PH_magazine_-_Issue_40_2014.pdf

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Portfolios Carly O’NeilDaniel LipszycDavid GunisOliver WeberVirgil DiBiase

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Cover Photo by Virgil DiBiase

ISSN: 1924-9424Toronto, ON, Canada 2014

Contact: / Editorial: [email protected] / Advertising: [email protected] phone: +1 905-581-4980 / www.phmag.ca www.facebook.com/phmagazineonline

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editor: Patrik Jandakco-editor: Rodrigo Bressaneco-editor: Gary Mitchelldesign: art_photo

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PH Magazine © 2014 Jandak Photography, All Rights Reserved. Image copyrights remain with the respective photographers. Images used by permission.

Daniel LipszycDavid GunisOliver WeberCarly O’NeilVirgil DiBiase

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Street Photo is the theme for this month issue of PH magazine, we asked contributing photographers few questions about this genre of photography and here is what they have to say along they stunning portfolios. Enjoy it

Street photo

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I was born 44 years ago in Buenos Aires, Argentina, living here with my wife and kids and working at an international information firm. I started to make photographs at my 40’s birthday to find a way of expression and don’t be just a “family guy-tax payer” in their middle age.

Photography started like a game at my lunch time, carrying my camera to my work and going outside to hunt situations in about one hour almost every day. It was sometimes at noon and sometimes it was returning from work to home. Now five years later, most of my photos are part of a project where I have to make contact with the photographed people, instead to steal a moment in an unknown situation. At this opportunity, I’m showing black and white film snapshots.

In these years, I got trained with several well known local photographers and I could show my work in some exhibitions.

Photography is part of my life and I can not live without thinking in photos, no matter if they are digital or film.

http://www.flickr.com/photos/daniel_lipszyc/

Daniel Lipszyc

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PH – how would you describe “perfect” photo?

Where a story or a mood is related and photographer knows how to use his camera.

PH – do you feel that Street photography is a good name for this type of photography?

Yes, it’s a good name. It’s the place where I made my photos.

PH – as the saying goes “photograph is worth thousand words”, do you think it’s true or are we getting to the point where we have to start explaining photographs?

When a photograph has to be explained, this is not a photograph. A photograph may like it or not, but having to explain it would be like explaining a novel or a history book. If you read the same book several times and you do not understand it, I think that the fault was the author or translator of the book. With a photograph is similar.

PH – how difficult it is to do street photo today, can you compare to few years ago when there was not such a big concern about social media posting ?

I live in a crowded Latin America city and my main concern to do street photography is my own safety rather than the social media posting. I have to keep my camera hide in my bag most of the time, and I have to check if everything is safe before to use it. When I make verbal contact with the photographed, the first thing is to ask If I can do a portrait with him or her and post the photograph in my blog; most of the times the answer is Yes. I don’t use my photographs for commercial purposes or any kind of harassment.

PH – do you sometime wonder what happen to people you photographed on the street, few weeks, months later?

To be honest, No. I’m happy to steal a moment in their lives with my photographs and don’t think about the future.

PH – who inspire you?

The need to be someone, the need to communicate a story or moments and provoke something in the observer. The need to do something creative in my life, the need to carry my camera in the street.

PH – what’s the market for street photography? Do you think people still appreciate this type of photography?

I don’t know about the market status of the street photography today, and it never was a priority to sell my photographs. Yes, I think people appreciate this type of photography, but not the most of them.

PH – bit silly question but which one do you think suits better, color or B&W for street?

This depends on what kind of story you want to tell or photos you want to display and what city are you doing your photographs. Can you show the alienation of a city with 3 million inhabitants in color? Maybe yes. Also, I love to shoot in black & white film.

PH – what’s your style of shooting, do you stroll on the streets or do you pick a spot and wait there for the image to happen?

The first one. I walk down the street looking for the right moment to freeze the time with my photographs, I cannot stay still.

PH – what have you learn from shooting on the street?

To be patient, to have objectives and take risks.

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David was born in 1988 in Jindrichuv Hradec, Czech Republic. He has been travelling for the last seven years along with his camera, trying to capture the decisive moments as that’s what he appreciates the most in photography. When he’s not on the road he’s based in Cork, Ireland where he spends any free time in the darkroom. All images featured here are self processed and developed.

http://www.flickr.com/photos/daviddemian/

David Gunis


Perfect photo doesn’t need any description.


If we need to label the work then street photography is probably the most accurate one.


Definitely true, one should look at the photograph and feel no need for explanation. Photograph should make you think and evoke emotions. That said it depends on the type of photography, for instance documentary and street photography tell the story whereas in abstract photography I’d prefer a guidance.


I would say people are more concern nowadays, they see a camera as a tool invading their privacy which is completely understandable as one doesn’t know where the image ends up ( tumblr, instagram, facebook... ). However this doesn’t effect me much as taking pictures of strangers on the street has always been a great challenge for me.


Sometimes I wonder if I captured a special moment in someone else’s life but other than that – no, I don’t really think about their future.


The first time I saw the work of Henri Cartier-Bresson I fell for B&W street photography. This led me to buy my first 35mm camera. There have been many inspiring people since, just to mention few : Josef Koudelka, Don McCullin, Robert Capa...I don’t feel like I am influenced by any photographer though, when I take a picture I just follow my gut feeling.

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I think people appreciate it but there are many photographers nowadays doing any kind of photography and it is so easy to just look at photos online that it is hard to actually make a living out of it.


Color seems to me too distracting in street photography that’s why I choose to shoot B&W. The shapes and shadows stand out more and the objects are clearer. It also reminds me the roots of street photography.


I’m definitely a stroller. I might stroll streets for hours not even taking one shot. I have my favorite routes in the places I know but when I travel I just go with the flow...


Street photography has taught me to look at ordinary things with a different eye, you start seeing great images even when you’re out and about and then you regret you didn’t take your camera with you... People should try to look around instead of having their heads down while walking down the same street every morning, there are great moments to be spotted.

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Oliver Weber is a photographer who hails from Munich, Germany. Currently he lives and works on the Canary Island of La Gomera. His specialty areas are reportage, portrait and what has come to be recognized as street photography. He has become more widely known through numerous features with reputable magazines and publishing houses, like DIE ZEIT, DER SPIEGEL ,EL PAIS, STERN MAGAZIN and MERIAN.Through his 2007 exhibition “Humans” (Galerie Foto 21) in Bredevoort, Netherlands, Oliver Weber became more broadly accessible to an international audience. This occasion also saw the publication by Kulturbuch Verlag of his first book of photographs which was nominated for the German Photo Book Award.

http://www.olicito.de/

Oliver Weber

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After many years away from the camera in her early 20s, Carly O\’Neil returned to the photography world as a model, makeup artist and muse, which eventually lead her back to HER camera. As a model she traveled quite a bit, and fell in love with the documentation of the world around her. Carly feels as though the world has closed its eyes- and wants to reopen them, not out of the typical fear-driven-media models, but in love, inspiration and admiration for the diversity and beauty that exists in all things- animate or inanimate. Carly now lives in downtown Baltimore, has been focused on building her commercial lifestyle brand, Carly Rocks Photography and opened Atomic Canary- her own studio and photography educational center, but continues to travel and document as the opportunity arises.

http://www.carlyoneil.com/

Carly O’Neil

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The perfect photo is one that stands as witness-one that can relay time and space and rearrange history- but also absorb and resist space and time. It is both quiet and loud- a balanced menagerie of sane and insane.


I do struggle with this title, myself. For example- I consider my landscape photography to be street photography, instead. This is because I do not go and wait. I am impatient, mainly for the reason that I do not want to take a snapshot of the landscape, but the landscape in time, at that time. Also I have limited most of my landscapes to a transitory origin- they are usually shot through the glass, or at least from, a moving vehicle. I do this to show the ephemeral quality of beauty, and of life- it continues to spin around us. We are only capturing a single thread of many that are interwoven to create the tapestry of history.


While charming, that adage is attributed mainly to advertisers trying to tempt clients into the visual age from the newspaper’s text-only format. During the war-times, the adage came around again as the war was brought home for the first time, nationally, in photo, and this novelty was again embedded into photography. And if I may continue to fly my geek flag, really anything visual is worth one thousand words as this is the way the brain functions the storing of said object. Albeit the previous factoids are vastly generalizations, certainly- but what does mean something to me is the idea of the layers of story that a photograph can manage to capture- and in that way, tell us stories we didn’t show up to hear. It can be abrupt, or elusive, sensual or escapist--photography is the ultimate medium to create and carve out narratives because of these layers. It makes for a believable illusion. A great photo perhaps falls into that mystical place between not needing to be explained, and not being able to explain it. If something is so powerful to need no explanation, then a forced explanation would take away that wonderful quality art has to be a witness- not only to the moments it were created within, but as a witness to the viewer’s story--the one that is brought to the art, the filter through which it is absorbed.


I’m a bit of a voyeur, using a long lens, not asking permission. I think this probably comes from my days in the theatre. There is a very real fourth-wall for me that must not be broken, or else then you have interfered...corrupted, even. I have definitely been busted by a musician or an actor or some type of creative who had a real problem that I was taking their photo. I simply apologize and, unless it was an out-and-out keeper, delete the shot, as if it suddenly is less pure or real.


Nope. [Laughs] Does that make me insensitive? I mean, I guess it’s mostly because at that point- there’s someone new. There’s always ‘your BEST photo’ right around the corner. I don’t dwell too long on the actual individual. Again- in that theatrical sense, they’re just a person ‘backstage’. and it’s really the character you’d like to meet.

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PH magazine


My inspiration-bank is on a constant rotation- kinda like the music in my streaming library, which ranges from Mozart to Macklemore to metal. My two big sources for inspiration are painting-mostly the Renaissance and the first half of the 20th century, and then the photography of the 20s-40s and 90s. Inside of that broad spectrum are people like Edward Hopper, Francesca Woodman, Georgia O’Keefe and Alfred Stieglitz, Walker Evans, Saul Leiter, Irving Penn, and the like. Music is a big motivator for me, again coming from the theatre and dance worlds- music is a big driver of the visual, so much so that my switch to video as the medium for my self-portraiture this year is rooted in that. I’m also very excited about what I’m seeing from a lot of the younger Asian artists are bringing us. There’s something about it that is so clean, so technically impervious but also creatively sound. I’m terrible with names, so unfortunately I cannot speak of my contemporaries with the same clarity that I can the historicals.


I’m not sure how much people appreciate photography on a whole. The move to digital really demystified the artistry of the camera, removing the physicality of placing the image on the canvas. Perhaps it’s more that people are less curious about the world around them. They choose, instead, to isolate to adapt to the constant visual influx we are assaulted by daily. My street photography, specifically because of my own fight with this phenomena, is an escape from this overstimulation. Not because it’s heavily minimal or simplified in any way, but because I am hunting out those quiet moments amongst the roar, to ensure that they are not missed in the commotion, and to create respite for those who will have it. So I suppose my assumption is that people will take the time to see what they have not been shown before. Quite a task for the street photographers out there- but I certainly feel up to the challenge.


This decision, for me, is based on the image itself, not some esoteric definition of what my images “should” look like. If it’s a black and white image, so it is. And if she is color- then why drain it?


I’m not sure how to describe my shooting style, other than instinctual. I’m a very logical person. I can feel the left brain running these logic patterns- looking for bits and pieces that fulfill the parameters of what I like to shoot. It’s that geeky and complex. When my left-brain points out something that breaks a standard pattern, or fits a certain subject that I like to shoot, my right brain takes over and creates. Perhaps, again- this is from the dance world. There is a time and a place to rehearse, but eventually you have to just dance! When I hit the streets, the technique sinks into my fingers and I’m just looking, just seeing. I snap a photo like a frog snatching a fly out of the air- neatly and with my gut. Rarely do I wait for the image, unless it’s as long as it takes someone I’ve already seen down the street heading towards the frame to enter.


That instinct that I mention above. To just dance. To go and to see, to look. To be.

|Carly O’Neil|

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I make a living as a neurologist but have been a photographer for as long as I can remember. But it wasn’t until a few short years ago that I included people in my images. Strangers mostly. From the streets of NYC, to small town Indiana and the dirt roads of New Mexico. Wherever I may be. I am endlessly fascinated by faces. Eyes, texture, wrinkles, grit. The perfect imperfections. The landscape within our faces. And how it all comes alive when two strangers meet. I am equally fascinated by life stories, and what two strangers choose to share with each other. How quickly trust develops. Or how guarded we can be. My images are made during conversations with strangers. They are a product of this brief relationship in public spaces. I suppose curiosity is my driving force. Aren’t we all so curious about each other? Publications: Burn Magazine, Jan 2013 Black and White Magazine, 12/31/12 LFI Magazine 3/2012 Exhibitions: Rangefinder Gallery, Chicago, June 2014 Best Contemporary Photography, Fort Wayne Museum of Art, March 2014 Strimbu Gallery, Valparaiso University, Jan 2014 Art of Photography Show, San Diego Ar Institute, Oct 2013 Chicago Photography Center, Feb 2012 Format Festival, Derby, England, Feb 2011 Gallery Representation: Stephen Bartels Gallery, London, England

http://vdibiase.zenfolio.com/

Virgil DiBiase

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To paraphrase Lisette Model, when it hits you in the pit of your stomach.You just know it because you physically feel it.


Only in the broadest sense. I do photograph people in public spaces but I am not a traditional street photographer in the sense that I try to be invisible. I do usually engage my subjects and make photographs during a conversation. I do not pose or position my subjects in any way. I would argue that after a few minutes my camera becomes invisible as we are engaged in conversation. So these are candid moments. I would label my work street portraiture. But I must say that I detest labels other than to describe the work. There is currently a great deal of banter and arrogance that gets thrown around in cyberspace regarding the real description of street photography. I say, who cares?


I believe photographs express far more than words alone. Emotion, mood, tension, kindness….the brain processes images much differently than words. Despite technology…texting, emailing, twitter, video…we remain addicted to the still image. And I think most of us remain endlessly fascinated by the human face.


The only thing I find more difficult today is photographing children. I stay away from this because of the paranoia parents have about social media. And I respect it.The only exception to this was when I was in Cuba. Of course social media is not so prevalent in Cuba.


I always wonder. After all these years I have collected so many images of my characters.. They are like friends to me. And because I often photograph in small towns I frequently revisit the same people. So at times I do know how they are doing. But usually not…so I do wonder.

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Mostly singer/songwriters: Neil Young, Lou Reed, Leanard Cohen. Photographers there are so many. Lisette Model, Anders Petersen, David Alan Harvey, Diane Arbus. But there are so many. Funny thing is that I have been photographing since childhood but it has not been until the past couple years that I’ve begun to study the masters. Thank goodness for that…it kept me from copying those I admire.


I honestly don’t know. I think the great street photographers of the past will always be collectable. I am currently represented by a gallery in London, the Stephen Bartels Gallery, but I have sold very few photographs. I have no intention on creating images that will sell and fortunately I have a day job that allows me the freedom to photograph anything I like without the pressure of making a living at it. I do believe that it is best this way. To be free from the notion of having to make images that others will buy. I frequently give away my images to my subjects.


For me it is B&W. I grew up with B&W film, TV, magazines…I am comfortable with it. Color is far more complex and difficult to pull off. Very few do it well. Alex Webb comes to mind.


I always stroll. I love to walk. Watch people. Look for people with texture, grit. Look for light. Listen to the sounds of the street. Smell the smells. It gets me in the mood. So even if I make no photos at least I have had a nice walk.


That we all desire a connection with each other. The more an individual looks like he wants to be left alone, the more he wants to truly be seen. Be heard.

Also, people are so very intuitive. Strangers can easily spot your intentions. If you give off the energy of honesty and kindness they will feel it and accept you. If your intentions are to just snap a photo and run…they know it before you do. Be kind and whether you make a compelling image or not, you will have made a friend. Far more important than photography.

|Virgil DiBiase|

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80published by: jandak photographypublished by: jandak photography

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