pre-ferred the artificial object, which is to say, “modified by the delicate veil of loveand devotion”, which could not be achieved by early photography, which cen-tred on capturing the natural object without subsequent alteration. The 19thC. witnessed the great struggles between science and magic, which were wonhands down by logic and reason. Photography was on the winning side, andits chief public and acceptable application was to medicine, while it was usedprivately and shamefully for pornography. In both instances a specific aim waspursued, and it had nothing to do with the invisible.
In the 20th C. “modernity” became as old-hat as the “avant-garde”. And if wecarefully examine the daguerreotypes from the beginnings of photography,we are struck by the image of a soul which the photographer very possiblywas not seeking, that subtle bridge that links the statue with its instant; theobject or its shadow traversed by the arrow of time sparks sensations that donot appeal to reason, but rather they unleash the imagination, tell a story, re-veal an artifice. Postmodernism has not changed this search, for the artistcontinues to seek beauty in the ephemeral, and is no less hounded by itsfragility than were the painters of bison in the darkness of a cave, with thesame confusion before the fleetingness of the instant that escapes irremis-sibly to become something else, something different, foreign, other.
So the search is the same, though the tools are different. We have left theworld so exposed that perhaps we should reconsider the meaning of the word
incognito. A fisherman in Terra Nova can see the features of a newborn childin Lugo, Spain, in real time, and a mining engineer in Zimbabwe can show a nu-clear physicist in Oklahoma a rough diamond still covered in mud. These pic-tures alone would have no more than representative or scientific value, depict-ing processes that are repeated in the animal or mineral realms. Likewise, thepictures of the folds of a skirt, a cat, or a keychain would not awaken our inter-est, as everyday objects with nothing extraordinary about them. It would be adifferent matter if the baby in Lugo were the first-born of the fishermen in TerraNova or if the mining engineerwere proposing marriage to the nuclear physicistin Oklahoma. In such a case these pictures would have an enormous value tothose involved, if only to them, as sole witnesses of an intimate and individualstory. But let us imagine that these pictures did not remain on the SIM card ofa fungible and finite telephone device. Let us suppose that the fisherman print-ed the photograph of his newborn with eyes still closed when he reached porton the Avalon Peninsula, or the Oklahoma physicist framed the image of thediamond from the red Zimbabwe earth. Let us imagine that the two picturesare displayed in places and at times distant from their original owners.Wouldn’t they then serve to fire the imagination? Couldn’t any of the viewers,mindless of the original story, make up their own stories, fantasise over otherpeople’s lives, become the parents of the newborn child they don’t have, findthe treasures they don’t own? And even in the case of the extreme banality ofthe skirt, the cat, or the chain, it would take the gaze of an artist to transcendthe simple objects via the artifice that is involved in all artistic practice, modi-fying them with the veil of love and devotion that Baudelaire cited in 1846.
There is no art in the object –art lies in the way of looking at it. The imme-diacy of that gaze that is today made available by tools that are withineveryone’s reach could easily translate into banality, since they are moreaccessible than ever. The surrealist movement believed it had resolved thecontradiction between the everyday and art, but the argument rages onbecause the tool is a cell phone, a small object even more everyday thanany of those that aspire to speak in a poetic idiom. The artist faces thechallenge of capturing the ephemeral and complex reality of the presentwhich is trivial life, the everyday metamorphosis of things. The artist mustconfront the multiplicity of life at each instant, in order to display it anddescribe it in pictures that are as vital as life itself, which is always unsta-ble and fleeting. And there he stands, convinced that there is a way tosquare the circle.
It is impossible to capture the invisible, just as it is to eliminate it. Noteven by breeching the dikes of the orthodox or ignoring its now uselessnorms. Today it is impossible to blind the gaze of the artist of all who sus-pect what is concealed to all who intuit what it is that is concealed behindthe apparent. The artist’s works show what can be, what can be felt, andwhat can be shared. Now they know that they are not alone. But the eter-nal is where it always was, in harmony, order, symmetry, and the Aris-totelian rhythm. In those ephemeral shapes, and the shadows they proj-ect, And in their transience, the living expression of the soul that containsthem.
eva serrano pubulLITERARY CRITIC, PUBLISHER’S READER, ANDLECTURER IN THE SANTILLANA MASTER’SPROGRAMME IN PUBLISHING AT MADRID’SCOMPLUTENSE UNIVERSITY. M.A. INHUMANITIES IN THE CONTEMPORARYSCHOOL OF HUMANITY WHERE SHE ALSOTEACHES, AND M.A. IN PUBLISHING FROM THEAUTONOMOUS UNIVERSITY OF MADRID. SHEHAS WORKED IN SEVERAL CAPACITIES IN THEFIELD OF BUSINESS COMMUNICATION.
ESCAPE FROM BOREDOM, 2011. IPHONE 4SP008 SHOOTERPHOTOMOBILEMAGAZINE
shynnia umetsu
I've admired Shinya's work for a very long time. Whether it's his sense of light,depth, composition, or perspective, Shinya has always managed to capture im-ages that contain all the elements of photography that I love. He may not knowthis, but because there is just so much to take in and learn from his body ofwork, he's helped me grow tremendously as a photographer. One look at hiswork and you'll immediately notice his silhouettes, but I've always admired howhe is able to combine them with amazing composition and light. Even when it
comes to his gravity-defying levitation shots, it is his sense of all the other im-portant elements that really brings it all together. Shinya has a "cool" factor. Forme, and surely for many others, his work is always immediately recognisable,and that is the most eloquent testimony to an artist who has perfected his craftand style.
Text by Hiroaki Fukuda, AMPteam mate Hiro @hirozzzz
THE SLEEPER, 2011. IPHONE 4SORANGE DREAM, 2011. IPHONE 4S
GOGGLES MAN REFLECTION, 2011. IPHONE 4SPUSH, 2011. IPHONE 4S
MY SILLY LIFE, 2011. IPHONE 4SWINDOW ON THE INNER WORLD, 2011. IPHONE 3GS
¿QUE ESTAS MIRANDO?, 2011. IPHONE 4 P018 SHOOTERPHOTOMOBILEMAGAZINE
josé padín
For much of his life photography and motorcycles have been his passions.He is and will always be remembered as a person with great charisma.
He grew up with a camera in his hand, snapping almost everything in frontof him, and today he always carries a couple of cameras, tripods, and lenseswherever he goes, as well as an inexhaustible enthusiasm for continuing tolearning and to create.
His predilection for B&W photographs has become his trademark, andmakes him view life in terms of lights and shadows.
He idolises the great Ansel Adams, and this, which, along with his "zonesystem", drives me mad.
But he also makes me happy with his complexity and simplicity, his joys andsorrows, his encouragement and support and his scolding, his patience andimpatience, his intelligence, his stubbornness, his little ways, and his com-pany. He is someone I appreciate just the way he is, a complex creature witha practically inexhaustible willingness to struggle.
We all remember that "Coca Cola ice lolly" that invariably soiled our T-shirts on hot August afternoons when we’d had hardly licked it, or thatnight at the village fair where for an instant we felt invincible and the bal-loons were our staunchest allies, shields for a place inhabited by monsters.In her photography, Georgina embodies the innocence of childhood, soli-
tude, fear of revealing a world in which she was protected from all types ofdangers, and of being carried off by those ghosts that hide under the bedwhile we try to sleep. She makes simple the magic of an instant with notricks, devising an escape route from a materialistic and insensitive world.Only she exists. She and her world.
EMILIO, 2011. IPHONE 4SPERROS, 2011. IPHONE 4S
GLOBOS BOSQUE, 2011. IPHONE 4SGLOBOS, 2011. IPHONE 4S
LIGHT MY WAY 2, 2011. IPHONE 4SP038 SHOOTERPHOTOMOBILEMAGAZINE
thomas kakareko
Even though there are people in all his pictures they are not what he thinksof first while composing a shot. During his two years of shooting he haslearned that one of the most important things in street photography isbackground. He had to stop counting all the interesting and expressivecharacters he decided not to capture because there was something wrongwith the background. It's probably the most frustrating thing about photog-raphy to him when he sees a person that he finds really interesting butcan’t take the shot because of this. What mainly attracts his eye when hecompose a shot is geometry. He’s always looking out for lines, shapes andpatterns, and tries to find a way to combine them with interesting charac-ters or silhouettes. To make it even more complicated, he tends to be veryimpatient, and doesn’t like to wait for a shot. If hefinds a nice backdrop andhas the shot in mind he never waits longer than five minutes for somebody
to appear. If nobody does, he leaves, but plans to keep revisiting the placeuntil he finally gets the shot. Talking about the people he photograph hesays that it's all about emotions. No matter if they are good or bad, a strongexpression makes the picture for him. He was very shy and nervous at thebeginning but became more self-assured and bold over time. Still, he’s notable to approach people and ask for a portrait, and thinks he never will be,but this doesn’t bother him. He’s much more interested in capturing pureand candid moments than in having somebody posing for him. His obses-sion with background and expressive characters makes shooting quite hardfor him at times, he says. Sometimes he walks for hours and doesn’t getone decent picture. But what he feel when it works out is "pretty hard to de-scribe", he says. "It feels like winning an important prize for something thatyou really love to do."
SILHOUETTE, 2011. IPHONE 4S ON A WINDY DAY 2, 2011. IPHONE 4S
ON A FRIDAY MORNING, 2011. IPHONE 4FIRST STEPS IN MUNICH 2, 2011. IPHONE 4S
THE READER, 2011. IPHONE 4SUNCOMFORTABLE SILENCE, 2011. IPHONE 4S
ON HIS WAY, 2011. IPHONE 4SLONG GOODBYE, 2011. IPHONE 4S
TO BURN THE MIDNIGHT OIL, 2011. IPHONE 4P048 SHOOTERPHOTOMOBILEMAGAZINE
jose antonio consentino
He has loved photography for as long as he can remember. In it he finds thetraces of his history, his parents, brother, grandparents, instants that linger inthe memory, and survive the passage of time.
Later he discovered the great photographers, known and unknown, who toldhim their tiny stories, each immortalised in a single image. To be able to imag-ine a story in every photograph he sees, to endow the subjects with voices, hasbeen a fascinating game played between José Antonio and all the photogra-phers.
Like other people, he also wants to tell his stories, though he feels he will neverbe able to do it. That’s why he has become more a spectator of photographsthan a storyteller. But with the advent of camera phones he has resumed pho-
tographing everyday scenes. If there is any point in taking photographs with acell phone, he says, it is "to perpetuate a visual memory of everyday events,notwithstanding the optical limitations".
Curiosity was already consuming him when he acquired an iPhone. Thanks tothe possibilities offered by the different applications, he was able to keep hisown "visual diary", helping him to capture the emotions spawned by his enthu-siasms or by an image which, as if by magic, reveals itself later as somethingmore than a mere moment frozen in time. Applications such as "Hipstamatic","Lo-Mob", "Noir", "Camera+", "Snapseed","Filterstorm", "Blender" and "Pro-Camera" are his favourites for shooting and editing, and they help him conveythese emotions. He leaves it to others to say how well he manages to tell thesestories.
A CLOCKWORK ORANGE. STANLEY KUBRICK, 2011. IPHONE 4PIANO MAN. BILLY JOEL, 2011. IPHONE 4
THE BEST FILM, 2011. IPHONE 4MATCH POINT. WOODY ALLEN. 2006, 2011. IPHONE 4
WHEN HE AWOKE, THE DINOSAUR WAS STILL THERE. AUGUSTO MONTERROSO, 2011. IPHONE 4LADRÓN DE BICICLETAS. VITTORIO DE SICA. 1948, 2011. IPHONE 4
"We’ll always have Paris," said Humphrey Bogart en Casablanca, and Nathalieconcurs, with affection, as if fearing she'll break, with an admirable subtletythat perfectly matches her photography. People not in her life become some-thing more, protagonists of stories so like one’s own, who we, as spectators,
embrace with a different sort of love, more distant, but no worse for that. Andthus it is that Nathalie becomes an essential component of her sober photog-raphy, which embodies a symmetry in perfect harmony with nature, the sea-sons, and a city charged with moments like those she shows us
STREET ATTRACTION, 2011. IPHONE 4SMEETING THE FIRST LADY, 2011. IPHONE 4S
PERFECT SYMMETRY, 2011. IPHONE 4SMARILYN IN PARIS, 2011. IPHONE 4S
UP OR DOWN, 2011. IPHONE 4SSNAIL 2011. IPHONE 4S
SPACE INVADERS SERIES, 2011. IPHONE 4 P068 SHOOTERPHOTOMOBILEMAGAZINE
millo salgado
Why the sea? It all started with his grandfather. When they were small hismother’s family lived in Cuyutlán, with one of the beaches that appear so oftenin his photographs.
One day he found this grandfather’s photos in a box that his mother kept. Hewas astonished. Looking at them, he could hear the sea, voices, the wind, andhe could feel the sun. It was a happy world. The photos remained imprinted onhis memory. When he rediscovered the joy of photography, when he began us-ing Instagram, and above all Hipstamatic, he set out to recreate what he so ad-mired that day in his grandfather’s photos.
He enjoys portraying that world in which everything is possible and there isno room for sadness, in which the sea belongs to everyone without distinc-tion, in which all is forgotten except the most important thing: life. His in-spiration is people when they are happy, which is why he likes the beach.But in the city, too, he tries to capture moments of joy, which are so neces-sary in this world which is so chaotic and in some ways violent. That’s whyhe is also inspired by children and their innocence. His beloved Mexicobreaks his heart, so he captures the happiness he still finds there, and withhis pictures he tells himself that that there will soon be light at the end ofthe tunnel.
THE MEXICAN SOUND II, 2011. IPHONE 4STHE MEXICAN SOUND I, 2011. IPHONE 4S
GARFIO I, 2011. IPHONE 4PLASTIC PASSION III, 2011. IPHONE 4S
SO, WHAT'S UP DUDES, 2011. IPHONE 4S YOUNG MODELS, 2011. IPHONE 4S
LITTLE CROC II, 2011. IPHONE 4S SNOW WHITE GOING UNDERWATER, 2011. IPHONE 4S
AGUA DULCE II, 2011. IPHONE 4P078 SHOOTERPHOTOMOBILEMAGAZINE
sarah ferreira
When Sarah makes a photograph she doesn’t think about the picture in itself,but rather about teaching through the shot and literature what lies behind hergaze, her gesture that is so particular. It may be true that "a picture is worth athousand words", but she minimises it, and lets it repose, completing her work
with words. Perhaps in that way she makes stories and their reading morepleasant, more intimate, and more her own. This is the grandeur of art. Thereis no greater or smaller, no better or worse, but only multiple and differentgazes to interpret it and feel it.
AGENDA DE MOMENTOS, 2011. IPHONE 4REINA JAPONESA, 2011. IPHONE 4
I have pigeon holes in my memory for keeping the frozen days and those steepedin fear. It’s like a desert consummated by the fear that I will be left without apacemaker.
LA NOCHE ETERNA, LOS DÍAS NO VIVIDOS, 2011. IPHONE 4RADIACIÓN, 2011. IPHONE 4
At six o’clock in the evening there is no strength to walk through the city. Theheart engulfs the aspirations of the sun in a final sigh.
The summits of the mountains smile among the evening rains. From my win-dow, a mixture of tar and asphalt wrapped in feelings thwarted by the cold on a4th of May.
I wonder what could have happened to the sky that attacks us in this mannerand why nobody sees the future as a chance to emerge from this past that at-tacks us like the nothing that it causes us to feel. Are clouds where dreams are child’s play and all is a utopia?
OPCIONAL, 2011. IPHONE 4AZUL, 2011. IPHONE 4
The sky understands nothing. Neither how many moles there are on your back,nor how many smiles have escaped from your displaced grimace.
I have seen you dream while you slept, and I have taken your hands as in a fan-tasy so you would believe that wishes aren’t so far away after all.
A world down there. A world made up of white tiled walls, iron benches, en-trances and exits, unknown gazes, broken dreams, along with unexpected,fleeting, and cold greetings that take one's breath away. Tunnels illuminated byflickering fluorescent lights, trains that becomne capsules of memories andimpossible moments in crossings of timetables and underground maps. In an
unknown world there appears an sensitive eye, a diver amongst the twistediron and rock, which shows us what we look at but fail to see – everydayscenes captured in the photography of an ouside observed called Niall. Heis a man who dwells between the banal and the fleeting moments, just an-other guy – but an indispensable one.
MY FELLOW FRIENDS W/ @SAMISWELL, 2011. IPHONE 4S P098 SHOOTERPHOTOMOBILEMAGAZINE
jason peterson
There are scales that are found only in the light and darkness of each of us, inour most internal "I", and that appear only when vital choices take on a partic-ular importance. That's when we have to put our feet on the ground, forgetabout levitation, and make no mistakes about the direction we take to tip thescales towards the "dark side of force".
Jason Peterson becomes an intermediary, a rope walker, on a human scalebridging labyrinths of sensitivity, heaven and hell. With his photography he re-flects his creative guts, and the strength that we find in his pictures is perceivedthrough the unerring tonalities that take us to a very particular world, a visualscript.
I FEEL THE DISTANCE, MAYBE YOU MISSED IT, 2011. IPHONE 4S BUSINESS MAN, 2011. IPHONE 4S
REFLECTION, 2011. IPHONE 4S I AGAINST I, 2011. IPHONE 4S
LEFT, 2011. IPHONE 4S IT DIDN'T SEEM LIKE WASTED DAYS, 2011. IPHONE 4S
Without a doubt, one of my very favourite Instagrammers, whose pictures I nev-er go long without checking is, Ragnhild Aarseth, better known as Ria to her de-voted followers.
Her photography first caught my eye when I joined IG back in December 2010.I had not interacted with her, but was astonished at the beauty of her images.What is more, they seemed mostly taken casually on her way to work andaround her home in Oslo. My first impression was of disbelief that this could bedone with a SmartPhone, for what I saw and still see is so beautiful! On a dailybasis her work confirms for me that photography depends more on the eye thanon the camera, on how one looks at things, rather than on expensive photo-graphic equipment.
Ria loves the shadows people cast on grey wintry days that seem so real inB&W. Ria loves windows, and she captures the details of windows in a waythat makes what is just a simple frame part of the painting itself. She is likea "colour detective?", finding light everywhere, and somehow transmitting
the infectious joy that results from discovering the hidden beauty in everydayobjects. Deli shops, bicycles, young people chatting in the park, graffiti, backalleys, side door entrances –all become interesting through Ria's curiouseye. But it is not just the city. When Ria goes away to her village of Molde, weare treated to the sea and to rustic houses that speak of grit and determi-nation, of life in the open and at the mercy of wind and sand and sea-salt inthe air.
Finally, when Ria travels, she takes us with her. In this way we are able to seeBarcelona, or Shanghai, or Sitges, with the same poetic eye that wandersthrough Oslo, turning the unsuspecting into visual poetry.
Text by @soinu. Julio d'Escriván has used IG since December 2010. He is chieflya composer of all kinds of music ranging form contemporary classical to avantgarde and free jazz and also TV commercials and cable sound IDs. His secondlove is photography, and he is happy to be able to learn so much by interactingwith excellent photographers through IG.
BEAUTIFUL DECAY I, 2011. IPHONE 4 APRIL IN OSLO, 2011. IPHONE 4
BEAUTIFUL DECAY III, 2011. IPHONE 4 BEAUTIFUL DECAY II, 2011. IPHONE 4
GREEN WALL (COLORS OF OSLO-SERIES), 2011. IPHONE 4 BLUE WALL (COLORS OF OSLO-SERIES), 2011. IPHONE 4
THE UNPRICTABILITY OF MARCH, 2011. IPHONE 4 OSLO BACKYARD I, 2011. IPHONE 4
WELCOME TO THE MACHINE, 2011. IPHONE 3GS P118 SHOOTERPHOTOMOBILEMAGAZINE
nik sproal
When people walk, we coexist with a shadow attached to our heels which wedon't want to lose lest we lose ourselves. We embrace shadows and footstepseven when they are not yet written, that are connected to the present and toa soul.
Nik becomes the best spectator, who captures the essence that we leavewhen we walk, and ultimately becomes another walker, playing with vanish-ing points, colour tones that approach B&W, portraying the purest thing weleave in our wake –our souls.
PEACE BENEATH THE CITY, 2011. IPHONE 3GSSECOND TO NUMB, 2011. IPHONE 3GS
SOUL DECAY, 2011. IPHONE 3GSI'M ONLY HAPPY WHEN IT RAINS, 2011. IPHONE 3GS
LET THE DEVIL IN, 2011. IPHONE 3GSAPOCALYPSE NOW, 2011. IPHONE 3GS
ON MELANCHOLY HILL, 2011. IPHONE 3GSFEEL GOOD INC., 2011. IPHONE 3GS
Santi Tur transmits the beauty and authenticity of Ibiza's natural environmentwith a captivating peacefulness.
His images are marked by a precise colour balance, composition, and sharp clar-ity, all aspects that help create the harmonious mood absorbed by his images.
He has a discriminating eye for detail, texture, and natural lines found withinhis surrounding landscape. His images breathe life and take us on stunning ad-ventures.
There are pictures that conceal themselves in landscapes. There are protago-nists and passers-by, travelling salesmen without sample cases, probably be-cause they fear they will never return. Hidden is this silent murmur accompa-nied by lights and shadows, by sunsets petrified by an endearing cold, is Stig.
With a simple but certain gaze, he captures his every wish, revealing hisfeelings and thus making us feel –almost noiselessly, and snug in his del-icate introversion –light, the serene light that characterises his scenes, hisimages, his visions.
REMEMBER THESE TWO WORDS. THEY WILL OPEN UP A LOT OF DOORS IN YOUR LIFE - PUSH AND PULL, 2011. IPHONE 4 THE HARDEST THING IN LIFE TO LEARN IS WHICH BRIDGE TO CROSS AND WHICH TO BURN, 2011. IPHONE 4
I SEE DEAD PEOPLE, 2011. IPHONE 4 HEARTS AND THOUGHTS THEY FADE - FADE AWAY, 2011. IPHONE 4
THERE WAS A LITTLE BOY - AND THERE WAS A LITTLE GIRL - AND THEY LIVED IN AN ALLEY UNDER THE RED SKY, 2011. IPHONE 4 I NEVER SAW AN UGLY THING IN MY LIFE: FOR LET THE FORM OF AN OBJECT BE WHAT IT MAY, - LIGHT, SHADE, AND PERSPECTIVE WILL ALWAYS MAKE IT BEAUTIFUL.JOHN CONSTABLE, 2011. IPHONE 4
CITY BOY, CITY GIRL - ARM IN ARM IN OUR CITY WORLD, 2011. IPHONE 4 YOU DON'T SEE WHAT I SEE, 2011. IPHONE 4
2011. IPHONE 3GSP148 SHOOTERPHOTOMOBILEMAGAZINE
giacomo por
Observing the characters Giacomo Por portrays is akin to observing actors onan intimate stage. As Coleridge famously said, what happens is a «willing sus-pension of disbelief for the moment, which constitutes poetic faith». We aredrawn into the character's persona. We engage - both visually and verbally -with them. Giacomo's mastery lies in his ability to portray his characters withsuch deftness that they breathe credible and forceful life into his words, liftingthem off the paper and making them their own. As a result, we engage withthem, we feel for them, we are - even if for a fleeting moment - part of them.Their stories echo in us and the words they utter leave a reverberation behindonce we have let them go - like ripples on the surface of a pond once you havethrown in a stone. The surface has been broken, and though the stone hasslipped into the water, now invisible to the eye, the after-effects remain.
In all of this, Giacomo reminds us of a puppet-master: he pulls the threads ofhis characters ever so skillfully so that we never see the actual threads. We justsee the grace with which the characters move, and in turn move us, in theprocess. It is almost as if he possessed the qualities of a ventriloquist. Thewords, the feelings, the emotions he wants to express become theirs. He putsthe spotlight on them and retreats to the wings. They speak for him. His masteryallows him to distract us from the tedious mechanics of the process so that weare allowed to simply focus on the beauty of the result alone. While many pho-tographers play with light and shadow, he creates light from the shadows. Asubtle but extremely powerful difference.
Text by Barbara Ungaro.
PHOTO BY ALESSANDRA GALIANI @SANTABARBARADEIFULMINI
He would tell me to keep still,but I always saw the sun upside down.He would tell me to pray,but I preferred a vertical sea.And going round in a circle, I leftI did not bid farewell and I no longer saw.
2011. IPHONE 3GS The invisible hours. Birth. 2011. IPHONE 3GS
I play with dust and silk.I cry dust, I knead silence.The day is a forgotten filigree.With silk and with dust, under the moon.I scream my hands into the deaf wall.It is not dawn yet.
2011. IPHONE 3GS The invisible hours. Recognition. 2011. IPHONE 3GS
I laugh at myself.I cry on myself.I steal from myself.I kill myself.I love myself.I die.I have hidden all the air in folds of silk.
2011. IPHONE 3GS
Something in a heartbeat. The flesh and the bonescry out, singing. Acrobats and flowers:no chains, no gardens. Unfettered.I play the quickening beat of the heart. Burning awhile before tomorrow. Binding threads of gold to the pillar of fire. These threads are truths.Because we arepowder in silence. 2011. IPHONE 3GS
I was born, I do not know why.I have lived, I do not know for whom.I died, I cannot remember when.Tomorrow I will ignite the flames.The most beautiful in my forest.
I found the chainsI found time.Eternity is of no concern to me.I am oblivious to the feathers.I slip from your hands to make myself sandto be of you water. 2011. IPHONE 3GS
Just out of sighthe stoops to pick up a stone.before it evaporates in a tear.before my hat can find the sun.
2011. IPHONE 3GS
Impermanentand quick-eyed.The forest betrays.Do not trespass.Do not talk.Do not breath.You are breaking apart.Lying at the indentation. Do not stop.Ever again.They will find you once more.Hanging on to impertinence.Tomorrow. 2011. IPHONE 3GS
Why do you insist on looking at the wall?it is without light, though it withholds it.Spent. Tired. Forget your space.In search of mute geometries.I told youOne day we will no longer be angelsand shall begin to fly.
2011. IPHONE 3GS The invisible hours. Death. 2011. IPHONE 3GS
I waited a long time before learning to cry.They taught me how to balance with a smile.Though balancing is but the prologue of a fallit is merely the act of sucking in the air which is needed to cry.And I cried.
www.giacomopor.comNOTES FROM UNDERGROUND, 2011. IPHONE 3GS
NOMOBILEPROFESSIONALSHOOTER
PABLO ALMANSA LIMITED EDITION. INFORMATION AND SALES AT: [email protected] AND WWW.FACEBOOK.COM/PABLO.ALMANSAP166 SHOOTERPHOTOMOBILEMAGAZINE
pablo almansa
FLICKERING LANDSCAPES
No nude is in itself a sign of transparency. The nude is a different manner ofshowing oneself covered, and this is understood by the photographer Pablo Al-mansa. In his snapshots of women’s bodies there is no attempt to "decipher".They are not intended to break a code or cipher, but to approach in a differentmanner the business of the unadorned anatomy of beauty, of perfection, of in-verse clarity. Contained in his photographs are the rigour of the light and theprecision of the imprecise, and all the accidental that exists in human architec-ture, which lends it difference, enigma. Almansa does not evade, but rather addsthe poetics of his gaze to the unforeseeable qualities of a breathing creature.
His work falls within the best traditions of the masters of the genre. I’m think-ing of Helmut Newton, or Herb Ritts. But there are also bursts of images ofnature reminiscent of Frans Lating, and an unmistakeable desire to emulatethe hyper-sophisticated Patrick Demarchelier. These are some of his refer-ence points, his fellow travellers, the ones who at times bear him along. ButAlmansa’s course is a very personal one. His honesty is direct, his perceptionflexible, and his gaze extremely keen. His talent is to impel the sensuality ofhis portraits of women without beclouding the nuances of the scene.
In this part of Almansa’s work there is a natural classicism of the body and aprehistoric wildness of the nude, and this combination is what jolts the obser-vant spectator. The bodies are not used ornamentally, but constitute a solepresence, a necessary certainty, and also the abstraction of an intuition al-ways in progress. This is to say, we are not looking at an artist with a roadmap, but at an explorer and a snooper who extracts a subtle alphabet withwhich to understand the other. This is because Almansa does not merely getexcited over the possibilities of a body, but he seeks adventure in front of thelandscape. Or he activates his fascination by exploring with the camera, forthree months, nine hours a day, each centimetre of the paintings in the Al-tamira cave.
And so it is that the symbolic world of our photographer is tunnelled by com-municating paths, scenarios, emotions and territories that prop each otherup, and that are ultimately what we see: a thousand shapes with a singlevoice. A nude that is nature, portrait, banquet of life. A rare pleasure.
Text by Antonio Lucas
When we think we have enough photos we press the shutter button onceagain to stop shooting. We make a selection of the photos to be used for thecloning. Here is my selection for this project:
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P182 SHOOTERPHOTOMOBILEMAGAZINE
juan grau
"THE ATTACK OF THE CLONES" VS. @CAPITANPOLLO
Apps used
Camera Genius + PhotoForge2
Cloning ProcessThe key to this process is to take the number of photographs that we con-sider suitable while keeping exactly the same background, thus avoiding thetask of cutting out the silhouettes of the clones to paste them on the photoused as a base. To achieve this I have used Camera Genius’s option of re-peating the shot along with the timer, which enables us to make the photoswe want with a time lapse between them, without having to touch theiPhone again.
We must find a spot to place the iPhone where it can shoot without havingto be touched and without varying the background image –this is the impor-tant thing. If you have a tripod, better still.
We press "Menu" and the "timer" (fig. 1). The time and repetition boxes willappear on the screen (fig. 2). We choose the 10 sec. minimum setting for ac-tivating the repetition (the curved arrow) and finally the shutter button, andwe begin.
1 2
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Once we have what we think we will need, we cut them all, deleting those that wewon’t need, and keeping only those we have chosen as the base for the cloning.
With the selection prepared we open the PhotoForge2 app and open thephoto to be used as the base. I choose the one that has the first clones fur-thest from the iPhone and then I gradually come closer.
3 4
To achieve the "cloning" we use the "edit by layers" icon. With the base pho-to open (fig. 3) we click on the "new layer" button, and a window will appearwith a miniature (fig. 4).
5 6
Now, to insert the second photo we press the "new layer" button and chooseone that we have previously reserved and cut (fig. 5). When our new selec-tion appears we press the "scale" and "rotate" buttons to deactivate them,and use only "translate" to move the image without turning it or changingits size. (fig. 6).
To make sure that it is set in the proper place without altering the back-ground we press the button to make the base photo appear so we can adjustthe position as needed (fig. 7). Once this is right we press "OK" and then the"flatten" button to merge the two layers (photo 8). We save this as now wehave our first clone (figs. 8 and 9). Congratulations! This will be our newbase photo (fig. 10).
7 8 9
10
To add new clones we have only to repeat the process (figs. 4-10).
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FINAL RESULT OF THE "ATTACK OF THE CLONES". GUATEQUE, 2011. IPHONE 4
Special ProblemsWhat if two clones overlap in the picture, as can happen when we want toshow numerous clones in our photo?
The initial steps are the same (figs. 4-7), but we see that upon inserting anew photo we partly or completely cover one or more clones in the basephoto (fig. 11), so before merging the two layers we must erase the excesspart of the image that we want to insert and that partly covers the clone inthe base photo.
When the new image is properly placed we press the edit by layers icon (fig.11) followed by "new layer" to open the editing menu, from which we selectthe icon shown (fig. 12). We press again on the layer with the new image toopen the mask editing menu, and then press on icon shown (fig. 13). On thisnew layer we press on the icon that will show us both layers, and we adjustthe size of the paintbrush to erase the excess part (fig. 14).
11 12
Next we erase the excess part of the new image to be inserted, which makesthe hidden part of the clone reappear (fig. 15). If we erase too much by mis-take we must open the menu again and press "invert" to correct this (fig.16). Once we have finished erasing we press "OK" and we now have twoclones overlapping perfectly, so we merge the layers, save, and we’re done(figs. 17 and 18).
15 16
13 14
Keep in mind that if we have used the "invert" option (fig. 16) to remove ex-cess in erasing the mask, we must press it again before hitting "OK" tomerge the layers.
17 18
We repeat the process as many times as we like until we obtain the desiredresult, then edit the photo to our taste.
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VS TERMINATOR UMBRELLA EDITION, 2011. IPHONE 4RESACÓN, 2011. IPHONE 4REALIDADES PARALELAS, 2011. IPHONE 4VS LA PROPIEDAD PRIVADA, 2011. IPHONE 4
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RECOMMENDEDSAYSSHOOTER
WE ARE JUXT
"We Are Juxt" is the brainchild of four friends and artists based in Seattle, Washington. Allare mobile arts enthusiasts, and all also work in other art forms. "We Are Juxt" was formedin October 2011 with the aim of learning more and sharing notes about the amazing worldof mobile device artistry.
"We Are Juxt" represents the idea that mobile art forms are advancing quickly along withmobile device technology. Mobile art is defined simply as art created and developed on amobile platform, such as iPhone, Android, or Windows Mobile. The advancement and pop-ularity of this art form has created a culture where community is highly valued and art is
constantly pushing the limits. Juxt believes that "the best is yet to come". Through commu-nity presentations, artist participation, and artist engagement, Juxt believes that mobile artswill continue to advance along with technology, and more importantly through community.
Juxt is not just about Seattle. Juxters (Juxt bloggers) are mobile device artists from aroundthe world, working on multiple mobile platforms. The idea behind Juxters is to empowerthese artists to share more than a daily photograph on various social media platforms.JUXTing is intended to engage further through daily or weekly blogging. In addition, Juxters’blogs may be written in their native languages.
FIE
FIE defines itself as a group of friends who love photography with iPhones, as used both forshooting and editing. Members defend this type of photography as no less valid than tradi-tional photography.
FIE includes some of the best-known Spanish iPhone photographers whose work appearson Instagram, and indeed, the 10 members got to know each other by chatting on the Insta-gram application, and decided to form a group in the summer of 2011. The variety of stylesand of geographical settings lend additional interest to the project.
The members are known as @atfunk, @elrebo, @elwood, @kainxs, @luison, @manza-pol, @murcielaguillo, @sachatosca, @sevillacreativa and @slimjazz.
In May, 2012, coinciding with the first conference of Instagrammers #Torrevieja2012 in Spain,the members were able to meet personally and to display their works as a group for the firsttime. FIE has several exhibition projects at different locations in Spain.
More information is available at www.fie10.com
AMPt
Mission: The Advanced Mobile Photography team (AMPt) is a worldwide collective ofmobile photographers with the mission of presenting mobile photography as a legiti-mate art form, and of cultivating its advancement through presentation, education,and the fostering of community.
Vision: AMPt believes that mobile device photography is a tool for documentation andcan be a legitimate avenue for artistic expression. Members "strive to stretch ourimaginations and generate original thought, and explore new territory in the develop-ment of mobile device imaging, all the while taking a closer look at ourselves and theworld we live in. We are enthusiasts and seek to push the boundaries of this artform by learning from each other and from other like-minded artists. Our shared ex-periences in mobile device photography assist in continuing to inspire, develop andprogress this growing art form. We are committed to the promotion of unique estab-lished and emerging artists."
This vision is summed up in our motto: "BE ORIGINAL."
Founder. Frank Mathews (IG: @nitti80). Admins. Frank Mathews (IG: @nitti80), AdamConner (IG: @derblutenkat), Tammy George (IG: @punkrawkpurl), Graham Preston(IG: @grahampreston). Members. Hiro Fukuda (IG: @hirozzzz), Belinda Gregg (IG: @bindy-boo), Christina Nørdam Anderson (@cirkline), Jim Baker (IG: @Monkone), Brad Puet (IG:@bradpuet), Tony Corcoran (IG: @kungfuroll), Bobby Anwar (IG: @bobbyanwar), Crina Prida(IG: @crina_prida), Jussi Ulkuniemi (IG: @skwii), Shinnya Umetsu (IG: @chikuwa91),Stephen Higgins (IG: @journeyofnow), Luke Krzusztofiak (IG: @agentluke), Martin Reisch(IG: @safesolvent), Nei Cruz (IG: @n_cruz), Marco L. (IG: @magicmarco).
Founded and October 1, 2011 and launch date in November 1, 2011.
AMPt Pillars is currently we are working on developing a “supergroup mobile com-petition”. That should roll out this year. We will also see some of the above pillars for2012.
More information: www.ampteam.org
THE MINIMALS
This group describes itself as "A liquid team of photographers addicted to (mostly) mobilephotography / A group of photographers and bloggers and writers and fathers interestedin street photography, people and life emotions / Members of a greater family at WeAreJuxt/ A group of crazy people!"
Its motto is "No Frills/ Less Edit / Just Photography™", arising from a mobile conversationwith Francesco (aka @thestreepher).
The idea is to showcase a vision of photography focusing on actions and emotions beforeshooting, and that a beautiful photo is not only a beautiful edit, and that the passion for itis all about sharing in a greater community despite the numbers and the egos.
The only criteria is to encourage another kind of mobile photography without excessive ed-iting, but rather a more minimalist approach towards beautiful photography.
"No frills" means that members don't care about numbers, likes, followers and all that sadego stuff that fills the social photo sharing networks."Less edit means they want to see the idea before shooting instead of only after (but someediting is allowed)."Just photography" means we all are addicted to beautiful photography. And that is whatreally matters in the end.
These are the official contacts so far: THE MINIMALSEmail: [email protected] page G+: The Minimals™ https://plus.google.com/u/0/b/103872306840716733378/103872306840716733378/about Tumblr Blog: http://theminimals.tumblr.com/WeAreJuxt: Juxters/TheMinimalsFlickr/Instagram/EyeEm: The Minimals. tag #theminimals. Album "The Minimals"
IG PROFILE @MURCIELAGUILLO
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FLASHBACKSHOOTER
The international artists who had been invited were:1. Giacomo Por @sarturninofarandola (Italia)2. Millo Salgado @mjfuz (México)3. Thomas Kakareko @thomas_k (Alemania)4. Christina Andersen @cirkeline (Dinamarca) 5. Barbara Ungaro @ibiza13 (Italia)6. Dimitris Karatanos @dimitriskaratanos (Grecia)7. Koci Hernández @koci (EEUU)8. @kbasta (EEUU)9. @croyable (Holanda)10. @cryingjune (Corea)
The artists who won places at the show via the "Torrevieja2012" contest were:1. Raul Ojeda @raojga2. @bier833. @sushidetortilla4. @clock_moitie5. @clicavoigt6. @dutchie687. @manowar758. @bobbyanwar9. Juanjo Muñoz @juanzomuñoz10. Juan Pascual @juanpas9
IPHONEOGRAPHIC EXHIBITION TORREVIEJA 2.0
In October, 2010, when Instagram first saw the light of day, there was nothing like it –a photography-specific social network focusing mainly on cameraphones, and morespecifically the iPhone. The most notable feature of Instagram is its simplicity. Youmake a photo, give it a title and a location, and upload it. Thanks to the cooperationamong FIE, Instagramers, Costa Blanca Alicante, e-ventop and Turistícate.com, on 5-20 May of this year in Alicante, Spain, there was an exhibition entitled "A Different Visionvia iPhone". The idea was centred chiefly on the work of the ten members of FIE andthat of the ten international artists that were invited to participate. The show wasrounded of by the work of the best 40 photographers who had taken part in the "Torre-vieja2012" contest organised by FIE –the prize was participation in the show.
The Spanish artists and FIE members were: 1. Luis Torres @elwood 2. Luis Rodriguez @luison3. Jesús Rebollo @elrebo4. Jose A. Consentino @murcielaguillo5. Santi Tur @atfunk6. Marien Limiñana @manzapol7. Carolina Teruel @sachatosca8. Gabriel Samper @kainxs9. Jose Martos @sevillacreativa10. Juan Bermejo @slimjazz
11. @citomegalovirus12. David Arranz @arrdj13. @tialu14. @nsanaita15. Jose Luis Barcia @joseluisbarcia16. Silvia Ep @sil817. Ragnhild Aarseth @ria18. Felicia Baños @feliciart19. @cbas2820. @gonso_madrid
21. Pepe Sanchez @pepesanchez22. @jtxota23. Ruth Oliveira @rutholiveira24. @andreopaiva25. @martapeg26. Milos Kalvin @avenueone27. Sebastian Alonso @sebasalonso28. Carol Lopez @catwoman2008229. Domingo Mendoza @domingon194630. @rociomaldo
31. @ekalex32. @aenede33. @sercristo34. @moncp35. @cojorojo36. Juan Grau @capitanpollo37. @joselin7438. Montse Abad @mabadca39. Saul Hernadez @saul_hr40. @_abonjo_
Photographs produced and provided courtesy of Agustín Marín www.agustinmarin.com,Marisa Carranza www.fotosensible.com y Phil González.
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INDEXOFARTISTS
Ragnhild Aarseth. She was born on the Western coast of Norway in a small town calledMolde, but has lived most of her adult life in Oslo. She says "I live in down-town Oslo and en-joy the every day hustle and bustle of urban life". She was widowed young, never remarried,and remains childless. With qualifications in communications and social science, she hasworked in advertising and information technology and is now employed at a corporate lawoffice. "You might think the law business is boring," she says, "but it's not like that at all! Mycompany is playing a major role in big transactions in both Norway and abroad, and I love tobe a part of that!"
On Instagram she feels she represents "the more grown-up users, focusing on photographyand socialising with other people who love photography. I joined when Instagram was"young", at the end of 2010, and I was immediately hooked, When I discovered I could editmy pictures, a whole new world opened up to me! I have always documented my life throughpictures, my travels, private parties, friends and family. I even took some courses, bought aCanon camera etc, but it was not until I discovered the editing possibilities on the iPhonethat I got really addicted!"
Today she uses an iPhone 4S and does little editing, though she is enthusiastic about theSnapseed app, adding "I also use Pic Grunger for that old feel, and once in a while I still useCamera+, but not as often as I did with my old 3GS. I feel my development is towards lessediting, but I find it difficult to let go of a picture with no editing at all."
I have a small summer house in Molde where I spend most of my summers and other hol-idays, to be with my father and the rest of my family and to "get down to earth", working inthe garden and walking in the mountains in the beautiful and dramatic landscape of thatarea. Like so many Norwegians, I love the outdoors in general and mountain walking in par-ticular. That's when I feel most relaxed! I can walk for ever and ever, in almost any weather."
She has lived and travelled in the United States and Europe, and also visited Canada, Mexico,Kenya, Egypt, and China. "This March I won a photo competition on Instagram arranged byScandinavian Airlines and was awarded a trip to Shanghai, first class all the way! I was al-lowed to sit in the cockpit during landing, with headphones and all, listening to the commu-nication between the pilots and the ground. An exciting experience, even for a grown-up likeme! Instagram has also brought me to Berlin where I participated in the first Instagram ex-hibition of iPhone pictures in 2011. I was very nervous and full of expectations when I enteredthe café where the pictures hung, nicely framed and looking very beautiful indeed. I was soproud!. Lately, one of my pictures was presented at the Instagram conference in Torrevieja,and thanks to IG I have made wonderful IG friends all over the world!"
She is the local manager of Instagrammers Oslo (@igersoslo), and has organised severalphoto walks. "Instagram is amazing.", she says, "and even though it has changed a lot lately,with the Facebook takeover and the integration of Android users, I really do hope it will keepits focus on picture sharing, and not turn into some kind of commercial blogging area. Forme, being on IG has made me love Oslo in a new way. It has opened my eyes to my surround-ings and made me notice details like the colour of houses, all the windows and all those littlethings that make life more colourful and interesting."
She recently joined EyeEm, another photo sharing site. "There, I try to develop my B&W ex-pression. I do this in addition to Instagram, and I try to separate the two arenas by not postingthe same pictures to both. I find a different challenge in working with B&W, I focus more onshadows and light, and, perhaps not so much on the subject. I tend to think that working incolours is more difficult than working in B&W, because colours can be so very distractingto a picture! I am a music lover and get great inspiration from various kinds of music, fromopera to hard rock, all depending on the situation or my mood. I can have a song in my head,or some lyrics from a song, when I'm out shooting pictures, and I look for some motif to suitthat song. When I'm driving in the Norwegian countryside, I love listening to U2 with songslike "Streets with no name", "In God's country", "Still haven't found" etc. And that might beso very true, because I still haven't found what I'm looking for; not in life, not in photography!I keep looking in various directions, for new possibilities, new ways, new ideas and new pho-tographic styles! And, I'm not sure whether I want to arrive at all, it's the searching that'sthe fun part!"
José Antonio Consentino López. He was born 42 years ago in Aguilas, a fishing village in theMurcia region of south-east Spain. He works in a chemist's shop, and is married: "Inma isthe person who sustains, encourages, and accompanies me." They have two small children,
a boy and a girl, plus a grey cat. He loves music, the cinema, and open-ended conversationswith friends.
Nathalie Goffrey. At 36, she works as an art director in Paris. She is fascinated by the graphicarts in general, and especially by typography, in addition to photography. She loves her job"and the beauty that surrounds us!" she says. She likes the iPhone, noting that "It’s very in-tuitive, very easy to use for both B&W and colour. In fact, I rediscovered photography thanksto the iPhone, a surprising tool which is always at hand to help us seize the magic moments.Just look around you –the world is magnificent!. She also likes the fact that "it's more dis-creet than a camera. I like taking walks and capturing moments of life, images stolen at thebend of a street. I like the spontaneity, the fact that nothing is planned or organised, for that'swhat what creates the magic moments!"
Her favorite application is Filterstorm, which she describes as "a mini Photoshop foriPhone".
Juan Grau de Miguel. He was born in Barcelona 38 years ago but moved to Madrid at theage of nine. He has always enjoyed photography and used simple analogue cameras in hisstudent days. His interest was heightened by his first reflex camera, but he still did no edit-ing. But he explains "About a year ago when I got an iPhone a girlfriend encouraged me totry some digital editing, and after experimenting with different apps I found I had a real tastefor it, and I am always trying new things."
Stig Jøssund. Jossend is a 43-year old media agency consultant who lives in Oslo, Norwaywith his partner Marte, and his 16-year-old son. He likes music and plays guitar. He’s hadan interest in photography, on an off, for several years. When he started out taking photo-graphs with his phone, he was quite sceptical as to whether it was possible to capture goodquality images that way All his photographs were made with the app Camera+. For editing,he’s been using Snapseed, Noar and the Rays. Today he is also using Dynamic Light,Blender and PhotoToaster. He is inspired by light and shadows. When he started he hardlyever photographed people, but now silhouettes of people have become his signature. Whenhe’s out photographing, he just starts walking, and lets the motifs come to him as he getsinto "the zone".
Thomas Kakareko. He is 26 years old and lives in Berlin, where he intermittently studiespolitical science and works in sales and marketing for different companies. Now on a breakfrom his studies, he and a friend are setting up a visual communication agency. He spendsmost of his free time shooting in the streets of Berlin "looking out for one of those specialmoments". He got into mobile photography fortuitously in November 2010: "One of my bestfriends and I were looking for an app to exchange pictures with our iPhones. Just a coupleof days before I’d read a blogpost about a new photo sharing app called Instagram. So wewent for it and in the beginning just followed each other. Knowing that I always have a decentcamera in my pocket I began taking pictures of everything around me. I didn't have a par-ticular style and hadn’t worked on any techniques at this time. It was really like exploring acompletely new world to me. There is even a cat pic buried deep down in my Instagram feed.After a couple of months of shooting pretty much everything, there's been a change. I startedfollowing a lot of talented people and got more and more inspired to develop my own style.I remember being so amazed by the consistence in the work of some of the people I fol-lowed. I recognised their pictures without even seeing their names. It became more andmore obvious to me that this is what I also want to reach in my work. I wanted to be able totell a whole story through one picture. While exploring this new world I already noticed acouple of things that were very helpful in reaching my goal. In almost every shot I took therewere people. I was so fascinated with how much the mood of a picture can change if there'sa small silhouette in it. It’s still one of my favourite compositions. I also noticed the consis-tent lack of colour in my pictures. It's not that I planned this but I felt that B&W was the bet-ter choice for the pictures I wished to share. That's the point at which it became clear to methat I wanted to be a mobile street photographer. And I was ready to put a lot of work andpassion into it. I can easily say that it was one of the best decisions I've ever made. My lifehas changed in so many ways since then, and all for the better. I have finally found a way toexpress my creativity, something I always wanted to do but never knew how. It's been almosttwo years now since I downloaded this little app and I couldn't be more thankful for all thepeople I met through it. So many insightful conversations and lots of mutual inspiration.Some of those people are part of my life today. I know that I still have a lot to learn but I'mlooking forward to everything that might be coming my way because I know that it's the rightone for me."
Niall O’Leary. Born in London in 1967, he now lives in Twickenham. He studied photog-raphy at Bournemouth And Poole College of Art and Design 1989-92, whose alumni in-clude Nick Knight and Wolfgang Tillmans. His work has appeared in such group showsas Primavera Fotografica Barcelona, Les Rencontres D’Arles France (1992) "ChineseWhispers", Photofusion, London (1994). His photographs have also appeared on thecovers of such books as Lovesong for India LOVESONG FOR INDIA (CounterpointPress), House of the Spirits (Random House UK), The Story Sisters (Random HouseUS), Las Ruinas del Amor (Circulo de Lectores), Comptoir des oceans (FlammarionS.A.), and two books edited by Emigdio Salgado, A Room With A View, and View To AThrill. He worked for the photographer Paul Kemp in 1986-1989, and for MillenniumImages from 1994-2012. He uses no apps except for basic Photoshop. His favourite au-thors include Brett Easton Ellis, J.G. Ballard, Bukowski, William Gibson, and PaulAuster.
José Padín. He began shooting at the age of 14 with a gift from his father, a YashicaMG-1: "I liked making pictures at the beach of my native town, the contrast of the roar-ing surf and the choppy sea with the serenity and calm conveyed in my shots." Laterhe acquired his first reflex camera, a Canon EOS 500, which enabled him to experimentuntil "everything began to fall into place". Self-taught, he remained an enthusiasticamateur as he explored B&W, colour, slides, etc. With the advent of the digital age hebought an EOS 300d. "At long last I could snap photos and see them immediately. Allthis and my taste for technology turned my hobby into a real passion and from then onI went nowhere without a camera. It was wonderful to be able to experiment with shotsand not have to count the cost! I love astronomy and enjoyed connecting my 300d to my8" telescope, making long exposures that captured light invisible to the naked eye –galaxies, nebulas, dust clouds. Someday I’ll take it up again. Since the focus of my 300dwas broken, for a long time I focused by hand, which was fun, but it led me to buy anEOS 7D, and later a camera without a mirror that I use with manual lenses. I enjoy fo-cusing manually and playing with the shutter. I love photographs with bokeh. He alsouses these lenses a lot with his Canon 7D. "We all agree that the best camera is notthe one with the best resolution or the best optics, but the one we have with us at alltimes." He celebrates the fact that the camera phone has revolutionised and univer-salised photography. "Nowadays almost everyone carries a camera phone, and thecameras get better every day and when something unexpected happened we can geta great picture, he says. "I started with a 3GS iPhone, but now I use an iPhone 4, andapps like Instagram, EyeEm, tadaa, Streamzoo, etc. let me upload new photos instantly.I love the idea that millions of people are doing this on a level playing field, with thesame equipment. Talent and imagination alone make the difference. This is photogra-phy in its purest state.
He now works mainly in B&W. "I love shadows and sharp contrasts. Silhouettes are aconstant in my work. I love playing with light, and I try to make each photograph newand different from the last. Each photo is a universe, and the slightest change in theframing or the intensity of the light can change the meaning entirely."
He also love motorcycles and "to jump on my Harley and make photos 'on the road'."
Jason Peterson. From New York City, he now lives in Chicago, where he is the chiefcreative officer of Euro rscg Chicago, a global full service advertising agency, and isresponsible for major TV, print and digital advertising campaigns. Previously he ranhis own agency in NYC. He says "I use Instagram as a creative break from my stressfuljob. I have always had a photographic background and Instagram is the perfect forumfor my shots. I like to create stark urban B&W images. I usually follow the guide ofshooting the light, vs. setting up a shot. I spend most of my time waiting for tiny peopleto walk into my shots. I shoot with iPhone 4s only. I edit with Filterstorm, Snapseed,and Luminance. I ride a bike to and from work and most of my images are found on mydaily rides."
Giacomo Por. Born in April 1969, Giacomo says he looks at landscapes with his headturned backwards, that he sees the eyes of inverted shadows, that he dreams with hishead hanging down, and despairs with his head held high. He describes himself as"Not orthodox nor orthogonal. In a hurry, but in no rush", and notes that "Nobody thusfar has convinced me of the necessity of not seeing". He "worships the majesty of thatwhich has no end", and he "resides on a cloud of gold, between the invisible hours andthe shadows of those puppets I wrench from the earth".
Georgina Rojas. Born in Mérida, Yucatán, México, she grew up in El Paso, Texas whichborders the Mexican town of Ciudad Juarez. She always had a passion for the visualarts, especially photography, and took her first formal photography class at the age of17. After studying International Business at the San Diego State University in Californiashe moved to Los Angeles and then to New York City where she worked in advertisingfor several years. There Georgina attended The New School for Design where sheearned a Masters Degree in Media Studies. She was able to focus more on her photo-graphical technical skills and studied with David C. Turnley, who won the 1990 PulitzerPrize for Photography. Georgina finds inspiration in the innocence and joyful nature ofher two children, Emilio (4) and Leo (2), as well as from Mexican culture. She is alwayson the lookout for photo opportunities and her iPhone is always within reach. Whentaking a picture she thinks about framing, composition and making the image appeal-ing to the eye. The iPhone or iPhoneography gave Georgina new motivation to explorephotography. She has more than 150 photography apps on her phone and the fact thatthey change so often makes it difficult for her to pick her favourites. However, the appsthat she is using most frequently of late are Hipstamatic, DXP, Cross Process, FilterStorm, Lomora 2, King Camera, Snapseed, and Blender. Georgina now lives nearChicago in Naperville, Illinois with her husband, her two boys and her two dogs.
Emigdio Salgado. Known as Millo (@mifjuz in Instagram), he lives in Colima, Mexico, ahalf hour from the Pacific ocean, where he was born in 1972. "Colima is a small city,"he says, "but there’s a lot there. It’s a marvellous place and one can live a quiet lifethere". He earned an architecture degree from the ITESO university in Guadalajara,where he took a course in photography. Now he has his own design and constructionfirm, and some of his works have been shown in the Colima Historical Archive and theMónica Saucedo gallery. He mainly uses Hipstamatic and Snapseed, but also Super-retro, Filterstorm, Noir and Camera+. "I have made collages, and more elaborate pub-lished work, but I prefer Hipsta with a bit of some Snapspeed filter, and that’s that!" Nik Sproal, He lives in Melbourne, Australia with his wife who is expected their first child.He is 40 years old and works as a Group Account Director in a branding and creative agency.He is also currently completing his final semester of a Masters in Advertising. He says hetends to spend his life "rushing from place to place and meeting to meeting and this has in-spired my photographic style –impulsive shots of life in the streets of Melbourne."
He recognises that he is "incredibly attracted to light and shadows –I love the air ofmystery and the things you don't see. I'm inspired by trying to find a sense of calm orsimplicity in the busy spaces we move in from day to day. I'm also invariably listeningto music when I take photos and this inspires the type of shots I create. I often namemy shots after what I listen to as a means of capturing the moment. I find that musicinspires my creativity and shields me from the things I am trying to shoot by cuttingout all the noise and other elements, which puts me in a really personal space. I use avariety of apps, though I tend to focus on Snapseed and Filterstorm for detailed edits,Noir for drama and lighting in B&W shots and Photo FX for additional touches. I loveto use depth of field and centre focus to bring the main subject of the shot to life or tonedown the lighting. I have also unconsciously adopted this habit because all my photoshave been shot with the iPhone 3GS. The limits of the phone have actually helped de-fine my style, which I have come to like and accept. I love the instant vibe of workingwith an iPhone. I tend to shoot and edit my shots on the spot to try to capture the mo-ment. The tools at hand mean that you can take the image down so many paths, de-pending on your mood and what you are trying to create. This flexibility offers real free-dom and has pushed me to create different images and interesting edits".
Outside of photography, his passions are music, reading, writing, cooking, dining outand keeping fit.
Santi Tur. In his photography, he tries to show some of the more undiscovered areasof his island home, Ibiza, and his work mainly revolves around Mediterranean natureand beaches. "By applying colours and textures in my work I try to achieve a certainretro and almost unreal atmosphere with flora, sunsets, local people and secret cor-ners," he says.
Shinnya Umetsu. "There are always movies, books, and music in my ordinary life. Par-ticularly books and music inspires me, and I output those images as mobile photogra-phy. "Enjoy."
