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@rocketscience
We’ve been around for quite some time - but haven’t been posting on Tumblr as much as we used to.
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Just a few days left before Rocket Science Magazine's 3rd issue is here!
Out soon
It’s here! Rocket Science Magazine’s second issue is out now.
Read it here.
Out next week.
www.rocketsciencemagazine.com
Dear friends,
I’m thrilled to introduce to you the very first issue of Rocket Science Magazine.  A logical follow-up to this blog I’ve been working on for more than 6 years, the magazine is now live and a new issue will be published each month. You will find in this exciting inaugural issue what is going to make Rocket Science Magazine unique : a mix of portfolios, interviews, features and articles that revolve around the making of the photographs, but also around the economy, the conditions and the context in which contemporary photographers and artists work today.
Please forward this email and show the magazine to any of your friends, family and colleagues who share a passion for contemporary photography.
I hope you’ll enjoy reading Rocket Science as much as I enjoyed working on this first issue,
xx
Pauline
current mood
A studio visit with Amy Harrity
photographs by Molly Matalon
Where is your studio exactly and how long have you been working there?
My studio is a second bedroom in my apartment in Alameda, CA. I have been working here for a year and a half. Alameda is a small island resting in between SF and Oakland. Time seems to be frozen here in 1950s.
What are the pros and cons of your studio?
Some pros: Living outside the city allows for more isolation and in turn, more productivity. I get to hang with my pup while I work. My location is conducive for morning walks.
Some cons: I wish the space was bigger. I wish I had to option to shoot in it - at the end of the day most of my work is on location so it really isn't a hindrance. It’s also hard when I’m 4 seasons into Sopranos and the couch is sooooo close.
How many hours do you usually spend there per week?
30-50? Home and work life is pretty seamlessly merged for me at this point.
Do you sometimes wish you had your own studio? Having a big office/studio space with friends definitely sounds fun. If the right opportunity came along, I'd jump on it. For now I am happy with what I got.
What excites you most about photography? I love having a picture in my head and then making it come to fruition - I work like that a lot. In the moments where I don't have something staged in my head, I ~let the light guide me~. A big breakthrough moment for me stylistically was when I realized I couldn't make pictures in even lighting. Complex shapes and shadows and watching it all change and move around me is what really starts to get me going.
Do you think one can learn a way of seeing? Absolutely. Whether we realize of not, culture has greatly shaped our way of seeing. Some people walk through life never questioning it, others challenge it and pick it apart. Understanding your way of seeing has been pre determined is the first step to deconstructing it.
I grew up in a conservative Christian home, I spent my adolescence in Kentucky. People’s scope of "seeing" was narrow to say the least, and mine was shaped by my environment. Photography, along with other life events, is what changed it all for me. I absolutely learned how to see, it wasn't innate.
What's the best thing you've seen recently? This tumblr. This pic by Paul Outerbridge
How much do you shoot on a weekly basis? If I don't pick up my camera for a week, I start feeling icky. When I first started shooting, everything was my subject. As I've found my voice, I’ve become more deliberate about what I will and will not take pictures of.
Does editing your work comes naturally to you? Yes! I love going down the editing hole. I think editing/presentation of photographs is so key to every photographer's vision.
What do you look for in an image?
I don’t necessarily look for anything in an image, and if I did wouldn’t know until I see it. I make really vunerable images and are drawn to them, but I have a great appreciation for pictures that abrasive or shocking. Looking for one type of images seems limiting and sad.
What makes something worthy of being photographed for you? My pictures are about finding something dark, strange and beautiful. Most of my photographs are grounded in natural light, but take a big departure from reality. I really like exploring that space, between the real and imaginary.
Do you think people understand photography? I think people understand photography on a basic, fundamental level. What’s exciting is all the nuance a photograph carries and is missed on an elementary level. Bad photographs can become good photographs and visa versa when you begin to dissect pictures and their potential.
What is your favorite track to edit photos to?
for more of Amy’s work, please visit her website
A studio visit with Cait Oppermann
photographs by Chris Bernabeo
Where is your studio exactly and how long have you been working there?
Technically, I’ve had a separate studio for the last two years, first in Bushwick and now in Sunset Park, but I'm giving it up when the lease ends. I feel most productive in my home studio in Crown Heights, where I've been for almost two years.
What are the pros and cons of your studio?
I really like waking up, making some coffee, and being at work within 10 minutes. The only con I can think of is lacking a commute. When I was at school, I used my commute to finish coffee, read, wake up.  My studio in Sunset Park is of no use to me because I’m not really a “studio artist” but the one thing I do like about it is having the ability to put a bunch of work on the wall and talk through it with my studiomates when we’re together.
How many hours do you usually spend there per week?
60-70
Do you have your own daily routine within the studio?
I like to go through my phone first and delete anything I don't need to see so that when I sit down to work. Â I make a cup of coffee, get emails out of the way, then work on photos either for a job or my own personal work. On Fridays, I like to go to a coffeeshop up the block and read or get work done for a few hours in the morning.
Are there things you deliberately forbid yourself to do/have within the studio in order to be more productive?
I hate getting stuck in a loop of checking social media because it makes me depressed and frustrated with myself, so I solved that problem by always having a good TV show to watch while I work. A lot of the work I do on the computer (unless it’s writing) can be done while listening to or watching something. It sounds counter-productive to get wrapped up in a show while working, but it’s honestly the best way for me to stay focused. If I’m watching a good show, I’m not thinking about email or social media and I get so much more done. Right now, I’m in the middle of rewatching The West Wing.
Do you sometimes wish you shared your studio with one or a few other artists?
I'm a pretty solitary person and having alone time is essential for me. Â I think if I were constantly working around others, I wouldn't get as much done - not because of distractions, but just not having a space to feel like my head is totally clear.
What is your favorite track to edit photos to?
For more of Cait’s work please visit http://caitoppermann.com/
A studio visit with Joshua Lutz
photographs by Dale Rothenberg
Where is your studio exactly and how long have you been working there? My studio is in Katonah, NY about an hour north of the city. I have been here for 5 years.
What are the pros and cons of your studio? My old studio was hardly a studio at all. We carved a nook into the kitchen and built out a very small space for a computer. Studio visits involved a long process of transforming the kitchen dining room into a space more conducive to laying out prints. Having a separate space now with its own entrance feels like a real luxury. That probably doesn't answer your question but really my favorite thing probably has more to do feeling fortunate to have any space that functions solely as a studio. There is a nice view of a lake from the window and a second floor where I keep all my books. It's not terribly large but functions how I need it to.
How many hours do you usually spend there per week? If I am not shooting I am in the studio Monday-Wednesday. I generally teach on Thursdays and Fridays and spend the weekends with my kids. I am very structured about art being a job and making sure that it doesn't interfere with raising kids. I dont want them to grow up resenting art and thinking that it's this thing that keeps me away from them.
Do you have your own daily routine within the studio? For exemple, do you usually start by answering your emails then get to work etc? Wow, we are getting personal. I wake up before the kids get up to meditate in the studio, answer emails then head over to the house to get them ready for the day. I try to get all that done so that when I come back to the studio I can concentrate on projects.
Are there things you deliberately forbid yourself to do/have within the studio in order to be more productive? Not really, I just make little rules for myself. Like I am going to work for a certain amount of time without interruption. I have to walk outside for cell service so that helps.
Do you sometimes wish you shared your studio with one or a few other artists? Never but sometimes I wish there was a communal space of sorts but it is really important for me to be able to close the door and quiet the noise.
What is your favorite track to edit photos to? That's a hard one, I don't really have one like that. I listen to all sorts of music and right now I am on a Willie Nelson kick. Hopefully it will end soon - I think I am slowly killing all my friends who come over.
for more of Joshua's work, please visit www.joshualutz.com
David Luraschi and I are proud to present our collaborative book, Beaumonde.
Beaumonde is a publication about established and emerging photographers and their work process. We are aiming to have the book published by late 2015.
We are very thankful for all the contributors so far and excited to share what we have been developing with them for the past year!
For any inquiries please say [email protected]
Website credits Coded by Harold Urcun Typeface by Luke Archer Visuals Osma Harvilahti, Emile Barret, Tim Briner, Andrew Musson and Johannes Rompannen
A studio visit with Romke Hoogwaerts and Grace Leigh (Mossless)
photographs by Molly Matalon
How did you two meet and how did you start working together on Mossless?
Grace: Romke and I met in life drawing class at SVA my freshman year. We sat next to each other while we drew naked ladies. We started getting our lunches together and we'd sit for the hour on the stoop​ ​and talk. I started running into him basically everywhere I went, it was truly bizarre. It actually became a joke between my friends and I. I would be like "oh I went to this great show in the lower east side last night" and they'd be like "oh cool, how's Romke?"​. Eventually, I just decided to ask him to go to a movie with me. The movie was a total bust, sold out, but it ended up being a great night, and it just clicked. We just started spending almost all of our time together after that. ​
I started working on Mossless mostly as a means to hang out with him more and help with everything he had going on, I initially had no intention of becoming involved past that. I started by just helping with packing and shipping and that morphed into me becoming really invested in the project.​ Progressively I started doing more and more, helping him out with some smaller editions and things like that. It wasn't until our month in Holland visiting Romke's family that we starting thinking of projects together.​ Romke was so open to me becoming a part of it, it all happened really fluidly.
Where is your studio and how many hours per week would you say you work in it?
Grace: ​Our studio is in our house, in a little room off of our living room. We are actually currently renovating it,​ so I'm spending a little more time in there than usual. We just extended our lease for a year and a half so we're like, okay lets turn this into a room we can really work in, because since the beginning we've kind of just been working wherever there is space on the floor... ​ It's definitely time to have a workspace.
Romke: We've been aching for a studio for the longest time!
Are there things that are specifically Grace's things to do or Romke's or do you both work on everything regarding Mossless?
Romke: We divide things fluidly, depending on what needs to be done.​
Grace:​ When we have special editions to work on, like the ones we did with Laurie Kang, Mark King and Jake McNulty, which are usually an edition of 25-50 and printed in house, I'll do the binding and assembling of the books. I have also recently taken over the task of our stateside distribution, which is itself a whole learning experience.
Romke: I do most of the editorial labor, preparing pages, tweaking details, talking with printers, and so on. What I like most about our partnership is that we scrutinize every creative editorial choice together.
What advice would you give to someone wanting to start self publishing?
Romke: Be experimental and pursue what you think should exist! That, and avoid putting your personal finances at risk.
What are the pros and cons of your studio?
Grace: It's easy to get distracted when you have your studio in your house, and that goes both ways: getting distracted from work when you have things to do and working when you're trying to relax at night (i.e. eating dinner at a normal time). It all becomes a bit muddled. But it's nice in that we can jump into work whenever we want or need.
Romke: Our equipment and tools and things are all mixed up with our personal belongings. It's kinda nice to work at home but when you spend about half an hour a week looking for the same tape dispenser, you know something's not right. I will say that the intimate setting allows us to keep our guards down, in a way.
Romke, you recently started working as a photo editor for Bloomberg Businessweek. Can you tell us more about what you do for BBW and are there things you didn't expect to encounter?
Romke: I got hired by BBW to help edit photos for the front of book, the news sections. I had already known and befriended an editor there, but the third issue really got my foot through the door. About half a year into that I got offered an incredible position at the NYTimes Magazine, so now I work there. I oversee the photography on the magazine's website. It's a great honor and it's fun too.
What is next for Mossless?
Grace: We've got a couple of smaller editions in the works, which we are finally able to get to now that things from around Issue 3 are calming down. This is is shaping up to be a summer of books for us, I'm really excited about it.
Romke: We'll also be releasing a new video as well, a pilot for a type of short photographer doc. We'll see how it's received before we invest in making more.
What's the best thing that happened to you thanks to Mossless?
Grace: I'd say it's everything I've learned about work ethic, about making books, about working in collaboration with someone. This is invaluable to me. ​​
Romke: I was able to get a legitimate career in magazines, no internship could ever have offered me a way to showcase what I can do. I'm mostly glad I can pay rent without worry now. But of course, the greatest thing about is all the photographs I have been able to see as a result. That alone really has been an education.
What is your favorite track to edit photos to?
Romke: During Issue 3 I was listening to Bill Fay quite a bit, Willis Earl Beal and Angel Olsen too.
Grace: For me right now it's Jessica Pratt's Back, Baby.
For more of Romke and Grace’s work, please visit www.mosslessmagazine.com
A studio visit with Molly Matalon
photographs by Thomas McCarty
Where is your studio exactly and how long have you been working there?
My studio is also my bedroom and it’s in Bushwick, Brooklyn off the Myrtle/Broadway stop on the J train. I’ve been here for over a year.
You recently graduated from the School of Visual Arts and are about to move to SF. Can you talk a bit about how you transitioned from being in school to entering the market and why did you chose SF over NYC?
When I was a junior at SVA I messaged Emily Keegin, former photo editor at Bloomberg Businessweek on tumblr saying “I love what you do!” because Bizweek has real good content and Emily has a really good blog. She replied “I love what you do! Bring in your book!” That was kinda a one off moment but I think it made me more comfortable contacting editors. It’s been hard to “enter the market” honestly what does that really mean... But luckily I’ve become really good friends with some really good photographers who have helped guide me in a way that leads me to meeting with photo editors. I honestly don’t get a lot of work haha. It’s not that I am choosing SF over NYC, I am just really burnt out from being here in NYC and I want a change of scenery, I spent the summer in SF and one of my best friends lives there and I’m just going to test the waters over there and I am sick of snow.
What are the pros and cons of your studio?
Pros are that I live with my best friend Corey Olsen, I get a lot of beautiful natural light in the morning. It’s also kind of local compared to where my friends live so it’s easy for them to come over etc.
Cons are that I live with Corey Olsen. It’s very small and it’s also my bedroom. It’s hard to sit at the computer and focus. My landlord lives below us and they have an obnoxious dog that barks all the time.
How many hours do you usually spend there per week?
Lately I have been hanging out in my room a lot….probably 90% of the week I am here. Only because I really don't want to spend money on a metrocard or money in general haha.
I really like your series "Mom". How did you first start photographing your mother and does she collaborate easily?
Thanks! Basically I didn’t know what to photograph when I first moved to NYC. I photographed a friend of mine’s family for a while, becoming more interested in domesticity and family structure. Later I realized from having a really great critique teacher that I should probably photograph my own family because it’s what’s closest to me. I put off shooting my mom for a while because our relationship was on the rocks and I didn’t want to hang out with her intimately with a camera. Obviously that changed and it forced us to spend more time together and I began to think about mothers and women a lot more in depth. It also made me think about myself as a woman. What kind of woman did I want to be? She is the best collaborator. She is always ready for the camera and her personality is always at a 10.
Do you sometimes wish you had your own studio? What would you say are the biggest pros and cons of sharing your workspace with someone?
Since I don’t really have a traditional “studio”.. I like the idea of sharing a space and bouncing ideas off of someone. But I also like alone time. In the end I guess it depends on who I would be sharing it with. Virgos are very particular about who they give their energy to, hehe.
What is your favorite track to edit photos to?
I'm looking for writers and interviewers for an upcoming, photography related project. Email at [email protected] for more info. Let's do this!
- photograph by Damien Maloney
A studio visit with Mike Sinclair
photographs by Barrett Emke
Where is your studio exactly and how long have you been working there? I work in a small converted bedroom on the second floor of my house in Kansas City, Missouri. The house is located one block west of Main street and about 15 blocks south of the downtown. It was built in 1904, my wife and I are the third owners. The first owners or their children lived here until 1996. We bought the house in 2001.
What are the pros and cons of your studio? The first thing I did when I moved in was to cover one wall with Homasote, making it a large tackboard where I could pin up photographs. That’s about the only thing that hasn’t changed over the years. Last year I got a large Epson printer that’s almost as wide as the room so I had to redo my desk and make a bigger work table to handle large prints. The room has a single window that faces toward Main Street. From it I can see the sky and my backyard. The view reminds me to not stay in the room too long but to go out and take some pictures. My teacher in college, Charles Swedlund, believed that if you wanted to get things done you shouldn't have comfortable chairs. For the past two winters we’ve had a small hawk visiting our backyard hoping to catch one of the many sparrows keeping warm in the Viburnum hedge. I like to watch him studying the small landscape of our yard, he’s a model of patience and concentration.
How many hours do you usually spend there per week? Even though the room is small, it’s very multi-purpose. It’s where I edit my commercial and personal work, make prints, struggle at painting, read, do paperwork. When I’m home I probably spend 4 or 5 hours there.
Do you have your own daily routine within the studio? For exemple, do you usually start by answering your emails then get to work etc? On days when I don’t have a commercial job I try to spend mornings working on personal work, looking at what I’ve been shooting, editing, and making prints. I take a break mid-morning and check email. In the afternoon I switch to commercial work—edit a shoot, prepare for an upcoming job. Late afternoons I usually go for a walk with my camera. Lately I’ve been photographing along two boulevards so I’ll walk along one of them for an hour or two.
Are there things you deliberately forbid yourself to do or have within the studio in order to be more productive? No, I sometimes think I’d like to take everything out of the room except for the computer, printer and a few book but in reality almost anything goes. We watch movies, eat dinner, give my cat her vitamin B shot, repair children’s toys, pay bills.
Do you sometimes wish you shared your studio with one or a few other artists? No, I’m very happy having the place all to myself. It’s hard for me to work when others are around.
What is your favorite track to edit photos to? I’m not very good at listening to music when working. I’m too easily distracted and soon I find myself concentrating on the music instead of the job at hand.
for more of Mike's work, please visit www.mikesinclair.com
A studio visit with Michael Friberg
photographs by Cole Wilson
Where is your studio exactly and how long have you been working there?
My studio is in a weird industrial area of Salt Lake City. Not the cool, up and coming type of industrial. Straight up mid 90's buildings and gravel factories type industrial. I have been there for a little over 1 year. I didn't mean to be there. I had originally secured space in a great old building in a cool industrial neighborhood that my friends who own a coffee roasting company were also operating out of. Randomly one day I got a call that the fire marshal was there and the building was apparently condemned so we all had to vacate it in about an hour. I hadn't even moved in yet. The coffee company found a space that worked for them and asked me if I wanted to rent part of it. I was kind of desperate and I wanted to be with my friends so I agreed.
What are the pros and cons of your studio?
The pros of my studio are many. As I said before, I rent space from a coffee roasting company my best friends started that I own a tiny part of. So, the main pro is the unlimited high end pour overs I get to make. I also get to be around my best friends. It is also pretty big with super tall ceilings so it makes it easy to do whatever I want. Access to a forklift is also a pro. When Ben Rasmussen and I made the newsprint publication "By the Olive Trees", I don't think we truly comprehended how many 4000 copies of something was. When it showed up on two pallets on the back of a truck, I was really glad I actually had enough space to store it. The belly dancing boutique across the street is also a pro. I personally haven't shopped there yet but I've been meaning to. The cons of my studio are: Unlimited high end coffee. No air conditioning in the summer combined with a coffee roaster and good insulation equals incredibly hot days. Weird neighborhood, Not great light. Tons of dust due to a granite company next door that is constantly grinding countertops outdoors.
How many hours do you usually spend there per week?
If I'm in town, I probably spend anywhere between 25 and 40 hours there a week. It tends to be pretty random.
Do you sometimes wish you had your own studio? What are the pros and cons of sharing your workspace with someone else?
Like I said before, I rent space in a warehouse from a coffee roasting company my friends own part of. My best friend Tim who is a programmer also rents a desk there. I mostly like sharing my workspace. Sometimes I dick around too much because of it but I need breaks when I'm doing dumb computer work so its nice to have friends to talk to and listen to music with. I think if I had my own studio I would go insane. That was the reason I decided to get studio space in the first place. I hated working from home. I would be at home alone all day going crazy. I need human interaction.
What is your favorite track to edit photos to?
for more of Mike's work, please visit www.michaelfriberg.com