BLUR magazine | ISSUE 39 | October 2014

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BLUR magazine is published by Photography Association CREATUS (F.U.C.*), a nonproft association founded in August 2009 with
the aim of contributing to the development of the photography scene in Croatia, while promoting and connecting Croatian
photographers with their international colleagues.
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Artistic and educational photographic discoveries in BLUR Magazine often feature artistic imagery that might not be suited
to underage children. Although none of the content featured in BLUR could possibly be regarded ofensive, it does contain
artistic nude photography which is an integral part of photography since its beginnings. We recommend that minors explore
the content under adult guidance.
Parental advisory
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Our ship just got another brave sailor wholl help us make our exploration of the
infinite expanses of photography even more interesting. Michael Kirchoff is our new
editor of two BLUR sections - Instantion, a section devoted to instant photography,
and Wide, reserved for landscape photography.
Whenever we get a new team member here at BLUR we like to present him with
his own body of photography in the section hell be editing, before he takes over
the editorial baton. In this case, Ive decided to showcase his excellent Polaroid
photos in the Instantion section, leaving Michael to edit Wide in this months issue
of BLUR.
I trust his impeccable taste will be as pleasing to you as it was to us here at BLUR!
Michael, welcome!
Robert Gojevi, founder and editor in chief

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impressum
founder | chief editor | design | art director | desktop publishing
e-mail: [email protected]
editor of Pinhole & Playstick
e-mail: [email protected]
editor of Instantion & Wide
acting executive editor | PR
e-mail: [email protected]
Maurcio Sapata
Michael Kirchof
Ivan Pekarik
BLUR Magazine social media
e-mail: [email protected]
Petra Nenadic
Robert Gojevi
proofreading Michael McAllister
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CONTENTS
PROEYECT
SARA STOJKOVI
OPEN
NUNO HORTA
PINHOLE
JANSEN TANG
TETRA
MICHEL RAJKOVIC
WIDE
CHRISTA BLACKWOOD
WET PLATE
ROBERT KENNEY
PROJECT
GAVIN STOKES
INSTANTION
MICHAEL KIRCHOFF
PLAYSTICK
NINO CANNIZZARO
CLOSE UP
OLEG OPRISCO
CONTENTS
IMPRESSUM
GALLERY 36
INTERACTIVE ELEMENTS
COVER PAGE
BLUR INFO
A WORD FROM THE EDITOR
1 5 78 151
199
2 8 95
212
3 10 121
168
4 49 138
186
F ebr uar y | Apr i l | J une | Augus t | Oct ober | December | 2014
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Gallery 36 is a collection specifcally, an online exhibition of 36 outstanding and
impactful photographs put together with the aim of demonstrating the diversity and
beauty found in the world of photography. Photographs presented in Gallery 36 are
selected for their high aesthetic quality, composition, and wow factor.
Your photograph can also be part of this collection. Make your work visible to
thousands of people from all over the world by submitting your photo.
by Robert Gojevi
GALLERY 36
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GALLERY 24
by Robert Gojevi
JOIN THE BEST!
Submit up to two of your best photos
through our form below to enter our
editorial review process that selects
a total of 24 photos for publication
in the upcoming issue of BLUR. If the
magic number of 24 is already full, dont
despairyour photos will also enter a
BLUR community voting round, where
our readers will select an additional
12 photos that will complement our
editorial selection and constitute the
fnal 36 photos that will be showcased in
the Gallery 36 section of the next issue
of BLUR magazine.
Norwegian Beauty
Amber Spits
Netherlands
1
Color And Pastel Editorial
Dominika Komowska
Poland
https://www.facebook.com/dkomowska.shot
2
3
Untitled
Luciana Rodriguez
Argentina
https://www.behance.net/anemites
4
Old Beauty
Srinavin Kumar
Indonesia
Bela
Adriano Silveira
Brazil
www.adrianosilveira.com.br
5
6
Blue
Jessica Simpson
USA
www.jessicasimpsonphotography.us
7
Ancient Sphere
Carmen Carcamo
USA
https://www.facebook.com/carmencarcamo.photography?fref=photo
8
Bride of desert
Mehran Rahimzadeh
Iran
www.mehranshot.com
9
Wendy in the forest
Nikos Kostopoulos
Greece
https://www.facebook.com/pages/Koustoz/397560593660971
10
In silent moments I imagine
Koki Jovanovic
Serbia and Montenegro
http://500px.com/Kokisrb
11
Song of the Nile
Lamey
France
www.facebook.com/marc.lamey.7
12
Current Place
Kaleb M. Starr
USA
http://www.dinostarrfunk.com
13
Paulo Pampolin
Floating Market
Brazil
www.paulopampolin.com
14
Mont Saint Michel
Carlos
Spain
15
Working with the giant
Muhammad Islam Alwi
Indonesia
16
John and Yoko
Alvaro Gomez Pidal
Spain
http://cargocollective.com/agomezde
17
BlueJeansWhiteShirt
Milos Jovanovic
Serbia and Montenegro
18
Street Genius
Jefrey Itum
Philippines
www.facebook.com/blackhoodshots
19
Pier 40
Patrick Hamilton
USA
www.behance.net/patrickhamilton
20
The little fsherman
Maria Tomova
Bulgaria
21
Visible souls of a day
Deniz Okan
Turkey
www.denizokan.com
22
ALG2968
Cem Edisboylu
Germany
http://ungemuetlich.de
23
Stormy Weather
Jill Hyland
USA
http://www.jillhylandphoto.com/
24
Breathe
Francesco Gregori
Italy
www.francescogregori.com
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GALLERY 12
by Robert Gojevi
25
Savannah
Kayt Silvers
USA
www.bowkerhousephoto.com
26
Faye
Kelly Bird
United Kingdom
27
Greenhouse
Mischa Buckow
Germany
https://www.facebook.com/MischaBuckowFotografe
28
Medusa
Cristian Munteanu
Romania
http://cristianmunteanu.ro/
29
Safe Haven
Clara Wilson
USA
https://www.facebook.com/SmokeandMirrorsPhotography
30
Flaw
Paphawarin Rattanapuree
Germany
http://www.makeupberlin.com
31
Lost
Waldemar Markiewka
Poland
32
Mad ame from Simple Stories
Dominika Komowska
Poland
https://www.facebook.com/dkomowska.shot
33
Derwent water
Graham Hunt
United Kingdom
34
No Mans Land
Kris Lou
USA
www.krisandeerik.com
35
Presque Isle Lighthouse
Fred Hansen
USA
www.fredhansenphoto.com
36
Rose
Valery Selezneva
Ukraine
GALLERY 36 SPECIAL ARCHIVE
GALLERY 36 is designed as an inexhaustible source of inspiration, and thats why we created a SPECIAL ARCHIVE of all these
striking photos from around the world published in this column of BLUR over the years. With a single mouse click, you can
see all the photos from GALLERY 36 that we collected in more than 5 yearsin one place.
So start browsing!
49
Close-up | brings readers closer to a photographer by providing extensive insight into his work. The photographer is
presented through a wide selection of photographs, a detailed interview, and by highlighting important biographical
information. Imagine talking with a photographer whom you admire over a cup of cofee. This is exactly what BLURs
editor-in-chief does in this sectionvirtually, of course.
BLUR magazine | ISSUE 39 | October 2014 50
by Robert Gojevi
Good idea + good composition + color + atmosphere
Ukraine
OLEG OPRISCO
We live in exciting times. Even using only one site you can become famous. There
are excellent possibilities. Photographers and artists in the past had a much more
difcult time showcasing their work.
http://www.oprisco.com/
BLUR magazine | ISSUE 38 | August 2014 51
How would you describe your
photography to someone who
understands photographybut has
never seen your photos?
I can describe them in a few words:
Good idea + good composition + color +
atmosphere.
In your opinion, is it even possible
today to go unnoticed on the Internet if
thephotographers work surpasses the
average?
We live in exciting times. Even using only
one site you can become famous. There
are excellent possibilities. Photographers
and artists in the past had a much more
difcult time showcasing their work.
BLUR magazine | ISSUE 38 | August 2014 52
In what ways are you promoting your
work, and do you see it as an integral
part ofyour photographic eforts?
This is very important. Correct positioning
on the Internet opens up many
opportunities, sales and other ofers.I use
several photo sites and several pages on
diferent social networks. I try to make
every page easy for the viewer and ensure
that he immediately sees the best work.
Do you have the time to research
what is happening in the world of
photography (not photo gear), and if
so, how do you do it? Surf blind or do
youhave trusted destinations?
I have tabbed several photography sites
that interest me. And I sometimes look
at lists of the best works of large photo
sites.To be honest, Im very focused on
my art, so I do not want to be distracted
by others. I think it is very important not
to become hostage to others creations.
Im looking for inspiration from others.
BLUR magazine | ISSUE 38 | August 2014 53
How did your photographic journey
start? Are you self-taught? How long
have you been photographing?
I was born in the small town of Lviv, in
western Ukraine. When I was 16 years
old, I began working as an operator in a
small photo lab. I started taking photos
of friends and acquaintances. At age
18, I moved to Kiev, where I became an
assistant to a well-known advertising
photographer. We worked together for
four years, but that work did not bring
me pleasure. There was no creativity, only
commerce. When I was 23, I started from
scratch, taking my own photos. So Ive
been doing photography for six years.
BLUR magazine | ISSUE 38 | August 2014 54
How are your photos made? Is there a
formula or routine? Is your approach
well planned orcasual?
It all starts with the little black book
where I write down all the ideas. When I
feel ready to shoot (fnd the right woman
or the desired location, for example),
I start preparing. Ive found it best to
do everything myself. I come up with
a concept, create the clothing, choose
the location, and direct the hair and
makeup.When I was working at the photo
lab, I would look at hundreds of photos a
day trying to understand what the client
wanted and needed: warmer, richer,
brighter images always had more success.
So that dictated my choice. I worked with
what was best. Nowadays I am constantly
experimenting. Before shooting, I plan
the overall color scheme. According to
the chosen palette, I select clothes, props,
location, etc., making sure that all of it
plays within a single color range.The
accepted images go through the process
of scanning and color correction in
Photoshop. Its all very simple.
BLUR magazine | ISSUE 38 | August 2014 55
What must a photo have for you to be
satisfed with it?
For me, the main thing is atmosphere.
The best photography gives the viewer an
experience like watching a good movie or
reading an amazing book. I aspire to this.
Are there any of your photos that you
are more satisfed with, more than the
others?
Of course, but I believe that my best
photos will be in the future.
BLUR magazine | ISSUE 38 | August 2014 56
Almost all your photographs were
taken outdoors? Besides the natural
lighting, is thereany other reason for
this?
I love natural light, and I really want my
photos to reminded people of real life, as
if the viewer is just passing by or is spying.
Almost all of your models are women,
and if a man appears, he is paired with
a woman.Explain why?
Because I love women and their beauty
can photograph indefnitely. I do not
shoot professional models. It is very
important that the person inside, the
character, is associated with the concept
of the photo. Many photographers miss
this point and get very artifcial pictures.
Its like shooting in the role of the rider a
man who had never seen a horse.
BLUR magazine | ISSUE 38 | August 2014 57
How do your friends and family
respond to your photography? Dothey
understand your passion? Do you have
their support? And are they aware of
youruniqueness, your quality? Are you
aware of your qualities?
Yes, I have great support from family
and friends. I cant speak about that
uniqueness or any achievements; its too
early, I just started.
If Im not mistaken, all of your photos
are made with an old Kiev 6C. Tell us
something aboutthis camera.
It is the easiest medium format camera,
and it was my frst camera. Of course,
I have other systems, but I do not see
advantages to them. In Ukraine, this
camera can be purchased for $30 to $50. I
often hold workshops, and its very funny
sitting in front of many photographers
with $2,000 to $3,000 cameras and lenses,
and on my table is an old Kiev 6C.
BLUR magazine | ISSUE 38 | August 2014 58

Medium format requires deliberate
photography, certainly in my case with
my Kiev 88. :)How many frames do you
usually shoot for one scene?
I have a lot of experience; so I do not
make beginner mistakes. I very seriously
prepare, and I know what I will shoot, so I
shoot 12 or 24 frames, which is one or two
rolls of flm.
How often does happen that you have
a roll with several good photos and you
fnd it hard tochoose the best one?
I do not shoot photo series, so choosing
the best shot is very easy.
BLUR magazine | ISSUE 38 | August 2014 59

Your color photos are incredibly rich.
How do you manage that? Reveal your
secret. :) Is it just a matter of choosing
the right flm and time of day?
Of course, the timing of shooting and the
choice of flm are very important. It is the
foundation of the resulting color. After
scanning, I edit the color in Photoshop
without fanaticism. The fnal shots are not
much diferent from the source.
Do you own a darkroom or are you
giving your flm to someone else for
development?
I do everything myself except
development. Color flm processing is
very expensive and risky.
BLUR magazine | ISSUE 38 | August 2014 60
What is your attitude toward digital
photography in general and of modern
technology, like smart phones and the
millions of flters on them?
I like that photography has become so
afordable. We have to wait until there is
more thought and meaning.
Tell us about your inspiration. What
inspires you, where do you draw it
from?
Each of my photos is a scene from real life.
That is the perfect source of inspiration
for me as there is so much beauty to it.
Perhaps today on my way to work, when
I was observing the world around me,
that was the scene to inspire my next
photograph. Of course, there are my own
changes that I add to the reality, such as
characters, props, location, and light ... I
am constantly searching for inspiration
and ideas. We live in exciting times.
Everything changes very quickly: the
weather, architecture, landscapes, people,
time. We can all see in real time and in
real time share these impressions. Im sure
all that surrounds useverything that
happens in our livescan be a unique
source of inspiration. No sense in stealing
someone elsesonly the original, only
a unique creation. You can be sure that
any artist of the 18th or 19th century
would be very jealous of us. We can live
anywhere and create anything and show
it around the world. Everything is in our
hands.
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Copy editor: Michael McAllister
CLOSE UP
by Robert Gojevi
78
Project | is a section that presents a photographer through a series of photos united by a particular theme that works
as a cohesive whole and is elaborated on by an artist statement.
BLUR magazine | ISSUE 39 | October 2014 79
by Robert Gojevi
Ireland
Sleeping Saigon
GAVIN STOKES
These photos were taken over a three-month period in Ho Chi Minh City (formerly
Saigon) in order to capture the way in which the citizens of Ho Chi Minh City
(HMC) are at ease within their chaotic metropolis sprawl. Although there are many
aspects of day-to-day lifelike exercising, dancing, Tai Chi, family meals, or board
gameswhich are actually carried out on the frantic streets of HMC, the ease with
which the Vietnamese sleep, no matter what the location or time of day, for me
captures their relationship with the city.
http://www.stalledtime.com/
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93
Copy editor: Michael McAllister
PROJECT
by Robert Gojevi
GAVIN STOKES Bio

Photography for me is something that I have been discovering, enjoying, and striving with for the past
15 years. It is a means to express how I feel about a subject, whether it is through a single image or a
series of images. Transferring that one moment to an image that is experienced through so many more
senses than just sight is something I always try to consider when taking photographs.
BLUR magazine | ISSUE 39 | October 2014 94
The mission of BLUR magazine is to provide a venue for unique and extraordinary photographs
without insisting on the use of specifc techniques, tools, or themes. Do you have a photo project the
world needs to see? You can submit your whole seriesits simple:
1. Tell us about your project: where it was taken, what inspired you, what was the idea behind the
project, and how many photos are in the series.
2. Send us a URL where the project can be seen.
3. If your project is selected, you will be contacted and asked to provide more information about
the project and yourself (brief bio).
A photo project can be submitted by any photographer who
develops a good idea and then makes it a reality, Were looking
for photographersprofessional or amateurwho can plan
and execute.
Although we always publish each photo on a separate page for
the best viewing, its expected that all photos in a series will
work as a cohesive whole. We also expect the photographer to
communicate something in his or her work thats not found in
their biography.
There are no limits when it comes to theme or subject matter.
What kind of projects are we looking for?
95
W
P L A
WET PLATE is a section dedicated to an antique photographic process discovered in the mid 19
th
century, which was also
a primary photographic method used until the 1880s. It refers to a process of pouring a solution collodion onto a plate of
thin iron or glass, then placing the plate into a camera and exposing it to the light and, at the end, developing that plate
while it is still wet, which is the reason of naming the process (and our section) wet plate. The images resulting from this
process can be ambrotypes, glass negatives or tintypes. Although quite a demanding, expensive and lengthy process,
wet plate collodion technique is gaining back its popularity among many contemporary photographers.
FRIENDS OF WET PLATE section
96
W
P L A
Time slows
Wet plate is of a diferent era, a diferent sense of time. Time slows. Sometimes
to a meditative state. It has a pulse and rhythm all its own. It engages the maker
and the subject. Ones presence is required. It is primitive and difcult, an authentic
experience. Not easy to dismiss. Whats not to love?
ROBERT KENNEY
Canada
by Robert Gojevi
W P L A
http://www.robertkenney.ca
BLUR magazine | ISSUE 39 | October 2014 97
W P L A
Mr. Kenney, you are not easy to present.
Behind you is a 27-year professional career
and your work could fll an entire issue. :)
Even for our Wet Plate section, it has not
been easy for me to make a choice of your
photos. You are equally amazing in portraits,
fashion photography, nudes, and still life. Tell
us when and where you frst encountered the
collodion process. And how is the wet plate
scene in Canada?
I started this journey about three years ago. Im
a big fan of Sally Manns work. She came out
with a book entitled Deep South. About a third
of the images are done with wet plate. When I
frst saw them I was blown away. I knew then, I
had to do that.
The scene in Canada is kind of non-existent.
It was a struggle at frst to fnd the various
components and chemistry to make it work.
Everything has to be shipped into Canada,
which is expensive, and setting up a darkroom
and fnding lenses and cameras was time
consuming. Thankfully the re-emergence of this
art form was gaining momentum in the States,
so all the necessities were readily available.
BLUR magazine | ISSUE 39 | October 2014 98
W P L A
How much time passed from the time you
frst saw wet plate photography to your
own attempts with the technique? How did
you become acquainted with the collodion
process? Who introduced you to it?
It took about a year to get organized and
put all the components together. I have an
existing studio so that part was easy. Finding
Bostick & Sullivan and Lund Photographics
and Ray Morgenweck and John Cofer were
harder, but once I had the components and
resources I jumped in and by trial and error
and the patience of Dana at Bostick & Sullivan, I
managed to fnd my way. Its worth noting that
Im self taught and spent many years shooting
large format and working a darkroom, so it
wasnt like I jumped in the deep end.
BLUR magazine | ISSUE 39 | October 2014 99
W P L A
What gave you the most problems in the
collodion process? Did all go smoothly, or
where there beginner problems?
Interestingly, it wasnt the process that was
problematic. With anything new and complex
there are plenty of hiccups, but all in all it
didnt take long to master the technique
and the chemistry issues. What did prove
challenging was shooting the mosaics. Getting
the perspective right. Having a model sit for 5
hours. The weight of the fnal pieces. These were
problems.
For me, aside from the fnal image, the big
attraction is the limitations presented by this
process.
Sally Mann got it right when she said, May
the angel of uncertainty visit my plates. She
qualifed that by adding, but not too much.
Until you see the plate, you dont know how
much. Thats a big part of the joy.
BLUR magazine | ISSUE 39 | October 2014 100
W P L A W P L A
Many wet plate photographers emphasize
how collodion is full of surprises, and thus
the failure too. What can you tell us about
that from your own experience?
I love the look of flm, but Id never go back
to it for commercial work. Digital is so easy
when you shoot tethered to a big iMac. I used
to evaluate a shot based on a small Polaroid,
now I can de-construct everything and make
micro adjustments as required. The sacrifce
is, of course, craft, which has been replaced
by image enhancing software. I think the
younger generation is being shortchanged by
technology. As convenient as it is, its inherently
superfcial and unsatisfying. I know that through
my own experiences. Regardless of my personal
feelings, and though I believe it has devalued
the image making process, digital is a fantastic
tool, especially in capable hands. Erwin Olaf
comes to mind.
Wet plate is of a diferent era, a diferent sense
of time. Time slows. Sometimes to a meditative
state. It has a pulse and rhythm all its own.
It engages the maker and the subject. Ones
presence is required. It is primitive and difcult,
an authentic experience. Not easy to dismiss.
Whats not to love?
BLUR magazine | ISSUE 39 | October 2014 101
W P L A
Tell us about your Anthropomorphia series.
In this project, your fashion experience is
very obvious. How did you come up with the
idea of the mosaic of several plates into one
piece?

As I was driving the other day, I noticed a car
with big eyelashes over the headlights. It made
me smile. As humans, through naivety and
arrogance, we place ourselves at the center
of experience. We forget that, in reality, our
experience is very limited and, as a result, very
limiting. Anthropomorphia is a gentle reminder
that there are so many things we do not, and
may never, understand. Its the mystery that
makes experience so exciting. In defning
experience as a set of absolutes, you forget that
you are an inseparable piece of the mystery.
The mosaics were simple problem solving. My
current camera shoots 8 x10 plates. Bigger
is de rigueur. Scanning and printing bigger
images solved the size issue, but everything
about the mystery got lost in translation. While
researching daguerreotypes, Chuck Close came
up. He is the American painter who paints very
large portraits using small abstracted squares.
That reminded me of David Hockney and his
multiple Polaroids to create a single scene.
Mosaics! Problem solved. :)
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W P L A
I wonder, given the time required for the
collodion process, how you managed to do
it? It must be very demanding both for you
and for the model. Do you have assistants
who help you during the process?
Having the background I have serves me
very well in producing the mosaic scenes. Ive
learned through the demands of commercial
work to be very organized, so all elements are in
place before we turn a camera on to the scene. I
also have the luxury of a very profcient support
team and especially a very patient model. I work
extensively with the same model. She is a willing
and invested collaborator. I cant say enough
about how important this is. When you have a
model on set and in position for fve hours, you
want to know she is on your side. Its exhausting
for everyone, but so worth it.
Tell us about the series Numina?
Numen means the spirit or divine power
presiding over a place. Numina are represented
in the form of the divine feminine, her power
expressed through extraordinary historical
fgures, strong and warrior-like in spirit. These
women reference the archetypes of a time that
pre-dates the current patriarchal zeitgeist and
pay homage to the feminine as the source of all
creation.
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W P L A
Reverentia and Arte Factum are something
completely diferent; I would say calming and
meditative. Was their making also like that,
calm and meditative?
Reverentia and Arte Factum are for me
expressions of another aspect of an inner
search. Flowers represent for me a deep sense
of quiet reverence, so willing to express their
feeting beauty for everyone and no one in
particular. Natures famboyant little show ofs.
Arte Factum is to some degree the examination
of the value placed on objects. Their design,
their utilitarianism, their patina, their history
in general or in our own lives. This group of
images is often referenced as decorative, but
I would argue that beauty for its own sake is a
worthy pursuit. Joseph Campbell would argue it
vehemently.
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W P L A W P L A
One famous American wet plate
photographer said that he does not like
firting with pornography in our Wet Plate
section. I was immensely surprised by the
statement because I carefully watch what
we publish in BLUR. Your series of nudes,
Anatomie, is beautiful, so I wonder what
you think of people who do not see a clear
distinction between pornography and
artistic nudes?
People see what they see. If you believe its
pornography, you will see pornography. We all
have levels of acceptance and a righteousness
around the thin veneer of our beliefs. I cant
be bothered getting all worked up about
it. If you dont like it, dont look. What has
been interesting with my Anatomia work is
that women are the most responsive to and
appreciative of it.
BLUR magazine | ISSUE 39 | October 2014 105
W P L A
What is your opinion of the fact that violence
is more tolerated than an artistic act? How
open are people in Canada to artistic nudes?
It is a curiosity for sure, and of course,
pornography can also be another form of
violence. The question that comes to my
mind is about human propensity to any kind
of violence. Are we violent by nature or is it a
learned and culturally encouraged behavior.
As to nudity in Canada, artistic or otherwise,
there are small pockets of enlightenment and
a mostly overarching puritanical ethos. Whats
amusing is that Playboy is no longer necessary
as a source of softcore titillation; you can just
buy a fashion magazine. :)
BLUR magazine | ISSUE 39 | October 2014 106
W P L A
What is your biggest challenge in
photographing, despite your great and rich
experience?
Its difcult to be an artist in this current
climate. Getting people to see the value of a
photograph, even just holding their interest
for more than a few seconds, is labor intensive.
Getting them to part with their cash is close to
impossible. :)
Do you follow what is going on in the world
photography scene, or do you live isolated
in your own creative world? Where do you
fnd inspiration for your work?
I have moments of frenzied research and others
of deep introspection. I need to work from a
balanced place: neither socialite nor hermit, in
the world but not of it.
In my work Im not really interested in historical
accuracy or re-enactment per se. Im not
faithful to formulaic ideas or processes and not
beholden to the current photographic zeitgeist.
Im interested in chasing contextualized beauty
and the deeper longings of the soul. An intuitive
journey informed less by intellect, more by the
heart. Wet plate has given me the means to
express these ideas outwardly.
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W P L A
Can you name a wet plate photographer
whose work you are impressed by?
Sally Mann.
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Copy editor: Michael McAllister
WET PLATE
by Robert Gojevi
CAPTURE THE DETAIL
Epson Perfection V750 Pro
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Newton rings
Find out more: www.epson.eu
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W P L A
Traveller box, for 912 cm or 45 inch plates.
For up to 24 plates, aluminum or glass (up to 3
mm thick).
Uses:
- Storage of glass plates after cleaning, before a
work session.
- Transport of freshly made plates, even wet,
avoiding marks and dust.
- Occasional transport & storage of tintypes and
ambrotypes.
It has three grooved slats that hold the plate by
three points. His semicircular profle minimizes
the contact with the plate.
The slats are interchangeable, avalaible for 912
cm or 45 inch.
Other formats on request.
Made of plywood okoum. Grooved slats made
in iroko wood. Water resistant.
Finish: tung oil.
Measurements: 295 x 160 x 170 mm
Weight: 990 gr. aprox.
MORE INFO
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W P L A
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INSTANTION is a section dedicated to instant analog photography. The name of this section combines the words
instant and station, or as we call it, a place for instant photography. Instant photography refers to any photographic
process that allows photo development without the darkroom. Instant photography was developed in the 1930s by
Edwin Land, founder of the Polaroid Corporation. Because of its popularity, most of the photographers in this section
use Polaroid flm, but artists using Impossible or Fuji instant flm are certainly welcome.
BLUR magazine | ISSUE 39 | October 2014 122

It was difcult to understand the contradiction between the harsh ideas
Americans had of Russia and the whimsical nature of what I was seeing on
television. I now satisfy my curiosity by traveling there, and capture these
dramatic scenes with the same feeling of wide-eyed wonderment I had felt
as a youth, mimicking the visions of my earliest ideas of Russia.
MICHAEL KIRCHOFF
USA
by Robert Gojevi
http://www.michaelkirchof.com
BLUR magazine | ISSUE 39 | October 2014 123
An Enduring Grace
An Enduring Grace is an ongoing project based on my exploration of
the cultural landscape of Russia, as well as its surrounding countries
and former territories that have seen its continuing infuence. The
images are a fulfllment of distant childhood curiosities of Russia, then
the Soviet Union, as a place very few people seemed to know much
about. I remember watching black and white television in my room
and seeing news reporters broadcasting from the center of Red Square
in Moscow. That image of St. Basils Cathedral behind the reporter
reminded me more of Disneyland rather than the evil empire of which
he spoke. It was difcult to understand the contradiction between the
harsh ideas Americans had of Russia and the whimsical nature of what
I was seeing on television. I now satisfy my curiosity by traveling there,
and capture these dramatic scenes with the same feeling of wide-eyed
wonderment I had felt as a youth, mimicking the visions of my earliest
ideas of Russia. I have been entirely caught up in the beauty and scope
of this amazing land, and have been rewarded with a culture that
preserves its heritage and landscape, so dearly held by its people. An
impressive thread of history runs through Russia that never seems to
have been forgotten.
I believe these images require mystery from deep shadow to portray
the unclear ideas of my youth, and my chosen artistic process to give
them the gritty texture and depth they so deserve. With this process I
also strive to strip away much of the realism and highlight the surreal
qualities of my early dreamlike notions. These are the expectations that
were not always so clear and contain a perspective slightly askew of
monuments on a grand scale. The framed and fractured photographs
of An Enduring Grace are born from my childhood minds eye, and
respect a land where the strength and character of its people are also
refected in the landscape, cathedrals, and memorials to its fallen
soldiers.
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Artist BIO
Michael has spent his years capturing the still image of people,
cultures, and landscapes from around the world, to around the block,
with a very unique and distinctive style. A native Californian, Michael
resides in Los Angeles, though equally at home trudging through
Redwood forests, riding the rails deep into Siberia, or navigating the
chaotic streets of Tokyo. He photographs with many types of cameras
and flm, from a clunky toy camera to the latest digital model, using
each as a tool for a specifc use.
Michaels fne art imagery has garnered recognition from the
International Photography Awards, the Prix de la Photographie in Paris,
Photographers Forum, and Critical Mass. He has been published in
Black & White, PH, Square, Seities, Adore Noir, Fraction, and Difusion
Annual, as well as high profle photography blogs such as Lenscratch
and Light Leaked, and continues to exhibit his prints internationally.
The wisest words Michael ever gleaned from his father were to do what
you love as your lifes work. Truer words have never been spoken.
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Copy editor: Michael McAllister
INSTANTION
by Robert Gojevi
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PLAYSTICK is a section dedicated to toy camera photography. The name Playstick comes from a well known
simplifed male fgure illustration called Play Stick. The name also contains the word plastic as an association to plastic (or
toy) cameras like Diana, Holga, Lomo LC-A, Lubitel, and others.
FRIEND OF PLAYSTICK section
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by Maurcio Sapata
NINO CANNIZZARO
Unstructured_City
Italy
The idea behind the project developed some time ago, when I watched the Qatsis trilogy
by Godfrey Reggio. I then modifed my toy camera, a Holga 120, to make panoramic pho-
tos. In Unstructured_City, I superimpose, overlap, decompose and deconstruct cityscapes
while Im photographing. By doing this, Im able give them another meaning and a dif-
ferent vision from reality, with the focus on the modern human being and his supposed
progress.
http://www.ninocannizzaro.com

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Nino Cannizzaro was born in Palermo, Italy. He started taking photos in 2006 as a self-taught photographer.
Hes currently living and working in Italy.

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Copy editor: Michael McAllister
PLAYSTICK
by Maurcio Sapata
BLUR magazine | ISSUE 39 | October 2014 150
http://www.fojo.me/
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PINHOLE | is a section, as its name says, dedicated to pinhole photography. This type of photography is created with
a pinhole camera, a camera that uses a small aperture, usually the size of a pinhole, instead of a lens. Basically, the
smaller the hole, the sharper the resulting image. Because of their simplicity, pinhole cameras are often handmade.
The concept behind the pinhole camerathe camera obscuradates back to the time of the ancient Greeks and
Chinese. It was even mentioned by great thinkers like Aristotle, Euclid, and Mo Jing. However, the frst photograph
created with a pinhole camera was by a Scottish scientist, Sir David Brewster in the 1850s.
ONDU
FRIEND OF PINHOLE section
BLUR magazine | ISSUE 39 | October 2014 152
by Maurcio Sapata
Singapur
Vicissitudes of Nature
JANSEN TANG
Using a pinhole camera (especially like the ONDU) is a visceral experience. One
experiences an organic rawness, in a way that one subjects oneself to the vicissitudes
of Nature. Francis Bacons Nature, to be commanded, must be obeyed rings in my
mind every time I load flm...
https://www.fickr.com/photos/126325172@N08/
BLUR magazine | ISSUE 39 | October 2014 153
My name is Jansen Tang. Im a travel, landscape, and stock
photographer based in Singapore. Like many readers, I fund my
photographic passion (and my family) with a day job.
After some years at the art, I have considered myself to be
equipment agnostic, and instead, concern myself with one
fundamental question: how does one create hauntingly evocative
images using the gear that one has at hand? As humans, the
combination of technical factors that brings about the emotional
wow factor in a photographic creation remains a popular topic.
As a tinkerer, I indulge in Gear Acquisition Syndrome (GAS) in a
manner that does not break the bank, and each purchase brings me
a little closer to understanding the question above. I have stopped
purchasing digital cameras of late, and instead have gone back
to the world of analog photography where the emphasis was on
making photographs instead of pressing buttons.
Sometime in 2013, I funded two Kickstarter projects, both, which
in retrospect were the most important investments in my journey.
The ONDU wooden pinhole camera (http://www.ondu.si), and
the LUMU light-metering device were projects and products that
complemented each other immensely.
BLUR magazine | ISSUE 39 | October 2014 154
Ever since I onboarded ONDU ofcially into my tool collection, I
have discovered the complementary world of black-and-white,
color and slide flm and their respective processing methods.
I used a Think Tank as my larger-than-full-frame bag and since
have added two more ONDU cameras to my photon collectors.
Using a pinhole camera (especially like the ONDU) is a visceral
experience. One experiences an organic rawness, in a way that
one subjects oneself to the vicissitudes of Nature. Francis Bacons
Nature, to be commanded, must be obeyed rings in my mind
every time I load flm into an ONDU and every time I take a light
reading with the LUMU or lift the shutter arm of the camera to
expose the flm. The almost entirely wooden construction blends in
with the natural objects that are the subjects of my light study.
One learns to be kind to oneself when using an ONDU.
Equally so when I prepare the flm for development in the darkness
of a light tent or count down the seconds to the next chemical
change.
Especially so when the scanned image appears on screen, and in
contemplation of apparent success or seeming failure.
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When Elvis Halilovi of ONDU reached out to me and suggested
that I write a feature for BLUR magazine, I hesitated. How does one
write a memorandum of ones photographic journey? The answer
came to me in a personally profound statement: get out of the way
and let the images speak for themselves.
I hope I have done so successfully here. To those readers who are
reading this: do be kind to yourself, and more importantly, continue
to make photographs.
Jansen Tang
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Copy editor: Michael McAllister
PINHOLE
by Maurcio Sapata
TAKE THE TIME TO STEP BACK AND ENJOY PHOTOGRAPHY ONCE MORE!
BUY ONDU PINHOLE CAMERA
ONDU.SI
ONDU
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TETRA | is a section dedicated to a specifc type of photography: black and white, square-format images that are
recognizable for their minimalism and high aesthetic value, often making use of long exposures. The section name
comes from the Greek word for the number four, which symbolizes the four equal sides of the format.
BLUR magazine | ISSUE 39 | October 2014 169
by Robert Gojevi
France
A dream in the middle of Nowhere
MICHEL RAJKOVIC
There are places that carry you, lights that you freeze, and emothions that you feel. It is through a
long period of research and location scouting that his work begins. Michel Rajkovic does not try to
capture the landscape as we perceive it. On the contrary, patiently, with long exposure techniques,
he invites time and chance to have their say. Giving great care to each composition, taking the
necessary time to research and obtain the best conditions for shooting: time, light, framing, etc.

In these moments, forgetting the time of seeing, Michel Rajkovic just tries to share the emotion he felt:
a dream in the middle of Nowhere..
http://www.michelrajkovic.fr/
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There are two main series in my work: Nowhere and Iceland

Nowhere :

In this series, I concentrate on the imaginary part of the image. What
interest me in photography is the imagination beyond the reality. Thats
why I work with long exposure times, to get away from the reality. But all
places Ive photographed are real and without digital manipulation (even
if I work in digital). The only alteration is the B&W conversion.
Some of my work is very minimalist, like this one. My goal is to give space
to the viewer to put their imagination into the images. I dont try to tell a
unique story, I prefer that viewers
fnd their own story.
The best part in my work is to take the images, to wait for the good light,
and to think about the framing. Often in my work I visualize the result I
want even before I take the image, even before I leave home for the trip. I
know for each place Ill photograph the light I expect; sometimes the light
is perfect, sometimes is not, so I plan to come back. Im excited like a child
when the light is perfect for my needs (no sun, and I really like fog).



Iceland :

I went to Iceland twice for this series: In October and February of the next
year. My goal was to shoot two diferent views of Iceland. My work on
Iceland difers from the Nowhere series. Here I concentrate on the natural
wonders of Iceland, but Ive tried to keep my touch of Nowhere.





To follow
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Beyond
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Last Trip
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Gullfoss #1
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Gullfoss #3
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Iceland in Winter
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Icelands rock
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In the blizzard #2
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Lost in Iceland #3
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One in Five
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Only one
181
Ray of Light
182
Skogafoss #1
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The Lighthouse
184
The Rock
185
Copy editor: Michael McAllister
TETRA
by Robert Gojevi
Petrifed Troll
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WIDE | section devoted to promoting landscape photography. This section strives to expand our presentation of these
kind of photos, which have been somewhat underrepresented in BLUR magazine in their classical form. Sometimes it
seems that landscape photography isnt very creative because it relies mostly on Natures beauty and is, therefore, more
technical than artistic. In this section we want to prove that human creativity, indeed, plays a major role in capturing the
beauty of Nature in its full glory. Since landscape photography is a rather general term, we will try to present various
approaches to this genre in this section, regardless of techniques used.
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by Michael Kirchof
CHRISTA BLACKWOOD
USA
A Dot Red
a dot red, a series of hand-pulled photogravures, explores new perspectives on
traditional genres and images found in landscape and portrait photography. By
combining historical photographic techniques with more contemporary conceptual
strategies, these works shift the focus of attention, and enable a reconsideration of its
classical subjects.
http://www.christablackwood.com/
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naked lady: a dot red
Blackwoods work employs both historic and
modern photographic techniques to critique and
give a contemporary and feminist voice to her
photography. Exploring the idea of the fgure with
a red dot, backgrounded by historical landscape
photographs, tradition and contemporary theory
mingle, merge and clash. These traditional
landscapes - historically photographed by men - act
as metaphor for a
male view, and through this the feminine metaphor
of the red dot emerges and creates a visual enigma
which deliberately defes this tradition. Often and
traditionally portrayed as nudes, the female body in
photographs stands in stark contrast to the portrayal
of men - often the ones taking the portraits - famous
male photographers such a Weston, Steiglitz, Man
Ray, etc, who commonly employed the male gaze
approach. A fnal, distressing statement is made in
the last photo of the series, the red dot itself, with an
anonymous female fgure, divided.
W. Tanner Young, Filter Photo
BLUR magazine | ISSUE 39 | October 2014 198
Copy editor: Michael McAllister
WIDE
by Michael Kirchof
the boys of collodion
The young bare-chested men in this series of portraits, with their free-fowing dark hair and their wide-
opened stares, seem to harken back to the frst decades of photography, as much as having been pulled
from the local skateboard park. Glued to whatever it is that is confronting them head-on, their fxated gazes
might betray the name of the place that they mythically hail from: Collodion, from the Greek
kollds, meaning gluelike. Looking as though they have become suddenly entranced by the song of
the sirens, or nearly petrifed by the head of the gorgon, the boys of collodion are our modern day kouroi.
Stripped of colour except for a single red badgemedal and scarthey are glued and unglued at once.
John Paul Ricco
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OPEN | section in which we try to widen our horizons by crossing the boundaries of themes weve emphasized in BLUR
during the past few years. This section will host street, documentary, concert, experimental, and other types of photography,
and even photo manipulation. The creative approach is still the most important aspect in choosing photographers, but
we will show preference for those who could be described as diferent.
BLUR magazine | ISSUE 39 | October 2014 200
by Robert Gojevi
Portugal
NUNO HORTA
White Wedding
The White Wedding series is more an immersion in the universe perplexing, but
always with the beauty present, and where the irony and humor also mark a space.
This time, making it invisible not only the faces but also the bodies of two unlike-
ly betrothed, a singular ceremony coming from a black dream photographed in
white.
http://www.nunohorta.com
BLUR magazine | ISSUE 39 | October 2014 201
White Wedding
Imagine a reality coexisting with two parallel dimensions. One of these dimensions would
be simply the one that we live in, where we exist as ourselves.
The second, an alternate reality where all of us would have another one, a projection of a
world without constraints of any order, an almost cinematic existence within an imaginary
admittedly obscure.
Who are the characters that Nuno Horta creates for shooting? And in which way models
and characters can be the same for the shoot, an alternative imaginary, disturbing dreams?
The photographic work of Nuno Horta establish this passage. His gaze interprets people
who see a real dimension, then they are transfgured.
An exercise of discovering the self, then settles a visual manifestation of some hidden
appeal that lodges in the most inaccessible places of the human mind. This artistic fction is
as bleak as efulgent.
The atmosphere is terrifying, but enigmatically seductive. Where it forms the border?
The allure of Nuno Horta by this dichotomy between good and evil, if we may defne it, is
also the result of his rebellious youth, marked by gothic and punk infuences, and a latent
thirst for transgression.
The White Wedding series is more an immersion in the universe perplexing, but always
with the beauty present, and where the irony and humor also mark a space. This time,
making it invisible not only the faces but also the bodies of two unlikely betrothed, a
singular ceremony coming from a black dream photographed in white.
Festive pictured with bandages. Smiles of faces not disclosed. The union of two strangers,
nonexistent beings. Crosses and guns, karaokes of deceased, a plastic child, giveaways and
a cleaver.
The dance between life and death satirized by the lens.
Sergio Currais, May, 2014
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Copy editor: Michael McAllister
OPEN
by Robert Gojevi
Nuno Horta, 1977, Portugal.
Works and lives in Oporto, Portugal
Visual Arts | E. S. Soares dos Reis, Oporto
Design | ESAD, Matosinhos
Since 1994
Developing works in Web and Graphic Design, as well in Photography.
Since 2004
CEO at the design studio Nhdesign. www.nhdesign.pt
Individual Exhibitions
2014 White Wedding, Nuno Sacramento Arte Contempornea, lhavo.
2013 Mask, Viriato & Viriato, gueda.
2012 Mask, Palcio das Artes, Oporto.
2012 Mask, Teatro Municipal da Guarda, Guarda.
2012 Oporto Landscapes, El Corte Ingls, V. N. Gaia.
2012 Mask, Espao 110, Oporto.
2009 Extreme Ways, Centro de Artes e Espectculos, Guimares.
2004 Dgitos, Cirurgias Urbanas, Oporto.
2003 X-Rays, Galery Labirintho, Oporto.
Collective Exhibitions
2014 Vinho & Fado, Curadoria Nuno Sacramento Arte Contempornea, Museu do Vinho
da Bairrada, Anadia.
2013 Bakalhau, Curadoria Nuno Sacramento Arte Contempornea, Centro Cultural de
lhavo, lhavo.
Publications
Vinho & Fado, Art Catalog, 2014.
Blur Magazine, International Photography Magazine, n 32, 2013.
Bakalhau, Art Catalog, 2013.
arte.es, International Art Magazine, n 53, 2013.
212
PROEYECT | is a little brother to the PROJECT section. Its purpose is to present mini projects, i.e. sets of photos, which
are too few to included under PROJECT, but by their quality, unifed theme, and story, deserve collective publication.
Photographers often tell a kind of story through several photos, and this is the place for such stories. The number of
photos is not a primary concern, so in this section, we may publish several unrelated stories.
BLUR magazine | ISSUE 38 | August 2014 213
by Robert Gojevi
The Old Northern Cemetery (Alter Nordfriedhof ) in Munich enjoys a somewhat
unexpected fate over the summer people sunbathing, reading, hanging their
hammocks or playing with their dogs among the tombstones.
Serbia
An Afternoon
SARA STOJKOVI
http://www.sarastojkovic.com
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// Project description
The Old Northern Cemetery (Alter Nordfriedhof ) in Munich enjoys a somewhat
unexpected fate over the summer people sunbathing, reading, hanging their
hammocks or playing with their dogs among the tombstones.
How we use and transform public space defnes us as a society. Our relationship to
the holy in general, to the sacred space and, as such, to cemeteries defnes our
relationship to life and death. In my opinion, a re-appropriation of this kind is a
powerful component of social and urban education. We draw lines, set boundaries
and set up monuments all in the efort of sharing concepts of value and identity as
a society. My aim with the series is to draw in and involve the viewer with the subtle
feelings of comfort or uneasiness resulting from the encounter.
// Biography
Sara Stojkovi is a photographer and educational scientist born in 1985 in Subotica,
Yugoslavia. In her photographic practice she is interested in perception shifts and
visual transformations; exploring public spaces, the themes of beauty and urbanism,
and attitudes towards the holy and the sacred.
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Copy editor: Michael McAllister
PROEYECT
by Robert Gojevi
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