#photo issue

[ev75]

find my work about the space conquest in the best photo issue in the world !!

very proud ! thanks to Halogenure 

[newmanology]

Love love love the new photo issue of The California Sunday Magazine. Cover photo by Ricardo Nagaoka, photo director: Jacqueline Bates, creative director: Leo Jung. Magazine making at its finest!

[nopefun]

Inside VICE magazine’s All Female Photo Issue

Sandy Kim

VICE magazine’s 15th annual photo issue features the work of 38 female photographers. Nope Fun spoke to Vice Photo Editor Elizabeth Renstrom.

a: It must have been incredibly difficult to select 38 photographers from all over the world, and what more to fit it into 184 pages. What was the editing process for the issue like? How did you decide who to include? a: It was indeed, particularly difficult. This was my first photo issue as the only photo editor at VICE and towards the beginning of the process back in May (after my idea for an all female issue was initially approved prior) I was concerned I wouldn’t be able to fill the pages. After everything is said and done now, I’m chuckling, because if I had my way I would have increased our book to 300 edit pages.

I had around 16 women when I started thinking of who to include. It was really important to me to make sure that this was an incredibly diverse sampling of women’s stories and issues. I didn’t want it to look like a dreamy teen bedroom (although I totally still love that type of imagery), rather, I wanted people to understand that women photograph and cover a MASSIVE range of photography and subject matter. Making sure, bare minimum, I could begin to scratch the surface of this was my first priority. I won’t lie though, I still wish I had those additional 120 pages to round it out.

Mayan Toledano

q: You mention that the women's "way of seeing the world isn't new—we're just new to seeing the world through their eyes", yet photography as a medium is often that democratises in that the photographer's identity/gender may not be obvious in the image. Was there a particular thing in the images that revealed a unique "femaleness"? a: No, not at all. It’s funny you mention it, that great democratization is exactly the point I was trying to make. The only thing is, VICE hadn’t highlighted or done something like this before and I wanted to emphasize that in this day and age it shouldn’t be a concept if something happens to be all women. Women shouldn’t have to answer questions like, “how does it feel to the most ____ female photographer?’ if they don’t want to bring up gender when it comes to their craft. Men don’t have to answer in the same way in respective fields.

I guess that effortlessness of getting together this many supremely talented females was my whole point, and as always, a hope that the industry is changing to be more inclusive and thoughtful about the people they choose to support and assign.

Izumi Miyazaki

q: I like how Hobbes Ginsberg, whose work subverts and blurs the line of gender stereotypes and performance, was included in the issue. What was the rational for including them? a: It’s funny, I had a couple of self portrait artists in mind when initially going over points I wanted to hit in the issue. Hobbes was definitely one of the first people I wanted to reach out to  for the very reason you described, so when she said she wanted to work on something different I told her to go for it. What she submitted was an unexpected still life/film still series that still very much communicated the many layers of.

Jessica Pettway

q: Were there any photographers or series that you would have liked to have put into the issue? a: Of course, almost too many to list! A lot of people I reached out to were in the process of developing new work and wanted to hold off until ideas were fully fleshed out. However, this just means I’m going to have to make sure their placed in one of our upcoming themeless issues OR, perhaps, a 2nd photo issue is already underway ^_~

Unfortunately, as I mentioned before, when you begin to think about the massive presence photography currently has in all of our consciousness you can go a little crazy trying to hit every region/genre/etc.—but this really is only the beginning.

A video posted by @vice on Aug 4, 2016 at 1:32pm PDT

q: There is also a series of behind-the-scenes videos produced for the issue, which provides insight into the craft and process of creating photos. Any thoughts? a: This has always been something I wanted to do as a way for our audience to engage with the photography that goes in the magazine in a new way. I think there’s something so special about being able to go behind the scenes of an image or series you now have in your memory. I will always be a diehard print snot, as I really doing think the tactile feel of picking something up & appreciating prints cannot be completely omitted in the medium of photo. However, I totally see the value in expanding the storytelling. And it just so happens that most photo projects always lend themselves to a video component whether it’s a breakdown of the process of one image, or being a fly on the wall for a photojournalism series.

A video posted by @vice on Aug 2, 2016 at 1:30pm PDT

I figured Instagram was the most digestible format to use as a guide and motivation as it’s recently become totally video-focused. My friend Alex Thebez (who’s freelance on their community team) introduced me to some people at the company to workshop ways the short format docs would work best. Then, I, with the help of some lovely people at VICE, were able to make 19 accompanying videos as part of the rollout of the entire issue. And come on, who doesn’t absolutely NEED to hear Jill Freedman read her statement, or watch Atong Atem transform herself over a time lapse? I sure do & it’s another way of giving these women exposure and agency to discuss their amazing work in a fun way.

Jill Freedman

Check out the rest of the issue here.

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[setagayacityboys]

#095 Photo Issue

Live 2016.01.16

[setagayacityboys]

#081 Photo Issue

at 長野県松本市, 能登半島, 白米千枚田 Photo by ホリオシンスケ

[setagayacityboys]

#060 Photo Issue

at 高尾山 Photo by ホリオシンスケ

[setagayacityboys]

#059 Photo Issue - GRDⅡ

小学生のころから、カメラで写真を撮ることが好きだ。 デジタルカメラというものが世に浸透し始めたころ、親戚の何かの集まりで誰かが一眼レフのデジカメを持っていて、興味を持った。 その人が持っていたカメラにはコンパクトフラッシュが用いられていて、今ではSDカードが主流だが、ソニーはメモリースティックなど、当時はメーカーによって記録媒体も統一されていなかった状況だったと記憶している。 しばらくは家にあったフィルムカメラで愚にもつかない写真を撮っていたが、小学校高学年の時分に初めて“自分のカメラ”を親に買ってもらった。 それは300万画素くらいのパナソニックのコンパクトデジタルカメラで、その当時はそれでも超高画質とされていた。 現在使っているのはRICHOのGR Digital Ⅱで、このブログの「Photo Issue」などに登場する写真はほぼ全てそれで撮ったものだ。 このカメラが発売されたのは2007年で、画素数は1000万ちょっと。 PCやテレビ、インターネット、そしてカメラ自体が進化するにつれ、最低限必要な画素数もどんどん上がっている印象があり、実際にウェブページ上の写真、YouTubeで動画を見る場合などでもHD画質でないと物足りないのは事実である。 何度も新しいカメラを買おうと思っていて、GRの後継機種も「Ⅱ」から現在4つ目が発売されているが、結局、「これで満足はしているし」と思い使い続けている。 理由は、フィルムライクに撮れるから。 特に、モノクロで撮ったときの描写力（またはその乏しさ）が気に入っている。 画質の良さ、画素数の多さも必要だが、大事なのは構図そのものだ。 同じ状況や同じレンズでも、より多くの画素数で記録されたものの方が良いとは限らない。 iPhoneで撮った写真も相当綺麗だが、感動することはない。 これは音楽で言うところの「ハイレゾ」や音圧至上主義的な考えが受け入れ難いことに似ていると思う。 GRはコンパクトで邪魔にならないし、バッテリーの持ちがいいところも助かる。

カメラは「GRD Ⅱ」か「写ルンです」をまだまだ使い続けたい。 ホリオシンスケ

[setagayacityboys]

#055 Photo Issue - Cinematography

Photo by ホリオシンスケ