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PRIZMA d.o.o. I pansko 22, 10000 Zagreb I www.prizma-foto.hrBLUR MAGAZINE 17

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impressum

Robert Gojeviounder | editor in chie | design | dtpe-mail: [email protected]

Ivana Krnjimarketing & PR | translator

e-mail: [email protected]

Anamarija Kovatranslator

Petra Nenaditranslator

Ivana Benitranslator

Ivan Zidar

journalist

Vedran Koruiprooreading

Davor Juriiprooreading

Ivan Pekariktranslator

Dario Devi

web master

O BLURU

HARD FACTS - BLUR HISTORY

Blur magazine is project ounded and run by photography enthusiasts, and volun-teers rom all parts o Croatia. Aiming at achieving high quality content, the maga-zine is published quarterly in PDF ormat so it can easily be downloaded, saved andbrowsed through every now and then. It is available through the Internet exclusively,in order to avoid high cost distribution ees, break territorial borders and reach everysingle part o the Earth, ree o charge. It is because o its cosmopolitan nature thatBlur is edited simultaneously in Croatian and English. Though initially established un-

der the name o Bulb at the close o 2007, in September 2009, it changed its editorialboard, rereshed its team o collaborators and, using a bit more blurry name, Blurnow heads or new challenges.

SOFT FACTS - BLUR VISION

When it comes to presentation, photographers have great expectations rom theInternet. Virtual exhibition rooms replaced expensive and highly privileged galleriesand at one point it seemed an easy tool or one to be noticed and recognized withoutinvesting a lot o money. However, nobody expected such hysterical interest or pho-tography, a mass industry that constantly persuades us we always need to be awareo latest technological novelties.

A large amount o photo portals appeared, which led to quality dropping and cri-teria being downgraded, orcing photographers to spend more time online than ac-tively do what they should - take photos. Recognition mostly became a consequenceo constant communication and active and thoughtul commenting the work o otherphotographers, while those less active remained unnoticed in spite o their quality.

We are surrounded by photography every step o the way but it however sadlymostly co-exists with capitalism the way o lie which but ruins the values withoutwhich we only eel empty and incomplete. Everything is seen through the eye o thedollar and material interest.

Blur magazine chooses to resist to these trends. Apart rom the act it is ree, unbeli-evable to most, we omit what we subjectively eel should be less important and moreblurry when it comes to excellent photography on purpose. Our readers are ree romtechnical inormation which camera/lens was used, what was the ocal length andthe rest o unimportant acts that ll most o photo related magazines and web por-tals. Or ocus is purely on creative photography, with a strong personal mark by aut-hors that deserve to be highlighted. We want to slow down production rhythm, andmake readers and photographers strongly reconsider photography. We wish to beexperienced more as a book and less like a movie.

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5/248BLUR MAGAZINE 17

Robert Gojevic, [email protected]

In times when the crisis impacts all social levels and rare-ly leaves anyone unaicted, BLUR magazine boldly goesorward. We decided to increase the number o pages, intro-duce more optimism, celebrate beauty and creativity andto deliver all o this to your home ree o charge, no matterin which part o the world you live in. It only takes scrolling

your mouse three times, clicking, and there we are :).

We decided to talk less; i.e. to publish the textual content inan ideal amount, suitable or screen reading, and to providemore visual experience, while bringing more diversity byreserving space or dierent photographic styles and tech-niques.

And while many are still surprised about BLUR being a ree-o-charge magazine, we opted or another costless programcreated or Croatian photographers entitled FULL CIRCLE. Itinvolves a process o selecting a ew authors whose workcontinuously attracts our attention and which we believeshould receive more media attention. Through this project,BLUR yet again opposes the phrase stating nothing in lie isree and proves that ambition, good work and quality willalways be recognized and awarded. In collaboration withCinema Europe, and with the help o our sponsors, Prizmad.o.o., PlanB, selected photographers will enjoy completely

ree exhibitions o their work in the very centre o Zagreb!The rst author to be exhibited as soon as middle o Marchis Jelena Bali, a young but very talented photographer ori-ginally rom Split. Besides ree exhibiting space provided bycinema Europe, Borovac & Bence ensured the best prices oprinting and cassation, while these costs will be ully cove-

red by Prizma, distributor o photo equipment. However, inorder to ensure ull and complete support, it is necessary toachieve media attention. Thereore, PlanB will eature selec-ted authors by presenting them through a monthly intervi-ew plus photos basis, while photo web portal otograja.hrwill create a section FULL CIRCLE. In addition, BLUR magazi-ne will carry out detailed reports rom all exhibitions.

Furthermore, we published the rst website dedicated tothe master o Croatian photography, Too Dabac, in Cro-atian and English version, and set up the rst online webphoto gallery dedicated to artistic photographs o Zagrebentitled ZGB ART.

As the main media sponsor o a specialized photo gallery inCroatia, Lang Gallery in Samobor, we enabled the ree con-struction o their ocial website.

Besides BLUR magazine becoming a main media sponsoro Lomography Croatia, it will provide media support orthe European project Urbanautica that will organize exhi-bitions all over Europe during 2011. We hope that they willmake a stop in our territory as well.

As a proud exclusive media sponsor o the Impossible Pro-ject, we are impatiently waiting or 22 March when the rstnew instant lms will be ocially launched. This gave us areason to issue a special BLUR magazine edition dedicatedto the event and Polaroid photography in general.

This year began with many new projects and interesting co-llaborations. We are pleased that, despite the dicult times,we can still nd reliable partners who appreciate and reco-gnize high-quality photography. Having them around, it iseasy to have an optimistic view o the uture.

And while many are still surprised about BLUR being a ree-o-charge magazine, we opted or another costle-

ss program created or Croatian photographers entitled FULL CIRCLE. It involves a process o selecting a ew

authors whose work continuously attracts our attention and which we believe should receive more media

attention. Through this project, BLUR yet again opposes the phrase stating nothing in lie is ree and proves

that ambition, good work and quality will always be recognized and awarded.

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ONE BIG THANK YOU

For such an independent, specic internet magazi-ne, it is a big honour to know it is being read by aro-und 10 thousand people in 110 countries. Howvere,there is no better recognition then readers sendingpersonal compliments, comments and suggestions,because these not only give us an energy kick, theyalso provide ideas or urther development and im-provement. Thank you or all o your participation soar!

VISIT OUR FACEBOOK GROU

In view o changes already explained and a kind onew beginning or Blur magazine, we would like tohave even better interaction with our readers. This iswhy we created our Facebook network, through whi-

ch we will give updates concerning Blur magazine,and where you can provide your eedback and speakyour mind, and which will be a place or all o you tomeet, exchange ideas and, perhaps, collaborate. Whatconnects all o us is common love o photography, anart or trespassing all time any territorial borders, whi-ch is exactly why we want to create a community whi-ch will unite incurable photography and Blur bus.

Join Facebook group Blur magazine !

KEEP ON WRITING

Dont hesitate a moment, keep us posted on whatyou like and what you believe should be improved.You can send your comments by e-mail or the Face-book group and we will publish most interesting onesin our next issue. Bellow you can nd some o manycomments we already received.

Keep sending us your comments, compliments and wishes or our improvement rom now on our new Facebook page!

An old saying goes the best things in lie areree.

Nowadays, when almost every breath o airhas its money value, the saying may seemlike a bad joke. However, there are still someplaces where it can be applied in its ull me-aning.

One example is BLUR, a photography maga-zine the high quality o which is ensured bya group o volunteers, true lovers o photo-graphy, or whom the sole goal is high qua-lity photography with strong and recogniza-

ble auteur mark, which by and by is also themost important ingredient or an excellentphotography magazine.As one o published authors, whose projectwas brought to lie in your magazine, I wantto thank you and wish you urther successrom my heart. Stay the best. He who doesntbelieve, should check it by himsel - its orree! :)

Max JuhaszCroatia

When you are interested in photography pri-marily as art and when you, in general, dontworry that much about photo equipmentand the latest photographic ashion, it can

be quite hard nding a photography relatedpublication that would satisy you.Until BLUR appeared, the only photography

magazine which was good enough or mewas the French Photo. And given that Photois one o the most amous and oldest pho-tography magazines in the world, BLUR hasevidently made a big step or mankind.Today the situation is a bit dierent; thereare some magazine that bother but withthe latest photo technology, but they dontgive so much space to unknown photograp-hers and their work, giving a little room toprojects and texts o photographs that deal

with dierent states o minds and ull pagephotographs. This initiator o interesting in-ternational contests that started as a smalldrop o hope evolved into something thatevery good photographer should regularlydownload to his computer.

Ivana BeniCroatia

Dear BLUR,I have to thank you or publishing one omy photographs. I appreciate it very muchand I am pleased you liked it. You are gettingbetter and better with every new issue.Best regards,

Dimitar Chungovski ChoongaMacedonia
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QUICK WAY TO WANTED INFORMATION!

Blur magazine contains hyper links through which you can directly go to wanted page,and rom every page go back to the content. By clicking thumbs on Gallery 24 you canimmediately see the page with photography you clicked on and also return. Every URLaddress mentioned in the text is at the same time a hyper link or the wanted web page.This makes reading o our magazine easier, quicker, more simple & pleasant.

The easiest way to read

Blur magazine is in Full

Screen Mode. In caseyou are no longer in

it, press Ctrl+L onyour keyboard.

by clicking on the top o each page, you will be directed to the content!

BISERKO FERCEKHrvatska | http://spare-bibo.deviantart.com/

Gondole

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The Netherlands| http://www.keesmuizelaar.com

Twins Roos & MareKEES MUIZELAAR

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Srbija | http://www.ickr.com/photos/lady_lush

For the boy of summerMILICA

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Croatia | http://marindrazancic.carbonmade.com

BrodicaMARIN DRAANI

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France | http://www.tarekfakhry.com

ZigZagTAREK FAKHRY

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Romania | http://danlavric.com

Grimms` StoryDAN LAVRIC

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Italy | http://www.beadegiacomo.com

DeianBEA DE GIACOMO

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Croatia | www.fotke.hr

Rise of the FutureMLADEN BOIKOVI

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USA | www.mrmanoog.com

panties & boxersMARCUS MANOOGIAN

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Germany | http://fabioborquez.co

detrasdelosmetrosFABIO BORqUEZ

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Serbia |

My WayPOPOVIC GORAN

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Croatia | http://borisperkovic.com

HRBORIS PERKOVI

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Czech Republic | http://www.martinstranka.co

I Was Falling HighMARTIN STRANKA

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United States | http://www.williamcastellanaphoto.com

GloveWILLIAM CASTELLANA

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Croatia | http://www.fotozine.org/index.php?omen=Double

HauntedDARIO MATI

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BiH |

nally freeNATAA MALINI

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The shamanic healer

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Italy | http://www.photo.patriziaburra.com

Man with no countryPATRIZIA BURRA

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New Zealand | http://www.gotya.co.nz

DogJOCELEN JANON

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Romania | http://crushedsilence.deviantart.com

The sleep of the UniverseALEXANDRA JITARIUC

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Croatia | http://ivan-c.deviantart.com/

Daske i konopIVAN ORI

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France | http://www.samuel-moulin.fr

The TouristSAMUEL MOULIN

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Moving

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USA | http://www.roguecamera.com

The Locksmith, By CodeRICK MAJEWSKI

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Poland | http://maciej-leszczynski.pl/

NewbornMACIEJ LESZCZYNSKI

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Russia | http://www.aytmurzin.com

BreezeROMAN AYTMURZIN

Gallery 24 submission o photographs

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The main mission o Blur magazine is to promote andcelebrate artistic photography and to ensure coverageo all photographers, proessional and amateur alike,who capture motis that intrigue them in ascinating,innovative and resh ways.

Gallery 24 is a collection, or even better, an exhibiti-on o all o those individual, unique and successul pho-tographs which are not grouped by a given theme, butare based on their quality, specic characteristics and thewow eect. Your work can be part o this collection tooand thus be seen by several thousand people rom allover the world.

I your work matches the description, dont hesitate a

moment but submit immediately using the (link!).

Send us 2 photos per issue maximum.

Send each photograph in a separate e-mail

Name the photograph: name-surname-photograph name.jpg

Send photographs as a .jpg le

Every photograph has to be 1,000 pixels in its wider side / resolution: 72 dpi

Maximum photograph size is 1MB.

http://www.blur-magazine.com/submission/photo-submission/

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The timeless aspect o black and white perhaps aordsthe photographer more room to move away rom day today reality and read the print in his lab in 100 dierentways. To best translate the moods and what was elt atthe time its ideal. I have always loved printing work in thelab and although today the work is done on photoshop, itis essentially the same thing only the tool has evolved.

Phillippe MarchandFrance | http://www.philmarch-images.fr/

between man and sea

selected: Robert Gojevi

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It is probably the greatest pleasure or every photographer and photography loverwhen she/he comes across portolio which is obviously very dierent rom the others.

Your photographs take the observer into one, almost unreal, world o everyday mo-ments. A great sel discipline is needed or something like that, because it is very obviousthat You made some big sacrices and proled Yoursel when You decided or qualityover quantity. At least that is the way I see it. What would You say about that? When I rststarted on this project, I think I just wanted to ree mysel rom the advertising world inwhich I principally work, regain a little reedom. I had a airly clear objective, I wanted to

work on a series where the images were linked by their subject-matter but also by theircharacteristics: ormat, black and white with grain, intimate atmosphere ... etc. My ambi-

tion was that each image be suciently strong to stand independently but nonethelesshave an obvious place in a series. Above all I wanted to take my time working on an exci-ting project, all the while enjoying mysel. As you correctly understood, I was not lookingto merely accumulate images and it still happens that I do not keep a photograph i I eelit adds nothing to the series.

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Looking at Your photography, it seems like all Your photographic world is happeningin intimacy o some small place with all its mysteries and spe3cialties which cannot be

ound in any other place in the whole world. Just the notes beneath each photographysay that they are taken in the dierent places all across the France. It seems that You hadno need to explore the world outside the coast o the France? I have been pursuing thiswork recreationally or a while now. As a result, I was generally only able to move or veryshort periods o time (1 or 2 days at a maximum) and so I stayed close to home. I am o-rtunate to live in a beautiul region (Brittany) with a strong maritime tradition and where

you can meet a lot o master cratsmen who still work in traditional ways and oten inworkshops that have hardly changed or 100 years. Now that this project has gained

some momentum, I really want to explore other shores. There are a number o countriesthat appeal to me.

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Formats o Your photographies are something that is noticed on the rst sight. Is be-cause o popularity o square ormat, so You decided to take one more step into being

dierent? What are the advantages and the deects o this ormat You are choosing? It istrue that I wanted to move away rom the square ormat and that the maritime themelent itsel well to this objective. It is a world that requires a ormat that breathes. I certai-nly did not want to separate the characters rom their universe and it is an ideal ormatto encompass men in their lie contexts. O course there are some disadvantages, whenan interesting scene lends itsel more naturally to a vertical rame I must orget about it...

or I must think very hard to tr y and ensure that it runs horizontally. Ultimately, however,it is a state o mind. When Im reporting or this project I am conditioned to think wide-

screen.

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One more thing that surely places You out o the many is avoiding coloured photogra-phy. What is Your secret? Is the wind, or the atmosphere itsel better documented on black

white photography, is the dramaturgy better expressed this way? The timeless aspect oblack and white perhaps aords the photographer more room to move away rom day today reality and read the print in his lab in 100 dierent ways. To best translate the moodsand what was elt at the time its ideal. I have always loved printing work in the lab andalthough today the work is done on photoshop, it is essentially the same thing only thetool has evolved. Ater the shoot itsel I spend hours, sometimes days on each image to

try to recreate the atmosphere o the place. Ater the initial printing, I leave the imageuntouched beore returning to it rom time to time, gradually applying the necessary

corrections. It is a good technique to ensure that I always have a resh and critical eyeand in this way the atmosphere slowly orms in the image. It is a subtle game o nuancesthroughout the printing process and ater a while Im certainly the only one to perceivethe changes but I want the image to suit me perectly beore it joins the gallery.

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Creativity could be the key word or Your motives. As You are photographing creativepeople in moments o their work, in their own workshops, and even when there are no

people, it seems like there is always creativity o human hand through architecture orthe nature itsel. Tell us something about that? I wanted to capture evidence o the re-lationship between man and sea: how they watch her, how they approach her and theintimacy they share with her through their

activities and their passions. Mans imprint on the marine world and that o the oceanon the lie o men, right down to their behaviour and the expressions on their aces.

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How long are You doing photography, and who had the major impact on Your view atthe photography? I have been a proessional photographer or twenty years but I started

in photography at the age o 15. I have certainly been infuenced by the stunning blackand white images o

Jean Loup Sie, he was never content with a relatively good negative and a nice rangeo greys and deep blacks. He brought his universe into his prints.

One could immediately recognise a Sie piece whether it was o a nude emale or o alandscape.

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Tell us something about the reward or the best photographer in 2008 which You wonwith the photography Artemis run aground. I was obviously delighted with the prize (10,

000 worth o Nikon equipment) but I was equally surprised by it. I did not think that ablack and white image in an unusual ormat could win rst prize among all categories.For the record, when I heard about a ship that had missed the entrance to the port o Sa-bles dOlonne and ran aground on the beach just meters rom the embankment, I imme-wdiately wanted to get out there but could only make mysel available ater 3 days. In themeantime, it had become a tourist attraction and the port was crowded. When I spotted

this young man rom the back (he was actually eating a sandwich) with his shaved headand black leather jacket, I positioned mysel and I had to wait a while or there to be no-

one else in the rame. The reality was ar rom the impression o loneliness that the photoprojects.

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Are You satised with the media attention You are receiving or Your work, and doYou have enough opportunity to tell what You want to tell with Your photography? I am

ortunate to earn my living as a commercial photographer. However, in relation to thisproject that I have worked on or ten years, and excluding the Nikon prize, the sales donot yet oset the costs incurred despite a certain level o recognition in the world o pho-tography and the press. I recently started seriously promoting this work but according tovarious leaders in the proession, the economic crisis has really shaken the art market. Iwould love to devote more time to creating such images but it should yield a return and

or the time being I have no solutions to this problem.

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AL BE CREATIVE,BE IMAGINATIVEBE YOURSELF!
http://www.artlimited.net/index.phphttp://www.artlimited.net/index.phphttp://www.artlimited.net/index.phphttp://www.artlimited.net/index.phphttp://www.artlimited.net/index.php

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Art Limited is an elegant high-featured artist community for artists, art lovers and critics. This site features personaland original creative works that are well recognized and appreciated. If you wish to only comment on the art and take

advantage of the message center and forums to engage in dialog with the artists (art dealer, gallery director, curator,

artist agent, publisher, gallery representative, image researcher, collector, press, communication),you can do so

through an "observer" account. If the quality of your work is recognized and original, join us now.

BE YOURSELF!

ART LIMITED COMMUNITYwww.artlimited.net

photography painting drawing design digital models sculpture

BLUR MAGAZINE 17

I am very fattered topublish a portolio in Blur,

its a magazine who isgenuinely interested bythe author. Open to newtalents without discrimina-tion. I think your questionsto the authors are otenvery relevant you really

take time to analyse pho-tographers work beore,

this is not the case with allmagazines where issues areoten ormatted. I wish along lie to Blur-Magazine.

Phillippe Marchand



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NEWSLETTER
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Olivier ValsecchiFrance | http://bdejanted.free.fr/

The Dust

It was inspired by Ovidsdenition o Chaos, who

describes it as the conusedmass (light and darkness, or-der and disorder, liquid andog) that exploded to givebirth to the elements that itcontained.

selected by: Ivana Krnji

The Dust series is a mix o birth and death alto-gether where time doesnt exist, or is redenedas a non continuous cycle. Its like I have createda human cocoon and opened it to see what wasinside. Each photo is a representation o this me-tamorphosis process. It was inspired by Ovids de- iti Ch h d ib it th

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nition o Chaos, who describes it as the conu-sed mass (light and darkness, order and disorder,liquid and og) that exploded to give birth to theelements that it it contained concludes Olivier.

I was born in 1979. In addition to ten years o

selt-taught approach to photography, I studi-ed technical aspects and practice in Etpa Schoolwhere I received the Grand Prix o Photographiein 2009. The Dust series will be exhibited at thePromenades Photographiques de Vendme thisSummer.

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To me Blur is more about creativity, new ideasand expressions, than photography in a strict sen-se. It ocuses on the inner personality and emoti-ons o the authors, and diers rom the others inthe way they present them and their visual identi-ty, regardless o techniques used, names or natio-nality. This makes Blur magazine one o the mostintimate photographic notebooks like a personal

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intimate photographic notebooks, like a personaldiary o worldwide emergent creation.

Wish it soon be printed so we can read it at thecandlelight.

Olivier Valsecchi

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photo:DarijePetkovi

Jelena BlagoviCroatia

Before Me

Born in Zagreb in 1983.

After graduat ing from the Photography Departmentof the School of Applied Arts and Design in Zagreb, shestudied photography at Istituto Superiore di Fotografiae Arti Visive, Padua, Italy. Her education continued inUnited Kingdom where she completed the undergra-duate and graduate study of art photography at Uni -versity of Westminster in London, eventually obtaininga Masters degree in Photography. She won the DavidFaddy Scholarship for academic excellence.

She teaches at the Photography Department of the

School of Applied Arts and Design in Zagreb and worksas an art assistant at the Academy of Dramatic Arts inZagreb, Department of Film, Chair of Photography.

Her work was shown at numerous exhibitions inUnited Kingdom, China and the Republic of Croatia.She is a member of the Croatian Association of Artistsof Applied Arts.

She collaborates with numerous artists, newspapersand magazines.

selected by: Robert Gojevi

The letters in the series of photographs entitled Be-fore Me were written between 1968 and 1981 and

f th ti f b t t th fi t

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In the photographic series Before Me, I question my own identity inrelationship to my mother, by looking through very palpable materialitems her love letters. I believe that reading others love letters is equ-ivalent to a dose of uncivilized and voyeuristic behavior.

But I also have feelings that arise from the expectations, the diversetexture of the letters, the smell of old things and the worn-out paperon which they were written. I am also fascinated by the fact they havebeen kept all these years.

The letters in the series of photographs entitled Before Me were wri-

tten between 1968 and 1981 and are from my mothers time of pubertyto the first years of her relationship with my father. During this periodthere was no Internet, e-mails, sms, chats and other available meansof communication that has, as a rule, replaced hand written letters.The speed and superficiality of todays written communications, as wellas the instability of the media, leave almost no space for insights, orexperiencing the emotional time-distance for the expressing of feeli-ngs. With the new technologies these communications are also almostimpossible to preserve and archive as hand-written letters once were.

Another aspect of this project is that it has allowed me to touch on thesubtleties of my relationship with my mother, who has opened the doorto her own intimacy, and through her letters lets me inside the world of

her past romantic feelings. All of this leads me to reevaluate my rela -tionship with her, and get to know one previously unknown part of hercharacter and personality.

Jelena Blagovi

are from my mothers time of puberty to the first ye-ars of her relationship with my father. During this pe-riod there was no Internet, e-mails, sms, chats andother available means of communication that has,

as a rule, replaced hand written letters.

Images of Love - text from the exhibition catalouge

Receiving a love letter is a private and sacred moment. Regardless ofthe receivers feelings toward the writer, a love letter cuts to the heart.Everyone knows what love is. I believe everyone has feelings of love inone form or another be it from parents, spouse, friends or a secret lover.Sometimes this secret lover surprises you with a flurry of emotion as you

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Sometimes this secret lover surprises you with a flurry of emotion as youopen the envelope. Occasionally the emotion breathes with it the spirit ofanother that merges with your psyche.

Love letters are a key. The key approaches the lock to someones heart.The synchronicities of the two have many paths. Like love, the letters are

impermanent. Often the one who receives them tucks them away into aprecious box to hide them and save them for later. As time progresses thebox may fill and perhaps from the most recent, the freshest one may bechosen.

Years following as the ink sets and the impressions fade the box is occa-sionally discovered. It is silly to revisit those old times she may say. Butcontained in them are memories as exacting as photographs; memoriesthat evoke the softness and tenderness our skin once had. If she pulls outthe box she can relive those moments through ink on paper. They becomea window to the past. They present an ability to re-experience the emoti-ons that started perhaps in adolescence. It is a moment that we all sharein our own private way even if we have never received such a letter norwrote one.

For the sender the moment the letter is sealed and the hesitation beforedropping it into the post there is anticipation, a wanting, a longing, a primalurge. Often times the intensity is increased by the call to military duty. Thesoldier wants her more because he has time to anticipate the future andthe distance gives him perhaps too much time to consider how he feels.

Sometimes these letters are sent to a locked heart. The distance is theneasier to hide behind for the receiver. But for the writer, he continues tosearch for the key and consistently questions how he can scribe feelingson paper and find the key to open the heart.

Throughout history love letters have aroused our curiosity. NapoleonBonaparte was a prolific writer of letters. He reportedly wrote as many as75,000 in his lifetime, many of them to his beautiful wife, Josephine. Ludwig

van Beethoven, one of historys most famous and mysterious composers,died at the age of 57 with one great secret. Upon his death, a love letterwas found among his possessions. It was written to an unknown womanwho he simply called his Immortal Beloved.

But how are famous writers of love letters any different from the words

contained in the images presented here? Those written by famous writersare penned, perhaps, in a way that makes the best use of the intonationsof the language and fullest expressions. But, as I research and read fromthe famous and those inscribed in these photographs I see little differencein intent and passion. For some things there is a universal language andthat is the language of love.

As I read what is revealed in the images bits of emotion are shown and

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As I read what is revealed in the images, bits of emotion are shown andcarefully arranged by the photographer. These excerpts alone read like apoem written in the form of a love letter:

You are

QueenI am

For

It was

No

It isnt

Understand

For love

Ours

Please come back

One boy has fallen in love with you

I cant

I cant even.

I see

Your were probably asleep

For a long, long time

My loved one

When I was

You told me that I am

It has to be

I pray

a love

Do the words we can read in the photographs by the artists careful pla -cement reveal sentiments that create a new love letter from her to her mo-

ther? Did this process transform a mother-daughter relationship into a newone shared by two women? Or is it perhaps something more universal?Does it represent a universal love letter that offers a collective consciousof love to all of humankind?

In todays fast moving world one can easily go to the Internet and see

hundreds of letters that can be used to send to prospective loves. Just fillin your name and push a button. In this world of electronic communicationspeed becomes the key and emotion is a by-product of the combinationof others works. Being born in time when electronics did not exist I feelthat electronic love is cheating and less than real. For me that is true, asthat is what I know. Part of the generational tension arises from the oldgeneration not understanding the new because that is not how they did it.

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g g yThe tension is created by the new generation because they do not havethe memories that parents do. They enter into their childs love based onall they know, learned and remember because they want what is best forthe next generation. Is it then memory of how one generation learned that

interferes with the next? But consider if we had no ability to remember.Could this collection of letters be seen as an inventory of possible DNA forthe creator of these resulting images?

The letters presented in this exhibition represent the memories of possi-bilities. How did things change over time in the mind of the receiver of tho-se letters? How did the inventoryof these letters and resulting memorieschange the reception of the next letter? The original letters are used as are-representation in these images. The photographer artfully arranges theletters and records them to be printed; again as ink on paper.

Through out my many years of photographing, teaching, curating andlooking at innumerable photographs my fascination with the medium re-mains. I do not know why. As I am in constant curiosity about what imagesrepresent, I am still not quite sure what a photograph actually is, what it

means, what it stands for or what really happens when we see an imageregardless if it is from a family album, in an exhibition or an advertisement.A description by the American photographer Stephen Shore helps to cla-rify this:

A photograph can be viewed on several levels. To begin with, it is aphysical object, a print. On this print is an image, an illusion of a windowon to the world.

It is on this level that we usually read a picture and discover its content:a souvenir of an exotic land, the face of a lover, a wet rock, a landscape atnight. Embedded in this level is another that contains signals to our minds

perceptual apparatus. It gives spin to what the image depicts and how it

is organized.1

These levels form the social fabric and in time represent the remains ofa culture. How often do we look at old newspapers (stored in electronicmedia) to see evidence of what was? Photographs offer visual proof that

this event happened; it existed; here is proof. The images created by Jele-na Blagovi present visual evidence of very private and personal events.When I was told of the project I was thinking they would be offered at facevalue (literally), meaning that they would be laid flat on the scanner andreproduced. If that were the case then why not exhibit the original letters?Why not lay them bare before the world for all to read the personal andprivate details? If so it would redefine voyeurism and would be blatant

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abuse of the relationship that once was between mother and daughter &receivers and writers.

When I first viewed the work I was impressed (and a little surprised) bythe simplicity, diversity and careful control of what was offered. To take a

stack of private and intimate letters from your mother and think of how tophotograph them takes time. Together at first mother and daughter readthe letters about the times that the writers hoped would be and then theydiscussed the times that were. After a certain comfort level was attained(time does that) the artist worked alone investigating the artifacts as rawmaterial and arranging them for her canvas.

In one image I can see a frame full of the tops of letters, each numberedin succession. At the top of the frame is the number125. At the bottom ofthe frame is number161. They are letters from the photographers fatherwhen he was serving in the army. Ultimately he won the competition whileserving his obligatory time for his country and his yet to be born offspring.The receiver of the letters wrote numbers on them as they were arrivingthus adding, in a subtle way, the counting of the memories until he retur-

ned.

The photographic results are diverse. The precision of what is seen andunseen shows a competent use of the medium and thereby enhances thecomment. They are controlled and contrived. There are stacks of letterspresented in some and in others we can see only individual words. Thecolors are subtle but relevant. Postmarks and stamps reveal distance aswell as political and historic relevance. One postmark shows an image ofPresident Tito. In another the stamp is from Jasenovac. Another showsonly the written words Island Krkwhere the receiver has spent summerssince 1960. The culmination of letters and photographs then become asort of history. It is a personal history that, in some ways, represents a

culture. Also it is a photographic history that is the culmination of a youngwomans impressions. These impressions have made her who she is andhas forever changed the relationship of mother and daughter, while pre -senting a universally shared impression of the wants of love.

1 Stephen Shore, The Nature of Photographs, Phaidon Press Limited, London, 2007,

p10

Willie Osterman

Willie Osterman is a Professor in the Photogra-phic Arts Department at the Rochester Institute ofTechnology, New York where he has been teaching,researching and working as an active artist since1984. He received his Bachelors of Fine Arts de-gree in photography with a minor in art history fromOhio University and a Master of Fine Arts degree in

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Visual Design and Photography with the award oftwo teaching fellowships from the University of Ore-gon. After graduating he became a visiting assistantprofessor at the University of Oregon. His teaching

experience includes the Ansel Adams Workshops inYosemite National Park, and in traveling workshopsin twelve US states as well as in Italy, France, Austriaand Croatia. As Former Curator of Photography atthe University of Oregon Museum of Art, he recei-ved two grants from the National Endowment of theArts. He was a printing assistant to the productionof the Ansel Adams Special Edition Prints workingwith Mr. Adams in Carmel California and has workedas a contract photographer for the Eastman KodakCompany. His publication Deja View: A Cultural Re-Photographic Survey of Bologna, Italy in its secondedition is now out of print. His work is included in

numerous museums and private collections in theUnited States as well as Italy, Austria. He has exhi-bited widely in the United States and in Italy, Turkey,Austria, Greece and China. During his sabbatical forthe year 2009/10 he received a Fulbright ScholarsAward to teach at the Academy of the Dramatic Arts,University of Zagreb, Croatia. In early 2010 he willtravel to Busan, South Korea on a commission fo-llowed by a major exhibition at the GoEun Museumof Contemporary Photography in the fall of 2010.

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project submission

As we already explained in Gallery 24, the aim o this magazine is to provide space or all those amazingand special photographs, without insisting on certain techniques, tools, instruments or topics. In caseyou produced a thematically connected series o photographs, submit your whole photo project!

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Robert, selector of Gallery 24

A photo project can be submitted but by an authorthat plans and revolves, which makes the photogra-phers proessionals. We are talking about a photogra-pher that is no longer an amateur, who no longer explo-res without control and who manages to crystallize hisambitions.

This probably happens in the moment when we criti-cally observe all o our photographs and nd out thatour gallery isnt very homogeneous. We usually ace thiswhen creating our own web photo gallery and when weget stuck with how to divide links and themes. Dozens

o our successul photographs suddenly seem as a worko a bunch o dierent authors. In other words, this iswhen we notice lack o our individual mark.

Ater this revealing moment o truth, we start to thinkand photograph dierently. Endless clicking stops andthere are no more numerous photographs o every si-ngle motive that seems nice and interesting. Huntingtime starts. Goal - predened theme.

Thereore, a project you submit needs to have sameartistic values as those described in Gallery 24. More-

over, they have to be somehow connected, parts o ameaningul whole. Although we always publish eachphoto on a separate page in order to observe and admi-re it easily, it is expected that all these photographs arecompatible either according to style, theme or a cer tainstory. Furthermore, we expect to nd out somethingadditional about the author himsel/hersel throughhis/her work, something we cannot read in the biogra-phy. When it comes to choosing a theme, we dont wishto set any limits. What we value most is a project some-how visualizing and communicating authors opinionon the chosen theme.

How? This is very simple:1. Write some ino about your project: where it was taken, what inspired you, what the idea behind was,

which message you are trying to get across and how many photographs there are in your project.2. Send us your URL where the whole project can be seen.3. I your project is selected, you will be contacted and asked to provide urther detailed inormationabout the project and yoursel ( brie biography).

http://www.blur-magazine.com/submission/project-submission/

Which projects do we preer?

Vladimir Longauer

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selected: Kresimir Zadravec | translation: Anamarija Kovac | prooreading: Vedran Korusic

http://www.valdoo.net

Vladimir Longauer

http://www.vladimirlongauer.com

Milan JosipoviSerbia | http://www.milanjosipovic.net

Zulu

z u l u Serbia | http://www.milanjosipovic.netZULU

Milan Josipovi

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The Zulu project came to lie pretty much by accident in South Arica. Inbetween two ashion shoots I took part in a perormance by a group o yo-ung Zulu men and women, and was immediately impressed by their appe-arance and movement. Ater lengthy negotiation they agreed to be photo-graphed or three days on dierent locations around Cape Town.

And I had to pay them or their trouble as well. Nothing too much: 500 or everyone. It was none the less a joy spending time with them and pho-

tographing them during those three days. Ive grown attached to some othem.

I used only one refector (bounce) and relied solely on daylight. I nd this tobe an ideal way to conduct such shootings.

It was none the less a joy spending time with themand photographing them during those three days. Ivegrown attached to some o them.

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selected by: Robert Gojevi | translation: Ivan Pekarik | proofreading: Davor Jurii

Born in Ni (Serbia) in 1964.

His rst photographs were taken in early 90s on Santorini, a Greek island.From that moment on, he knew this was what he wanted to dedicate hisproessional career to. For the rst ten years or so he was mostly ocused onportrait and landscape photography. He reveived his education in AthenasFotograkos Kiklos international school o photography.

Ater spending 10 years in Greece and other European countries, Milanspent two years in the USA, where he gained many interesting experiences.Other than personal projects, Milan did model portolios or agencies likeFord, Next, Elite, Wilhelmina, MC2 and others.

These experiences led him to ashion photography, which next to portraitphotography remains his strongest ocus to this day. Ater returning romAmerica, Milan now lives and works between Serbia, South Arica and Mal-dives. His clients include ashion companies, architects and magazines suchas Elle, Klik, Men, Inside...

Hes currently ocused on opening a proessional photo studio in Belgrade,Serbia.

www.milanjosipovic.net.

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Serbia | http://www.milanjosipovic.net

ZULUMilan Josipovi

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ZULUMilan Josipovi

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ZULUMilan Josipovi

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ZULUMilan Josipovi

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Xavier RayFrance | http://xavierrey.com

Eclectic in nature

My photographic approa-ch is something instincti-

ve, as an impulse thatprompts me to press thetrigger at a specic time topick a place, atmosphere,people ...I love photographing inthe moment, discover aplace and I try toappropriate it.

selected: Robert Gojevic

Eclectic in nature, I work all photographicstyle.My love or the sea and waterscape photo-

Born in Albi (France) in 1974, I make my rst

steps in the Photographyin 2005 when I arrived in Bordeaux.My meeting with the group o Bordeauxphotographers SPBordeaux was arevelation and photography became or mean extraordinary means o expression.

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graphy in B & W, guide my work to a photo-graphic style ormat where the square andthe long exposure became two obvious.I love working in this ormat, tting lengthto give landscapes photographed anotherreality, another view ... mine. Photography b& w is my primary mode o expression andallows me to ully express my vision o theauthor. Sometimes I also do color, but it re-mains quite rarely.Beside this, I also work on other personalprojects such as portrait or report.My photographic approach is somethinginstinctive, as an impulse that prompts meto press the trigger at a specic time to picka place, atmosphere, people ...I love photographing in the moment, disco-ver a place and I try to appropriate it.

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Davor Jurii is a reelance translator/interpreter based in Zagreb, Croatia. He is a proessional and optsor the hit and run tactics business-wise, but a character or two related to his vocation do occasionallyslip in his lie, and unortunately out o as well. Funny thing is he actually has something to say, and there-ore writes, mostly short poetry and prose pieces. He is also a postgrad student something he is bad at:

Davor Jurii

Translation and publishing

[email protected]://www.davor-juricic.hr/

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even though his passed exams betray straight As, someone once remarked all exams were silly passedthe age o 24. Most recently, he exhibits amateur liking or graphic design, doing his own annual versionso basic html code, out o reasons philosophical: he claims ideas will take you only that ar.

http://www.otosoa.ino/

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Romeo StareviCroatia

Part of nature

I was born in 1961 and live in Vinkovci.I started photographing when young,using a Zenit TTL. I let college, gotmarried and tried to make a living or myamily, thus neglecting photography. In1989, I became sel-employed and co-ntinued my struggle in nding my own

ltures and animals, and much o that Isaw live: the 1996 European Champio-nship in England, the 2004 one in Portu-gal, the 2008 in Austria, the 2006 WorldChampionship in Germany, most soccervisiting matches o Cibalia, F1 in Imola,Monza, Spa, Istanbul, Valencia, Hocke-

Romeo Starevi

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I we disregard hunters and poachers (Imconvinced there are not many o the latter), peo-

ple in Arica have a special relationship with ani-mals, a relationship we nd peculiar. One earlymorning, while I was driving in search o lions,we came across a lost gnu youngling, roaminghelplessly outside o the Massai Mare nationalpark. In compassion, I recommended we catchit and lead it to the nearest herd, because I oncelearned that gnus take care o stray younglingsthat dont belong to them, but the guide I waswith reused and explained to me that this lostgnu has been predestined to become ood orsomeone and that we cannot play god, cha-nging the course o nature to our whim.

I we were to take this as granted and behaveaccordingly, wed realize that most wild animalsdont see man as an enemy, but rather a unda-

mental part o nature. Imagine a emale lion lea-ving our o her younglings unattended without

any ear o humans, proceeding to hunt a hyenahundreds o meters away. To that lion humansare a part o nature not to be eared.

This approach enabled me to come as closeas two meters to lions, cheetah, elephants andrhinos a hyena once even brushed across myknee! But this wasnt that easy to accomplish Iused to get up at 4 AM just to nd a suitable po-sition, spent hours getting closer and closer tocheetah one oot at a time, only to nally spendtime in their vicinity without ear. I used to waitup to our hours in the same place or some-thing to happen. Nothing like that is possible iyou visit Arica with your usual tourist agenci-es something the local population like to callFerrari Saari and are not very ond o.

y gg g yplace under the sun. Not knowing therecession would hit, in 2008 I nally tho-ught it was the right time to get back tophotography and spent most o 2009travelling. Im very much interested insoccer, Formula 1, wildlie, oreign cu-

pnheim Ive travelled most o Europeand some ar away destinations likeNamibia, Tanzania, Kenya, Togo, Benin,Burkina Faso, Peru, Indonesia, Borneoand India.

selected: Robert Gojevic | translation: Ivan Pekarik | proofreading: Davor Juricic

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NATURAE

EUROPEAN FESTIVAL OF PHOTOGRAPHY

media partners:Urbanautica

BLUR MagazineSupermassive Black Hole

Posi+tive MagazineVirago Entertainment

VAGA

a project by:Steve Bisson

Andrea Filippin

Gianpaolo ArenaMassimiliano Foytik

collaboration with:Kaymir Stark

Thierry VandenbusscheGeorg ParthenNicolas Wollnik

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FINE ART WORK PHOTOGRAPHERS EXHIBITION

DA / FROM DECEMBER 2010

A / TO DECEMBER 2011

CON / WITH

ANNE LASS / DUSTIN SHUM / HIN CHUA / ALEJANDRO CARTAGENA

ALEIX PLADEMUNT / MICHAEL DE KOOTER / KARIN BORGHOUTS

URBANAUTICAU

VAGAShuttercrack

[...]

Outlandish photographyCarnotstraat 137/8

2060 Antwerpen (B)

CFYESingel 146

1015AG Amsterdam (NL)

Comune di VicenzaCorso A. Palladio 9836100 Vicenza (I)

TROUWWibautstraat, 1271091GL Amsterdam (NL)

Minken & PalmeKpenicker Str 159

10997 Berlin (D)

Fondazione Benetton StudiRicerchevia Cornarotta 7-931100 Treviso (I)

afliates: ofcial partners:

Premise

This exhibition is designed to create a network among European cities promoting, through photography, debate anddi-scussion on whats like housing, working, and living in Europe and the world.The project is curated by Urbanautica, a researchplatorm that ocus on human landscape photography ne art works. A search or images and words on places o living. A navi-gation by sight, a trip around the ideas, people, and what makes them par t o nature, and the world. It is a project dedicated tophotography and the human landscape. Born in the late 2008 through a website with the aim o promoting a critical thinkingon the ways o doing territories, cities, planet, has already received a air recognition among photographers, magazines andwebsites. A success ully demonstrated by the increase o visits with more than 300,000 hits per month rom more than 100 co-untries worldwide. Urbanautica presents each month a selection o international photographers who develop thematic rese-arches and ne art works on landscape, urban transormations, citizenship, pollution, abandoned places and relationship withnature. Urbanautica is also a diary on acebook that eature daily brie inormation on exhibitions, books, blogs, sites related tophotography and landscape. In the course o 2010, with the launch o the exhibition catalog NATURAE we will also initiate anindipendent publishing series.

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ThemeThe theme o the exhibition called NATURAE emerges rom a critical and topical thought on the projects eatured by Urbana-

utica during 2009. Since the last war photography has been concerned with documenting landscape changes induced by manon nature, and highlighting the critical issues and challenges o a dicult cohabitation. Going beyond means moving gazeon the continuing need o nature within the urban landscape: new orms o naturalness distinctive o o contemporary lie,the many natures ormed by a mixture o randomness and artice, independent bodies in constant mutation, whose presentbrings with it a vision o possible uture developments.

LocationsThe exhibition will be held throughout Europe in collaboration with various cultural institutions, creative laboratories, exhi-

bition spaces, with the idea o establishing a network between several European cities and create the rst touring estival ophotography. The inauguration will take place at Vicenza, artistic city recognized as UNESCO heritage, at the LAMeC (Labora-tory or Modern and Contemporary Art). The exhibition will move to Treviso at the Palazzo Bomben seat o the cultural activi-ties o Benetton Foundation Studies Research, to continue across Europe. In Amsterdam at the TROUW new avourited placerom the Dutch creative scene, in Brussels together with Outlandish, Belgian platorm or new emerging photographers and inBerlin with Minken & Palme, an innovative project and a display area created by artists Nicolas Wollnik and Georg Parthen.

contactsUrbanautica

Via Bembo, n10231011 Asolo (TV) - Italy

0039 [email protected]

http://www.urbanautica.com

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photo:ALESSANDROG

IUDICE

BLUR MAGAZINE 17

For some time now, BLUR magazine have been collaborating with the Dutch Impossible Project which, ater the Polaroidactory had closed down, decided to save the analogue instant lm and revive Polaroid photography. As the exclusive me-dia sponsor, we have careully been monitoring their development, reported about innovations, and presented the teamworking on this project, as well as organized a big international photo contest entitled The Best Polaroid Photo.

22 Mar 2010 is round the bend - the day when The Impossible Project will ocially present newly produced instant lm.To celebrate this great moment, BLUR magazine will publish a special edition o THE GREAT COME BACK OF POLAROID. Youwill nd the ollowing in it:

- an interview with Andr Bosman, executive director o the production, who speaks o technical diculties they en-countered

- all inormation concerning the newly produced lm- the rst test photograph shoots using the new lm- works and projects o prominent Polaroid photographers- the best 30 photographs selected by the competition The Best Polaroid Photoand much more...

See you soon!

COMMING SOON A special edition dedicated to PolaroidSave the date in your calendar: 22 Mar 2010

The

The Best Polaroid Photo

it is time or you to choose!

Last month an international competition o a Polaroid photos nished. It was organized by BLUR

magazine in cooperation with The Impossible Project, to mark a great come back o instant lm.

Contest theme was open; we asked you to send us your avorite photo, the one you believed could

win the title The Best Polaroid Photo.

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The response was excellent we received over 500 entries that came rom all over the world! Ocial

panel selected the best 30 photographs which will be exhibited in Zagreb and presented in a special

BLUR magazine edition dedicated to Polaroid.

The

Additionally, we decided to award top 5 photographers with:

1. prize: Polaroid camera SX-70 Sonar OneStep + 2 packs o newly produced Instant lm2. prize: Polaroid 600 Once Classic camera + 2 packs o newly produced Instant lm

3. prize: 3 packs o newly produced Instant lm

4. and 5. prize: 2 x The Impossible Project T-Shirt (M or F)

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Now it is up to you to choose The Best Polaroid Photo and to decide which authors will be awarded with these attractive prizes. All you need to do

is to go to THE BEST POLAROID PHOTO, take a look on all photos and place your votes.

Beginning o May we will announce the happy winners and awarded photographs.

We would like to congratulate all selected photographers and thank everybody or participating!

Vote now!
http://www.blur-magazine.com/journal/polaroid-contest-best-photo-voting/http://www.blur-magazine.com/journal/polaroid-contest-best-photo-voting/http://www.blur-magazine.com/journal/polaroid-contest-best-photo-voting/http://www.blur-magazine.com/journal/polaroid-contest-best-photo-voting/

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ETRABLUR MAGAZINE 17

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USA | www.adriandavisphotography.com

Teton TwilightADRIAN DAVIS

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Germany | http://www.chrisruiz.de

StelenlandCHRISTIAN RUIZ

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Russia | http://14991.portfolio.artlimited.net/

metamorphosisVADIM STEIN

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Philippines | http://andreupardales.deviantart.com

Dragons TailJO ANDREU PARDALESS

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Russia | http://juriyronzhin.portfolio.artlimited.net/

The GloamingJURIY RONZHIN

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Germany | http://www.michaelschlegel.com

SeljalandsfossMICHAEL SCHLEGEL

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Greece | http://www.aleklindus.com

noALEK LINDUS

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France | http://www.elements-terre.fr

In the windLIONEL ORRIOLS

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Tenop

Philippines | http://ognita.com

ARED OGNITA

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Germany | http://alexander-lehmann.deviantart.com/

asymmetrical architecture 1ALEXANDER LEHMANN

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Croatia

http://kaarmen.deviantart.com/gallery/

Karmen Orli

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PLAYSTICK

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Felling analog? How about plastic? No matter. Come and visit Kino Europa inZagreb, Croatia or the rst annual estival o Lomography analog photography

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glavni medijski pokrovitelj: BLUR magazine

PLAYSTICK

BLUR MAGAZINE 17

Zagreb, Croatia or the rst annual estival o Lomography analog photographyin these parts. Check out two great documentary lms on the topic o Lomogra-phy, have un on the LC-A party, learn about the Lomography brand, marvel at thephotos made by Lomo cameras, learn how to use the Diana F+ camera and eelanalogue or the whole weekend.

The screening o the BBC documentary on the Lomography phenomena will beheld on the rst day o the estival, that will be ollowed by the Lomo LC-A party.

On the second day we will show The Negative Eect, a documentary about theLomography revolution in South Korea. A Diana F+ workshop will be held on thesecond day o the estival, to give you a chance to see and try out the Diana came-ra yoursel.

Lomographers rom all over Croatia and many other countries will come or this unique opportunity to hang out with peoplethat are ans o this international movement. We are also expecting some people rom the Lomography headquarters in Viennato bring insights and ideas or the uture.

So, have a long sleep beore the estival, bring yourselves and your riends to have a time o your lie with the coolest analoguecameras in the world, the Lomography cameras.

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Damira Kalaji was born upside down in Julyo 1986 in Split. She is a student o the Art Aca-demy in Split studying graphic design and

visual communications. She is into design,illustration, photography, creative writng andmany other things. The only thing holding herbachelor title is the nal exam which orced herto seriously take hold o photography. She di-scovered the plastic cameras not long agoand immidiately became a anatical an andcollector. She is an owner o a pink Fisheye andshe takes it everywhere she goes. Her lens ismost interested in people, riends, commoneveryday situations and o course good un.Lomography is a revalation to me says Damira

rewinding the third lm o the day. She is dete-rmined to collect a ew more Lomo camerasand start some serious experimenting. Sheconsideres the biggest advantage o analoguephotography is the act that you are concentra-ted on what you snap and you get to wait to see

i t A h t it ti i ti i

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your pictures. As she puts it anticipation = supri-se.

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Karla Lonar

Born in 1984 in Zagreb, Karla is a sociology

and comparative literature graduate. Duringher college years she became more and moreinterested into audio-visual arts that eventuallybecame love or this kind o artistic expression.She never pursued photography as a serioushobby until she discovered the Lomo camera.It seemed the easiest entry into the world ophotography. Dreamy eect o the LomographyDiana F+ and the possibility o innite exposu-res were the primary motive or the decision tobuy this plastic marvel, and the sound o therewind spool is one o her avorite activities thatshe continues to do today.

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Marin Meter

Marin is a 22 year old student o graphic andinteractive communications in Ljubljana.Photography being one o his biggest passionshe likes to experiment and discover in all wayspossible. Sometime in 2007 he discovered theplastic marvel Holga and got it immidiatelly. To-day he owns a ew plastic cameras and he cantget enough o it. He likes the unpredictabilityo these cameras, he also likes the all and hisPony bike. Marin has a ew exibitions and quitea ew prizes behind him so he doesent considerhimsel an amateur. He says he will continue towork with Lomo simply because it makes himhappy.

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Nika aravanja

Born in 1985 in Zagreb, Nika is playing withcameras and photography or a whole deca-de. A ew years ago she discovered the Holgacamera and she immidiately ell in love withLomorgaphy. Since then she has been snappingtons o photos with Lomo cameras and theexpencive digital camera is sitting at her home.She adores Lomo becuse o the possibilities ocolor, exposition and rame experimentation.Most o all she knows that there are no rulesand the most suprising photos are never dire-cted or intended. As she points out: The die-rence between digital and lomo photographyis that every analog photo is careully snapped

and anticipated or some time, that is why everyLomographic photo I snap is my avourite.

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Tin Rajkovi

Born in Zagreb, in the year 1985, Tin considershimsel a complete amateur in photography.

Ater the discovery o Lomo cameras he devo-ted himsel to the collection o old and newLomography cameras. Buying lms, snappingwhatever comes in ront o the lens and lookingor old Lomo cameras is now a part o his dailyroutine. The best thing, says Tin is to wait orthe development o lms or 5 days, and thenyou get to scan everything yoursel. He is usingthe Diana Mini, Fisheye and the Lomo Smenacameras. He expects photography to developin all directions but would like to see morepeople become interested in the magnicent

possibilities o the analog, plastic lens cameras.

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France

|http://www.therapyh.co

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|http://www.therapyh.com

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