http://aintbadmagazine.com Aint-Bad Magazine Sat, 18 May 2013 10:54:54 +0000 http://aintbadmagazine.com en http://aintbadmagazine.com/Benjamin-Schmuck http://aintbadmagazine.com/following/aintbadmagazine.com/Benjamin-Schmuck Sat, 18 May 2013 10:54:54 +0000 Aint-Bad Magazine 5397764 Benjamin Schmuck was born in Paris in 1989. He found his calling for photography at sixteen and started experimenting with its various techniques. He studied at Les Gobelins, the Parisian school of visual communication. His first photographic series were devoted to photographing the people closest to him. In Beyond the circle (2009), he captures his childhood friends’ coming of age in a quasi documentary manner. The result is a delicate depiction of this painful but ecstatic transitory state. <img src="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_02_650.jpg" width="650" height="975" width_o="750" height_o="1125" src_o="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_02_o.jpg" data-mid="30228234" border="0" align="left"/> <img src="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_03_650.jpg" width="650" height="975" width_o="750" height_o="1125" src_o="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_03_o.jpg" data-mid="30228238" border="0" align="left"/> Later on, in the In spite of ourselves series (2011), he focuses on his Alsacian grand-father, who was forced into enlisting in the German army during World War II. By investigating the disarrayed lives of these men and women abused by History, he questions the legacy left to his generation. Since then Benjamin has both stepped away from his initial documentary style and broadened the scope of his explorations. Indeed, after two years of production, came a new outlook on his body of work. Having perceived the emergence of an aesthetics edge to his pictures, he decided to fully embrace this photographic language, which led to The wave series. <img src="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_04_650.jpg" width="650" height="487" width_o="750" height_o="563" src_o="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_04_o.jpg" data-mid="30228244" border="0" align="left"/><img src="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_05_650.jpg" width="650" height="487" width_o="750" height_o="563" src_o="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_05_o.jpg" data-mid="30228246" border="0" align="left"/><img src="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_07_650.jpg" width="650" height="866" width_o="750" height_o="1000" src_o="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_07_o.jpg" data-mid="30228250" border="0" align="left"/><img src="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_08_650.jpg" width="650" height="487" width_o="750" height_o="563" src_o="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_08_o.jpg" data-mid="30228256" border="0" align="left"/><img src="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_10_650.jpg" width="650" height="487" width_o="750" height_o="563" src_o="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_10_o.jpg" data-mid="30228258" border="0" align="left"/><img src="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_11_650.jpg" width="650" height="487" width_o="750" height_o="563" src_o="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_11_o.jpg" data-mid="30228261" border="0" align="left"/><img src="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_12_650.jpg" width="650" height="487" width_o="750" height_o="563" src_o="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_12_o.jpg" data-mid="30228265" border="0" align="left"/><img src="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_14_650.jpg" width="650" height="487" width_o="750" height_o="563" src_o="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_14_o.jpg" data-mid="30228269" border="0" align="left"/><img src="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_15_650.jpg" width="650" height="487" width_o="750" height_o="563" src_o="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_15_o.jpg" data-mid="30228272" border="0" align="left"/><img src="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_16_650.jpg" width="650" height="866" width_o="750" height_o="1000" src_o="http://payload154.cargocollective.com/1/6/194131/5397764/Benjamin Schmuck_la vague_16_o.jpg" data-mid="30228274" border="0" align="left"/> Benjamin just started working on a new project, exploring how we relate to the sky and space. To view more of Benjamin's work, please visit his website. Benjamin Schmuck was born in Paris in 1989. He found his calling for photography at sixteen and started experimenting with its various techniques. He studied at Les... http://aintbadmagazine.com/Sahara-Borja http://aintbadmagazine.com/following/aintbadmagazine.com/Sahara-Borja Tue, 14 May 2013 09:11:46 +0000 Aint-Bad Magazine 5407201 Sahara Borja was born in Toronto, Canada. She spent the first three years of her life in Cali, Colombia with her father's side of the family during what she calls the "Borja Golden Age." She left shortly thereafter and spent most of her childhood in San Francisco and the Central Valley. She studied film theory at Vassar College in Poughkeepsie, NY, and later graduated from the International Center of Photography, NYC, in 2009. She works full time at an online magazine as a contributing Editor, and as a contributing Writer to Dossier and Line-A Journals. She currently lives in NYC. <img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-1_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-1_o.jpg" data-mid="29338827" border="0" align="left"/> Acabou Chorare From 2011 to the present I've been working on a collection of images that attempts to see myself as one entity, not this disparate vessel composed of "me" and "my body." I am using the camera in an honest attempt to see myself, because i have not been able to, clearly, for most of my adolescence through to adulthood. I don't know why, and I am trying to figure it out, in part because I have always been able to see others so much better than I can myself. Supposedly the camera doesn't lie - but the photographic process, one replete with omissions and selections of every kind, sure can. I have tried to see every part of myself, from toe to tip of curl and everything in between. I am prodding myself, contorting myself, decorating myself, stripping myself, compartmentalizing myself, etc., it seems, for an answer. There may not be one. This could be it - 'na mas. I have no 'hope' for what I want to see. I do not want to place judgement on my flesh nor do I want it to be 'about' flesh nor can I ignore it, this flesh. The title, Acabou Chorare, was taken from a Brazilian record by Novos Baianos that came out in the early 70s. It translates roughly to 'No More Crying.' And in fact, I think there really is nothing to cry about, and I am fucking elated about that. <img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-2_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-2_o.jpg" data-mid="29338829" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-5_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-5_o.jpg" data-mid="29338832" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-4_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-4_o.jpg" data-mid="29338831" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-3_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-3_o.jpg" data-mid="29338830" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-6_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-6_o.jpg" data-mid="29338833" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-7_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-7_o.jpg" data-mid="29338835" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-8_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-8_o.jpg" data-mid="29338836" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-9_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-9_o.jpg" data-mid="29338837" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-11_650.jpg" width="650" height="662" width_o="736" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-11_o.jpg" data-mid="29338839" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-10_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-10_o.jpg" data-mid="29338838" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-12_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-12_o.jpg" data-mid="29338840" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-13_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-13_o.jpg" data-mid="29338841" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-14_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-14_o.jpg" data-mid="29338842" border="0" align="left"/><img src="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-15_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload155.cargocollective.com/1/6/194131/5407201/sahara_borja-15_o.jpg" data-mid="29338843" border="0" align="left"/> For more information, please visit her website. Sahara Borja was born in Toronto, Canada. She spent the first three years of her life in Cali, Colombia with her father's side of the family during what she calls... http://aintbadmagazine.com/Alex-Thebez http://aintbadmagazine.com/following/aintbadmagazine.com/Alex-Thebez Sun, 12 May 2013 15:06:04 +0000 Aint-Bad Magazine 5593988 Alex Thebez is an Indonesian photographer currently based in New York. Alex’s diverse upbringing presents him with a very unique perspective on life, the world, and the experiences surrounding him. Graduated from the Vancouver Film School’s Film Production program in 2008 and Foundation of Visual Arts in 2007, Alex’s passion for storytelling drives him to portray narratives and imagery through various mediums. Alex is particularly interested in the mundane and everyday. Alexander has recently graduated with BFA in Photography from the Parsons New School of Design, New York. Alex also makes GIFs with the GIFRIENDS collective. <img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_1_650.jpg" width="650" height="487" width_o="750" height_o="563" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_1_o.jpg" data-mid="30164799" border="0" align="left"/><img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_2_650.jpg" width="650" height="433" width_o="750" height_o="500" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_2_o.jpg" data-mid="30164801" border="0" align="left"/> When We are Together “When We are Together” is a documentation of my contrasting personal relationships: my family in Singapore and my recent partner in New York City. The images in the series attempt to juxtapose a sense of disconnect and intimacy. Having lived alone since I was 14 years old, I spent the majority of my teen and adult life on my own. I had been in a relationship with Jesse not long after I moved to New York City in 2009. Coming from a rather conservative Christian Indonesian-Chinese family, homosexuality is not the desired preference. Awkward and uncomfortable, the images from the two facets of my life grapple together to create an intimate narrative. <img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_3_650.jpg" width="650" height="422" width_o="750" height_o="488" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_3_o.jpg" data-mid="30164802" border="0" align="left"/><img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_4_650.jpg" width="650" height="416" width_o="750" height_o="481" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_4_o.jpg" data-mid="30164804" border="0" align="left"/> This project is a means to reconcile my detachment from my family with an intimate detail of my personal life that they have yet to discover.is a documentation of my contrasting personal relationships: my family in Singapore and my recent partner in New York City. The images in the series attempt to juxtapose a sense of disconnect and intimacy. Having lived alone since I was 14 years old, I spent the majority of my teen and adult life on my own. I had been in a relationship with Jesse not long after I moved to New York City in 2009. Coming from a rather conservative Christian Indonesian-Chinese family, homosexuality is not the desired preference. Awkward and uncomfortable, the images from the two facets of my life grapple together to create an intimate narrative. This project is a means to reconcile my detachment from my family with an intimate detail of my personal life that they have yet to discover. <img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_5_650.jpg" width="650" height="426" width_o="750" height_o="492" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_5_o.jpg" data-mid="30164806" border="0" align="left"/><img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_6_650.jpg" width="650" height="433" width_o="750" height_o="500" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_6_o.jpg" data-mid="30164808" border="0" align="left"/><img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_7_650.jpg" width="650" height="423" width_o="750" height_o="489" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_7_o.jpg" data-mid="30164809" border="0" align="left"/><img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_8_650.jpg" width="650" height="433" width_o="750" height_o="500" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_8_o.jpg" data-mid="30164810" border="0" align="left"/><img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_9_650.jpg" width="650" height="435" width_o="750" height_o="502" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_9_o.jpg" data-mid="30164813" border="0" align="left"/><img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_10_650.jpg" width="650" height="423" width_o="750" height_o="489" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_10_o.jpg" data-mid="30164815" border="0" align="left"/><img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_11_650.jpg" width="650" height="423" width_o="750" height_o="489" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_11_o.jpg" data-mid="30164816" border="0" align="left"/><img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_12_650.jpg" width="650" height="423" width_o="750" height_o="489" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_12_o.jpg" data-mid="30164819" border="0" align="left"/><img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_13_650.jpg" width="650" height="435" width_o="750" height_o="503" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_13_o.jpg" data-mid="30164821" border="0" align="left"/><img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_14_650.jpg" width="650" height="427" width_o="750" height_o="493" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_14_o.jpg" data-mid="30164823" border="0" align="left"/><img src="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_15_650.jpg" width="650" height="423" width_o="750" height_o="489" src_o="http://payload164.cargocollective.com/1/6/194131/5593988/Thebez_Alex_15_o.jpg" data-mid="30164826" border="0" align="left"/> To view more of his work please visit his website. Alex Thebez is an Indonesian photographer currently based in New York. Alex’s diverse upbringing presents him with a very unique perspective on life, the world,... http://aintbadmagazine.com/Philipp-Ebeling http://aintbadmagazine.com/following/aintbadmagazine.com/Philipp-Ebeling Sat, 11 May 2013 09:42:21 +0000 Aint-Bad Magazine 5502665 Interview Aint-Bad Magazine <img src="http://payload160.cargocollective.com/1/6/194131/5502665/126_17196_650.jpg" width="650" height="657" width_o="1976" height_o="2000" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/126_17196_o.jpg" data-mid="29838519" border="0" align="left"/> Can you start off telling us a little bit about yourself? I was born and raised in Germany, when I was 19 I moved to London and studied Photography. I started out doing music photography and soon after moved to shooting documentaries and personal projects in Russia, China, India and Germany. 2 years ago I started Fishbar a space for photography in East London that I run together with my wife Olivia Arthur. I am currently working on my first book, Land without Past about Germany and the village I grew up in and simultaneously on Fishbar's next exhibition and publication Dalston Anatomy by Lorenzo Vitturi. <img src="http://payload160.cargocollective.com/1/6/194131/5502665/Prix_Pictet04_650.jpg" width="650" height="651" width_o="1597" height_o="1600" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/Prix_Pictet04_o.jpg" data-mid="29838528" border="0" align="left"/><img src="http://payload160.cargocollective.com/1/6/194131/5502665/Prix_Pictet21_650.jpg" width="650" height="659" width_o="1576" height_o="1600" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/Prix_Pictet21_o.jpg" data-mid="29838537" border="0" align="left"/> Your series "Land Without Past" highlights a disconnect between the Germany of yesterday and the Germany of today, what do you see as being the biggest difference? Yes, there is a strong sense of disconnection from the past in Germany. The country has spent the past 40 years at least pouring over the Nazi past, examining it, remembering it and apologizing for it. While I am convinced this is a healthy and necessary process it has lead to a state where most Germans today are tired and fed up of being constantly confronted and associated with that particular part of their past and have as a result decided that all past should be gotten rid of. This was certainly the case when I grew up. I think maybe things are slowly changing now and Germans find it possible again to look beyond those years. Nonetheless the sense of disconnect is strong. Can a lack of "weight" from the past be considered beneficial to the progressive movement of a culture? I think Germans of my parent's generation, the first post-war, so called ‘Wirtschaftswunder’ generation did not spend much time worrying about the past or what their parents did. They were concerned with rebuilding the country, building homes, having families and forgetting. They were mostly too young to remember much of the war and their fathers were either dead, or when returned from Allied ,often Russian, prisoner camps would not talk about the war. I often call 1945 the year Zero. Germany was utterly destroyed and defeated but with generous American support could start from scratch. In that sense the country's first twenty years were 'weightless' and helped laying the foundation for the economic success of today. However that 'weightlessness' came back to haunt the country with the bloody terror of the RAF in the 70s. <img src="http://payload160.cargocollective.com/1/6/194131/5502665/forrest_01_650.jpg" width="650" height="516" width_o="2048" height_o="1626" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/forrest_01_o.jpg" data-mid="29838520" border="0" align="left"/><img src="http://payload160.cargocollective.com/1/6/194131/5502665/Standvoss_HJ_41-Edit_650.jpg" width="650" height="971" width_o="1338" height_o="2000" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/Standvoss_HJ_41-Edit_o.jpg" data-mid="29838542" border="0" align="left"/><img src="http://payload160.cargocollective.com/1/6/194131/5502665/Prix_Pictet06_650.jpg" width="650" height="654" width_o="1589" height_o="1600" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/Prix_Pictet06_o.jpg" data-mid="29838530" border="0" align="left"/> The next generation was outraged about their parents' generations’ silence. They demanded to know what their grandparents had been up to and why ex-Nazis occupied influential positions in law, politics, schools and industry. The weight of the past that had hung over the “new” country had come crashing down. A profound and all encompassing research into the Nazi past started in the 70s and the left demanded a 'Great March Through the Institutions' to replace or depose all former sympathizers. This culminated in a remarkable way with the former leftist street protester and co founder of the green movement Joschka Fischer serving as foreign secretary to the Schroeder government of the 2000s. In my youth the past has only ever felt like a massive weight hanging over my head. I think it was one of the main reasons why I left Germany. But I can imagine the constructive way Germany has engaged with its past will eventually lead to a reconnection with all of its past and weight will feel less heavy. It might even become a source of strength. What most inspires you in your own photographic work? Currently what inspires me most is working with other photographers and distilling the essence of what their work is about. I find this helps enormously in clarifying my own ideas and showing up my own shortcomings. It is a truism that all photographers are their own worst editors, but I think because the nature of what we do is so often solitary, we need more than anything, distance to our own work and a good editor. The work on Germany has been with me for a number of years now and it has developed to a point where I think it makes sense to finish it and put it in a book. That is the biggest inspiration for me and I think many other photographers, to see your work published in book form. <img src="http://payload160.cargocollective.com/1/6/194131/5502665/theo_30017_650.jpg" width="650" height="824" width_o="1134" height_o="1438" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/theo_30017_o.jpg" data-mid="29838547" border="0" align="left"/> <img src="http://payload160.cargocollective.com/1/6/194131/5502665/Prix_Pictet18_650.jpg" width="650" height="657" width_o="1581" height_o="1600" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/Prix_Pictet18_o.jpg" data-mid="29838536" border="0" align="left"/><img src="http://payload160.cargocollective.com/1/6/194131/5502665/Prix_Pictet07_650.jpg" width="650" height="656" width_o="1583" height_o="1600" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/Prix_Pictet07_o.jpg" data-mid="29838534" border="0" align="left"/><img src="http://payload160.cargocollective.com/1/6/194131/5502665/thea_22019_detail_650.jpg" width="650" height="491" width_o="2048" height_o="1549" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/thea_22019_detail_o.jpg" data-mid="29838543" border="0" align="left"/> What camera do you consider your "work horse?" It changes. For many years the Pentax 6x7. I finally grew tired of its weight and soft lenses and started working with the hasselblad that I shot most of the Germany work with. I now shoot portraits and landscapes on a 5x4 Linhof and do my documentary work on a Mamiya 7. I am afraid it is still film all the way. I do like the canon 5D but don't want to give up working on medium and large format. You are also one of the owners of Fish Bar, a photography gallery in London, can you tell us a little bit about your space, how long have you been a gallery? Fishbar got going in December 2010 but we didn't have the first serious exhibition until September the following year. From the beginning we wanted to combine boutique publishing with all exhibitions we do and we had and still have a lot to learn. We have now done two exhibitions that were accompanied by publications, have published Olivia's first book 'Jeddah Diary' and have held two Photo Markets, were we invite photographers, self-publishers and small photo book publishers to show and sell their work. Last month we hosted two nights of film screenings of the new Saul Leiter doc 'In No Great Hurrry' by Tomas Leach. We are currently working on our next show 'Dalston Anatomy' by Italian photographer Lorenzo Vitturi about a local afro-carribean market that will again come with a publication and open next month. <img src="http://payload160.cargocollective.com/1/6/194131/5502665/Standvoss_43029_650.jpg" width="650" height="517" width_o="2048" height_o="1631" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/Standvoss_43029_o.jpg" data-mid="29838540" border="0" align="left"/> Can you talk to the bookstore of Fish Bar, and about the book project Unknown Quantities? Are you a publisher as well? Unknown Quantites was the publication that accompanied the Young Magnum exhibition at Fishbar and was published by us. We liked the idea of giving every photographer their own little publication and combine them in a box set. All 4 photographers generously let us edit and play with their work and we are very happy with the outcome. What is your favorite exhibition/event you have hosted at your gallery so far? Every thing we do is my favourite thing until its done and I move on. I am very proud of all the things we have done here so far and all our publications. What kind of things can we expect to see within the coming year? Lorenzo Vitturi's exhibition 'Dalston Anatomy' accompanied by a small edition book. Then in the autumn we'll start production on my book 'Land Without Past' and we have just agreed to publish American photographer Eric Gottesmann's first book on Ethiopia. <img src="http://payload160.cargocollective.com/1/6/194131/5502665/PE046_650.jpg" width="650" height="667" width_o="1363" height_o="1400" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/PE046_o.jpg" data-mid="29838524" border="0" align="left"/><img src="http://payload160.cargocollective.com/1/6/194131/5502665/thea35049_650.jpg" width="650" height="953" width_o="1364" height_o="2000" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/thea35049_o.jpg" data-mid="29838545" border="0" align="left"/><img src="http://payload160.cargocollective.com/1/6/194131/5502665/Prix_Pictet01_650.jpg" width="650" height="658" width_o="1580" height_o="1600" src_o="http://payload160.cargocollective.com/1/6/194131/5502665/Prix_Pictet01_o.jpg" data-mid="29838525" border="0" align="left"/> For more about Philipp, please visit his website. Interview Aint-Bad Magazine Can you start off telling us a little bit about yourself? I was born and raised in Germany, when I was 19 I moved to London and... http://aintbadmagazine.com/Angex-Lin http://aintbadmagazine.com/following/aintbadmagazine.com/Angex-Lin Thu, 09 May 2013 18:01:39 +0000 Aint-Bad Magazine 5567207 Angex Lin is a Taiwan based photographer. He received his Ph. D. and B. S. in biochemistry from National Taiwan University. It is not until 25 that he bought his first camera and since then was deeply fascinated by the traditional film photography. His work has been exhibited and featured in several exhibitions and CD album art. Today we feature work from his series titled, Where / To.  <img src="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_1_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_1_o.jpg" data-mid="30009073" border="0" align="left"/> Where / To Over the past few year I have traveled around Taiwan to look for the "empty landscape" type of place. Where / To series is part of my travel photography collection. Photos were taken at desert, abandoned beach and deep forest, with tiny people blend into the unrealistic landscape. <img src="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_2_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_2_o.jpg" data-mid="30009074" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_3_650.jpg" width="650" height="650" width_o="750" height_o="750" src_o="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_3_o.jpg" data-mid="30009076" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_7_650.jpg" width="650" height="650" width_o="2000" height_o="2000" src_o="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_7_o.jpg" data-mid="30009084" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_8_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_8_o.jpg" data-mid="30009085" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_9_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_9_o.jpg" data-mid="30009088" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_4_650.jpg" width="650" height="433" width_o="750" height_o="500" src_o="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_4_o.jpg" data-mid="30009078" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_5_650.jpg" width="650" height="468" width_o="750" height_o="541" src_o="http://payload163.cargocollective.com/1/6/194131/5567207/angex_lin_5_o.jpg" data-mid="30009080" border="0" align="left"/> To view more of Angex work please visit his website. Angex Lin is a Taiwan based photographer. He received his Ph. D. and B. S. in biochemistry from National Taiwan University. It is not until 25 that he bought his... http://aintbadmagazine.com/Rob-Stephenson http://aintbadmagazine.com/following/aintbadmagazine.com/Rob-Stephenson Tue, 07 May 2013 11:07:45 +0000 Aint-Bad Magazine 5561384 Rob Stephenson’s work has been exhibited at numerous galleries and museums including The Brooklyn Museum of Art, the Jen Bekman Gallery, and The Museum of the City of New York. He was a Design Trust for Public Space Photo Urbanism fellowship and a darkroom residency at the Camera Club of New York. His book, From Roof to Table, documenting the urban agriculture movement in New York City, was published in 2012. He lives in Brooklyn, NY <img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_04_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_04_o.jpg" data-mid="29975130" border="0" align="left"/> There Swept out of the Sea a Song. Where the subway ends and the sea begins – Rockaway is a community on the periphery, a narrow spit of sand that serves as New York City’s last buffer against the vast Atlantic Ocean. For over a century, Rockaway’s remoteness made it a thriving summer destination for New Yorkers, from its heyday as “New York’s Playground” in the early 1900’s, to its years as a summer getaway for the city’s middle class. After WWII, the advent of affordable automobiles and air conditioning led to a rapid decline in Rockaway’s fortunes. <img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_08_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_08_o.jpg" data-mid="29975065" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_09_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_09_o.jpg" data-mid="29975054" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_13_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_13_o.jpg" data-mid="29975076" border="0" align="left"/> The area’s isolation and increasing neglect made it a convenient dumping ground for those displaced by the aggressive urban renewal programs of the 1960s, and soon a seasonal destination was serving a year round population. Entire blocks of bungalows were razed and replaced by housing projects, nursing homes and halfway houses. Rockaway quickly became known more for its high crime rate than its ocean views. In the past few years, Rockaway has been through a revival of sorts but was recently one of the areas hardest hit by Hurricane Sandy. Through all these changes Rockaway has remained an essentially wild place. The sea - the sounds, the briny smell, the density of air and quality of light - dominates the landscape. In a city where the last vestiges of wilderness have seemingly been eradicated, nature here still has the upper hand. A subdued, often desolate landscape, Rockaway is a place in limbo, suspended between the city and the sea. <img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_02_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_02_o.jpg" data-mid="29975085" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_15_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_15_o.jpg" data-mid="29975095" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_10_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_10_o.jpg" data-mid="29975101" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_12.2_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_12.2_o.jpg" data-mid="29975111" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_11_650.jpg" width="650" height="513" width_o="750" height_o="592" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_11_o.jpg" data-mid="29975107" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_14_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_14_o.jpg" data-mid="29975119" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_03_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_03_o.jpg" data-mid="29975125" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_05_650.jpg" width="650" height="518" width_o="750" height_o="598" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_05_o.jpg" data-mid="29975139" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_06_650.jpg" width="650" height="812" width_o="745" height_o="931" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_06_o.jpg" data-mid="29975163" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_07_650.jpg" width="650" height="515" width_o="750" height_o="595" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_07_o.jpg" data-mid="29975189" border="0" align="left"/><img src="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_01_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload163.cargocollective.com/1/6/194131/5561384/rob_stephenson_01_o.jpg" data-mid="29975204" border="0" align="left"/> For more work by Rob, please visit his website. Rob Stephenson’s work has been exhibited at numerous galleries and museums including The Brooklyn Museum of Art, the Jen Bekman Gallery, and The Museum of the... http://aintbadmagazine.com/Ben-Schonberger http://aintbadmagazine.com/following/aintbadmagazine.com/Ben-Schonberger Sun, 05 May 2013 11:12:56 +0000 Aint-Bad Magazine 5551634 Ben Schonberger (b. 1987) in Alexandria, VA. He is a native of northern VA, Schonberger grew up in the town of Leesburg, located just 37 miles outside of Washington DC. He holds a BFA in Photography/Computer Imagery from Shepherd University where he also worked as the Art Department’s Studio Manager. In 2010 Schonberger was selected as one of Leesburg’s “30 Under 30” for being an active artist in the community. A 2013 graduate of the Cranbrook Academy of Art, Schonberger worked as the Photography Department’s Digital Lab assistant where he managed and operated large format printers and ink limiting software. He also worked as an assistant to Alec Soth during the printing and hanging of his exhibition at the Cranbrook Art Museum in the fall of 2012. <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_1_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_1_o.jpg" data-mid="29916776" border="0" align="left"/> Sergeant M. Gaynor (Witness for Exam), 2013 Process and the Archive During an investigation of Detroit, I acquired a series of photographs from a retired former Detroit Police officer, Marty Gaynor, whom I began to interview weekly over a course of two years. Among his thousands of photographs were images that he had taken of criminals, just moments before their arrest. By cataloguing, arranging, and interpreting his work, I gave it the parameters of an archive. I arranged Marty’s images to create documents in the format of a grid. Each grid was presented to Marty as a canvas for him to transcribe a narration for his images. I infiltrated and paired the grids with images I had taken during my investigation and interaction with Marty. My arrangements are designed to address the complexities of identity through narrative. In the tradition of August Sander, I am drawn to typologies of people and how they work in society. My images focus on masculine archetypes and their connection to labor. I meet men, establish working relationships with them, and then excavate and catalogue their belongings to construct a record. My focus is to create social documentaries that expose the idiosyncratic nature of identity, occupation, and faith. <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_2_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_2_o.jpg" data-mid="29916778" border="0" align="left"/> Homocide Scene (1971), 2013 <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_3_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_3_o.jpg" data-mid="29916780" border="0" align="left"/> CATS, 2013 <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_4_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_4_o.jpg" data-mid="29916786" border="0" align="left"/> Sergeant Marty Gaynor: Systems of Identification, Occupation and Faith, 2013 <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_5_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_5_o.jpg" data-mid="29916789" border="0" align="left"/> Evidence from the Archive of Sergeant Marty Gaynor: (The Pickpockets), 2013 <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_6_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_6_o.jpg" data-mid="29916790" border="0" align="left"/> Evidence from the Archive of Sergeant Marty Gaynor: (The Street Shots), 2013 <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_7_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_7_o.jpg" data-mid="29916791" border="0" align="left"/> Evidence from the Archive of Sergeant Marty Gaynor: (The Polaroid’s), 2013 <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_8_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_8_o.jpg" data-mid="29916795" border="0" align="left"/> The Ambassador Bridge, 2013 <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_9_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_9_o.jpg" data-mid="29916798" border="0" align="left"/> Crack Park, 2013 <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_10_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_10_o.jpg" data-mid="29916802" border="0" align="left"/> Sergeant M. Gaynor (Wisdom Teeth), 2013 <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_11_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_11_o.jpg" data-mid="29916804" border="0" align="left"/> Sergeant M. Gaynor & The Ambassador Bridge, 2012 <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_Schonberger_12_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_Schonberger_12_o.jpg" data-mid="29916806" border="0" align="left"/> Sergeant M. Gaynor Acknowledges Loss, 2012 <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_13_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_13_o.jpg" data-mid="29916808" border="0" align="left"/> Code of Ethics, 2013 <img src="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_15_650.jpg" width="650" height="483" width_o="1024" height_o="761" src_o="http://payload162.cargocollective.com/1/6/194131/5551634/ben_schonberger_15_o.jpg" data-mid="29916814" border="0" align="left"/> Beautiful Pig, 2012 For more information, visit his website. Ben Schonberger (b. 1987) in Alexandria, VA. He is a native of northern VA, Schonberger grew up in the town of Leesburg, located just 37 miles outside of Washington... http://aintbadmagazine.com/I-Hsuen-Chen http://aintbadmagazine.com/following/aintbadmagazine.com/I-Hsuen-Chen Thu, 02 May 2013 08:33:23 +0000 Aint-Bad Magazine 5469902 Interview by Jey Dong I-Hsuen Chen is a New York-based artist, born and raised in Taiwan. He received an MFA in Photography from Pratt Institute in 2012. His work has been selected for the New York Photo Festival’s 2012 Invitational, his series Nowhere in Taiwan is in the Permanent Collections of Museum of Fine Arts, Houston, and he was chosen as one of Magenta Foundation’s Flash Forward Emerging Photographers 2012. In 2011 he won Jen Bekman Gallery’s Blurb book prize and a Hey Hot Shot! Honorable Mention, and was awarded the New Artist Feature by the site Culturehall, chosen by curator Tema Stauffer. Chen’s work has been published in magazines and online, including Photograph Magazine, Conveyor Magazine, PHOTONEWS(Germany), THE NEW YORKER PHOTO BOOTH, American Photo, and CCNY blog. His work has also been shown at 25CPW Gallery, hpgrp Gallery, ISE Foundation and Ed. Varie Gallery in New York. Before coming to the U.S., he was a professional opera and choir singer in Taiwan. <img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_17.jpg" width="650" height="524" width_o="650" height_o="524" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_17_o.jpg" data-mid="29451093" border="0" align="left"/> Nowhere in Taiwan is a selection of photographs made while traveling through his native country of Taiwan in the summer of 2011. Influenced by the idea of the “road trip” in American photography, exemplified in the work of such photographers as Robert Frank, Stephen Shore, and Joel Sternfeld, I-Hsuen sets out to find scenes and situations that seem to be “in between,” neither landscape nor cityscape but existing in an ambiguous space he calls “nowhere.” Some of these sites are suburban, or partly urbanized, or abandoned and left behind. The aspect of location that interests him most has to do with the traces of human presence and gesture that reside or remain. In search of nowhere, I look for unexpected instances of intimacy, so that there is a sense of “nowhere” being unveiled. You seem to be the one wears many hats. You are a photographer, a performer. Can you tell us more about your background and how you become interested in photography? I studied Advertising and Public Relations as my undergrad in Taiwan. It was required to take photography classes but I never really focused on that. I was trying to be a businessman. The first month I got paid from my marketing job, I went right away to get a small film camera. Since then I started to take photographs even when I was at work or went out for a lunch break. At the same time, I am a performer. I have been singing in a choir and some opera gig for 10 years. I also took event photos for the choir. The first time that I began to make photos as “artwork” was when I quit my job and decided to study fine art. I made my portfolio and applied for schools in the U.S. and I got accepted by Pratt Institute. I found photography special when I started digging into it. When taking photos, I feel like I can capture the moment and the memory. This is the most reason I am fascinated by photography. <img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_01.jpg" width="650" height="524" width_o="650" height_o="524" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_01_o.jpg" data-mid="29451066" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_02.jpg" width="650" height="520" width_o="650" height_o="520" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_02_o.jpg" data-mid="29451070" border="0" align="left"/> How do you start the series Nowhere in Taiwan? Is it before or after you went to the United States? That was back in the summer of 2011. I had been in the U.S. for a year, and I went back to Taiwan to visit. When I was back, I became more opinionated and aggressive compared with all my fellows in Taiwan. In Taiwan, everyone is trying to fit into the group, and I felt I was totally a weirdo, or an outsider. I had a clearer way of looking at things being an outsider. It was good but painful. I was also getting in some fights with my parents because I was more opinionated in a way. I sensed a strange atmosphere around me. I felt weird and I started to criticize a lot of things around me. At that time I had some projects in my mind. Originally, I wanted to make portraits of motorcyclists in Taiwan, because the motorcycle is a spectacle that reflects unique culture of Taiwan. But instead, those confusions led me to go on the road, to take a look at my country. I followed my intuition. I did not even know that it would be a project in the end. The only thing I knew for sure was that I will take a lot of photos. I brought my Mamiya 7, which is for me, a medium format snapshot camera, and drove around taking photos. That is how it happened. It seems it is hard to define this series. It is neither documentary nor landscape or cityscape. When taking photos, I didn't even think about it, but when I did the editing, I found that I was trying to remove almost all the contexts from the scenes. I subconsciously and intentionally avoided to document any literal facts. For instance, I would not show train station’s name, billboards or any sights of interest in my photos. I like the photographs to be questions rather than answers. I try to capture the anonymous everywhereness. When I remove the context from the photograph, you will find it looks familiar. That is how it became universal and more abstract in a way. In a classic narrative, or a story, often there are elements like character, time, place, plot, conflict, and also the beginning, middle and the end. I would prefer one or two elements missing, so that it more easily goes to the poetic realm. I always like viewers to ask questions such as what was that? where was this? where was he going? how did that happen? why were you there? etc. Meanwhile, all the scenes seem to be in the middle of something. They are not in the end nor at the beginning. I would like to make the image that is not about the fact itself but more about something else around the fact. I feel this is more an eastern way of expressing. In the west, people are very specific about what they are presenting, while the eastern way is more ambiguous. I agree with what you said but I am not sure. I recently saw a documentary about Gregory Crewdson. He actually talked about the same thing. He is trying to find a familiar place - an anonymous place that looks like everywhere. But at the same time, he is really precise. So I think there are different layers in eastern and western thought. I believe that western photographers such as Stephen Shore, Alec Soth, or even like Joel Sternfeld, make photographs that are not purely narrative. For instance, Alec Soth argues that photography is not the best medium to tell a story. What photography can do best might be to suggest a story or, like what I said, to conduct a poem. <img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_03.jpg" width="650" height="524" width_o="650" height_o="524" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_03_o.jpg" data-mid="29451073" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_04.jpg" width="650" height="524" width_o="650" height_o="524" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_04_o.jpg" data-mid="29451074" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_05.jpg" width="650" height="520" width_o="650" height_o="520" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_05_o.jpg" data-mid="29451075" border="0" align="left"/> For me, eastern way of expressing is even more poetic. There is no narrative. There is a thing there out of nowhere but is everywhere. I think I am leaning towards the western poetic sense but adding a little bit more eastern way of expressing as my root. When I was taking photographs on the road trip, I kept thinking of Alec Soth and Rinko Kawauchi. For me, they shared some similar quality but at the same time they are different. Alec Soth still tries to suggest a story, a vague story, while Rinko Kawauchi is presenting feelings about life and death, which are not stories but larger than stories. I am not really sure if that is western expression compare with the eastern one. I can only say that those two were my heroes when I was taking photographs on the road trip. I guess my work is at the intersection between them. <img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_14.jpg" width="650" height="520" width_o="650" height_o="520" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_14_o.jpg" data-mid="29451086" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_15.jpg" width="650" height="517" width_o="650" height_o="517" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_15_o.jpg" data-mid="29451090" border="0" align="left"/> You are in between the eastern and western way of expressing, and you are also looking for "scenes and situations that seem to be ‘in between,’ neither landscape nor cityscape.” Why? At first, I was just trying to find places that do not look like a typical travel photo. I find that when the cities are getting urbanized, they look similar to each other. You can see Taipei is like 80 or 60% of New York; Downtown Brooklyn is maybe 70% of Union Square. I try to avoid taking photos of urban scenes because they look pretty much the same. Also, when the city is getting urbanized, it is shaped by a bigger force. If I photograph it, I am photographing the force - the human culturation and civilization, or even the capitalization or globalization - behind it. At the same time, I try to avoid beautiful landscapes, because they all look identical to me. Pure nature is simply not what I am looking for. I am more interested in the human traces existed in places that are partially urbanized or are already abandoned, so that I can see the humanity more clearly. They are like the prototype of humanity for me. In your statement you wrote "I look for unexpected instances of intimacy," but you seem to be distant and detached from the subject, how do you understand “intimacy?” I think there are different kinds of intimacy. For example, you have a photo with a girl and you stay very close to each other. This is very literal and in-your-face kind of intimacy. In this series, I am using love and hate eyes to look at my country. In fact I don't hate it. I just want to know more about it. But at the same time, I have a hard time to fit back in. I feel that my eyes are caressing each place and all my sensibility are encompassed to really embrace everything in the frame, trying to figure out the answer. For me, this is intimate. The distance does not matter. This is maybe something eastern too. You might have the experience that when you are in junior high school, say, you have a crush on a guy. You observe him from afar with loving eyes but are too afraid to get closer. That is my kind of intimacy. Some people might think that I stand too far away and they like to see something closer and more intimate, but I disagree. In the movies directed by Hou Hsiao-Hsien, there are several scenes, where the man doesn't even say a word but you feel that he wants to say it but he can’t. It is kind of the Asian guy’s way to express without expressing. I do not have to talk loud and stay closer to be intimate. <img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_06.jpg" width="650" height="520" width_o="650" height_o="520" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_06_o.jpg" data-mid="29451076" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_07.jpg" width="650" height="524" width_o="650" height_o="524" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_07_o.jpg" data-mid="29451077" border="0" align="left"/> I feel you are searching for your identity on your road trip. After the trip, do you think you found the answer or you are still questioning? I will say, on the way to finding the answers I became the answers. For instance, I want to go to the top of the mountain, but on the way to the top I gain a lot of things. I no longer need the answer. I said that I felt people were looking at me in a strange way when I went back Taiwan in 2011. After the trip, no one looks at me. I totally blend in. I don't know why, or maybe I simply became less self conscious. That is also part of what happened inside me. After the road trip, I no longer needed to find any solution or answer because I already felt accepted. That's how I sequence my works in my book as well - from confusion to acceptance. You made a really beautiful book for this project. Can you tell us how you came up with the design and also how do you sequence and edit your work? I always try to think about different ways of presenting my work. An online slideshow would have a cinematic flavor because of its single-screen and time-based quality - one image after another. A gallery show would be a three dimensional showcase. People can walk around to see the whole layout more freely, not necessarily in sequence. For me, a book is the combination of the two: I can make the layout within the sequential nature of a book’ structure, like creating Mise-en-scène in a book form. For the series Nowhere in Taiwan, I leave a lot of empty space around each image. I’ve tried different layout like leaving small borders, double page spread, or full bleed. None of them work for me. It might have something to do with the way of my composition - there is no major subject matter in each image. You always need to look through the whole frame to figure out what is happening there. Also because of the emotion of the project - alienated, melancholy, and nostalgic, which is like feeling homesick at home, I feel each image needs a lot of space to stay “lonely.” <img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_08.jpg" width="650" height="519" width_o="650" height_o="519" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_08_o.jpg" data-mid="29451078" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_09.jpg" width="650" height="520" width_o="650" height_o="520" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_09_o.jpg" data-mid="29451080" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_10.jpg" width="650" height="520" width_o="650" height_o="520" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_10_o.jpg" data-mid="29451081" border="0" align="left"/> I would also like to create a rhythm, not in a narrative way, but in the sense of musicality. I tried to find some music that would fit the feeling of this series. I think Ryuichi Sakamoto’s OST for Tony Takitani is a real fit. In the main theme, there’s no clear melody, but some single notes sustaining irregularly in a bizarre way - a mysterious rubato, creating tension within a suspended space. I kept listening to the music while editing. As a result, there are not many diptychs in the book. It is usually one image on the spread, left or right. I also have a lot of images back to back between pages, which would be diptychs in an ambiguous way. I learned a lot from Robbin Ami Silverberg, a great artist and book maker teaching at Pratt. She taught me how to make books. <img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_11.jpg" width="650" height="520" width_o="650" height_o="520" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_11_o.jpg" data-mid="29451083" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_12.jpg" width="650" height="520" width_o="650" height_o="520" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_12_o.jpg" data-mid="29451084" border="0" align="left"/> You are pretty successful at promoting your works and your work is in permanent collection of Museum of Fine Arts, Houston. Tell us how you made it. I was lucky. I attended the FotoFest Portfolio Review in 2012 and met the curator of Museum of Fine Art, Houston. She liked my work and introduced me to meet one collector. After I got back from the portfolio review, the curator emailed me to confirm that the collector was willing to fund the museum to purchase one print form me. You’ll never know how things gonna happen. Do you make money selling your fine art work? Yeah, but that is not even covering one or two month rent. It is really hard for an emerging artist to solely live on their works. There is no such market. The money of the whole market goes to the 1% of the established artists who are on the top. When they are established, they have more and more opportunities. Once an artist gets into MoMA, exhibition opportunities and collectors just go to them. <img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_19.jpg" width="650" height="520" width_o="650" height_o="520" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_19_o.jpg" data-mid="29451099" border="0" align="left"/><img src="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_18.jpg" width="650" height="521" width_o="650" height_o="521" src_o="http://payload158.cargocollective.com/1/6/194131/5469902/I-Hsuen_Chen_18_o.jpg" data-mid="29451096" border="0" align="left"/> How do you support yourself? And how do you balance between making art, self promotion and making money? I make money by freelancing. I take event photos, wedding photos and I do videos too. 20 or 30% of my time goes to make money, and I spend maybe 30% to application and promotion. I quit my marketing job to be an artist, but end up promoting myself by using my marketing skills. What if an artist makes wonderful work but does not need to promote himself at all？ How would people recognize him? Anyways, I should spend more time in my studio. It’s so hard to make the balance. What's your next step? I am going back for an award ceremony in Taiwan and also make some work. I have six memory boxes in Taiwan with the things that are important in my memory but there is no way I can use them. I want to take photos of those objects, make 5x7” prints and put them in a small box as an artist book or like a box of memories. The working title would be “Things I am Throwing Away from My Memory.” In this way, I can actually throw them away but keep them conceptually, which is totally contradictory to the title. I have probably 30-40 ideas or more of what I want to do. It is hard for me to decide which one to start. It has to be intuitive and something that I feel I really want to do, need to do in a particular way. If I do not have this kind of impulsive feeling, then I am just trying to be creative. For me, that is not making art. Making art is not trying to be impressive, to be creative or to do something different. When your work is truly personal and true to yourself, it suddenly become universal. This is my ideal way of making art. For more work, please visit his website. Zhenjie Dong is a Chinese born and New York based artist exploring ways to express her social and political concerns through photography. She spoke at TEDxCreative Coast 2012 about her work Recreating Myth and the philosophy behind it. Her works have been exhibited in the Atlanta Photography Group Gallery and the North Carolina Museum of Art. Her video work Illness has been shown at Lumen Prize moving Image Art Festival in Hong Kong. And her work is part of the global tour of the Lumen Prize Exhibition, travelling around the world in United Kingdom, Latvia, China and Wales. Interview by Jey Dong I-Hsuen Chen is a New York-based artist, born and raised in Taiwan. He received an MFA in Photography from Pratt Institute in 2012. His work... http://aintbadmagazine.com/Mark-Lanning http://aintbadmagazine.com/following/aintbadmagazine.com/Mark-Lanning Tue, 30 Apr 2013 10:45:15 +0000 Aint-Bad Magazine 5517674 Mark Lanning is a photographer based in Sacramento with a B.A. in Photography and M.A. in Art from Sacramento State. His most recent project took him to North Dakota for a project focused on the communities that surround Devils Lake and the oil-boom Bakken territory. <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_1_650.jpeg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_1_o.jpeg" data-mid="29719590" border="0" align="left"/> Laris, Russ, & Mike, House-movers, 2012 My most recent project took me to North Dakota to check in on the communities that surround Devils Lake, which has unexpectedly risen 30 feet and quadrupled its area since 1995. This has caused at least one town on the lake’s growing shores, Minnewaukan, to plan a complete relocation. The photographs from Devils Lake reflect on an area undergoing rapid transition and rebuilding itself without a secure future, all in relative obscurity. While riding Greyhound to North Dakota, I met many workers traveling to the oil-boom western part of the state. These hopefuls and their destination, Williston, ND, are documented as well in the larger body of work. As their stories are recorded a link emerges between two areas of the state which are dealing with different types of inundation - natural and economic - the speed, cause, and politics of which are related but obscured. <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_2_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_2_o.jpg" data-mid="29719592" border="0" align="left"/> Raised Home & Foundation, 2012 <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_12_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_12_o.jpg" data-mid="29719563" border="0" align="left"/> Larry, Williston, 2012 <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_11_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_11_o.jpg" data-mid="29719566" border="0" align="left"/> Minnewaukan 03, 2012 <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_5_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_5_o.jpg" data-mid="29719583" border="0" align="left"/> Snakes, 2012 <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_8_650.jpg" width="650" height="816" width_o="750" height_o="942" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_8_o.jpg" data-mid="29719572" border="0" align="left"/> Allan, 2012 <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_3_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_3_o.jpg" data-mid="29719588" border="0" align="left"/> Davis Motel, 2012 <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_9_650.jpg" width="650" height="520" width_o="750" height_o="601" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_9_o.jpg" data-mid="29719571" border="0" align="left"/> Child's Fort, Minnewaukan, 2012 <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_10_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_10_o.jpg" data-mid="29719569" border="0" align="left"/> Flooded Foundation, 2012 <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_6_650.jpg" width="650" height="518" width_o="750" height_o="598" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_6_o.jpg" data-mid="29719578" border="0" align="left"/> Minnewaukan, ND, 2012 <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_4_650.jpg" width="650" height="814" width_o="750" height_o="940" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_4_o.jpg" data-mid="29719586" border="0" align="left"/> Dave, Old Post Office Tour Guide, 2012 <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_7_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_7_o.jpg" data-mid="29721134" border="0" align="left"/> Minnewaukan 02, 2012 <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_13_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_13_o.jpg" data-mid="29719559" border="0" align="left"/> New 57/20 Junction, 2012 <img src="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_14_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload160.cargocollective.com/1/6/194131/5517674/mark_lanning_14_o.jpg" data-mid="29719553" border="0" align="left"/> Field, Minnewaukan, 2012 For more information, please visit his website. Mark Lanning is a photographer based in Sacramento with a B.A. in Photography and M.A. in Art from Sacramento State. His most recent project took him to North... http://aintbadmagazine.com/Louis-Porter http://aintbadmagazine.com/following/aintbadmagazine.com/Louis-Porter Sun, 28 Apr 2013 15:31:55 +0000 Aint-Bad Magazine 5297508 Louis Porter (b.1977) is British born artist who works in the mode of a photographic flâneur, exploring a diverse range of themes including: urban space, photographic archives, leisure and violence. His work has been widely exhibited throughout the UK, England, Canada, Austria, China and Australia including multiple solo shows at the Monash Gallery of Art and Centre for Contemporary Photography in Melbourne. In 2012 he established his own imprint Twenty Shelves, its first publication, The Anatomy of Business, won the inaugural Most Beautiful Books Prize - Australia New Zealand 2013 and his forthcoming publication Conflict Resolution, will be distributed by Idea Books of Holland. Since 2000 he has been based in Melbourne - Australia, where he is the photographer for the City's Arts and Heritage Collection and he is completing a Masters of Fine Arts at Monash University. Louis was a featured artist in issue No.4. Today we feature work from his series titled, Unknown Land. <img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-3_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-3_o.jpg" data-mid="28497584" border="0" align="left"/><img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-1_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-1_o.jpg" data-mid="28497574" border="0" align="left"/><img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-2_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-2_o.jpg" data-mid="28497580" border="0" align="left"/> Unknown Land I arrived in Australia about ten years ago and like many before me intended only a brief stay, an escape from the northern winter which I had never fared well in. Very slowly, like a clump of moss, I became attached to this enigmatic place, drawn in by a curious sense of Jamais vu I encountered in its vast suburban sprawl. Like a model town built from memory, there is an idealised and dreamy quality to the urban landscape of Australia, the houses and gardens are just that little bit bigger, brimming with fruit trees and multi-coloured plastic slides. The crisp sunlight makes everything look fresh out of the box, as if it were put there just for my eyes. Yet something about the place has always been out of my reach just over the next roundabout, something that doesn’t entirely add up. When Australia was colonized the settlers brought with them an image of home, which shaken and buffeted by the long journey was damaged, leaving fine cracks across its surface. So that when it was erected in its new location, parts of the proud and ancient land beneath poured through, changing this image into something quite different. These photographs are of those cracks. <img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-6_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-6_o.jpg" data-mid="28497593" border="0" align="left"/><img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-4_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-4_o.jpg" data-mid="28497586" border="0" align="left"/><img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-8_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-8_o.jpg" data-mid="28497601" border="0" align="left"/>image 5}<img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-12_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-12_o.jpg" data-mid="28497616" border="0" align="left"/><img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-7_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-7_o.jpg" data-mid="28497596" border="0" align="left"/><img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-9_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-9_o.jpg" data-mid="28497605" border="0" align="left"/><img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-10_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-10_o.jpg" data-mid="28497608" border="0" align="left"/><img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-11_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-11_o.jpg" data-mid="28497610" border="0" align="left"/>{<img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-14_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-14_o.jpg" data-mid="28497627" border="0" align="left"/><img src="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-13_650.jpg" width="650" height="520" width_o="750" height_o="600" src_o="http://payload149.cargocollective.com/1/6/194131/5297508/louisporter-13_o.jpg" data-mid="28497620" border="0" align="left"/> He has worked with a number of small press in France, UK and Australia to produce monographs of his photographs, including: 100 Flowers (LozenUP:Paris) , Unknown Land (Doubleplusgood Books:Bristol) and Bad Driving (Erm Books:Melbourne) , he has also been included in the photographic compendiums The Collector's Guide to Emerging Art Photography (Humble Arts:New York) and Hijacked II - Australia Germany (Big City Press: Perth). To view more of Louis work please visit his website. Louis Porter (b.1977) is British born artist who works in the mode of a photographic flâneur, exploring a diverse range of themes including: urban space,...