INTERVIEW WITH

MARKUS HARTELand ERIc KIM

Hyde Parkphotography

MONTH'S THEME

street PHOTOGRAPHY

the magazine made by photographers thinked for the photography addicted

FELIX LUPA ANNA MONTUORI DARIO DUSIO IAN BRUMPTON LUCA NAPOLI LUIGI ZEZZA LUCA FARINELLI PAOLO BOLOGNA MASSIMO

NAPOLI MARCO MARASSI SAGI KORTLER GARY GUMANOW SERGE BOUVET LUIS A.DE JESUS ED HAWCO JIM WICKS LUKAS

VASILIKOS MADDALENAZAMPITELLI JANE MACNEIL OMAR BIAGI BIAGIO DE GIOVANNI RAFFAELLO FERRARI SARA NICOMEDI

INDEX

FELIX LUPA

ANNA MONTUORI interview with MARKUS HARTEL DARIO DUSIO IAN BRUMPTON

LUCA NAPOLI street photography and pop LUIGI ZEZZA

LUCA FARINELLI the best camere for the street PAOLO BOLOGNA MASSIMO NAPOLI

MARCO MARASSI SAGI KORTLER interview with erik kim

editorial

6

4

12

14

10

LUIS A.DE JESUSSERGE BOUVET

LUKAS VASILIKOS

SARA NICOMEDIRAFFAELLO FERRARIBIAGIO DE GIOVANNI

GARY GUMANOW

MADDALENAZAMPITELLI OMAR BIAGIJANE MACNEIL

ED HAWCO JIM WICKS

ART DIRECTOR - MArco Savaresephoto editor - alessio coghe

email - redazionehydeparkphoto@gmail.comweb site - http://photo.rivistahydepark.org

cover photo - ian brumptonREGISTRATION TO THE COURT OF NAPLES CON IL N. 66 DEL 28/09/2009

editorial assistant - antonio borghese

20the troublemaker

18NACHO LOPEZ, the hystory instigator

hen Marco contacted me to talk about the project HYDE PARK PHOTOGRAPHY I already knew that it would have been a success, especially considering my previous con-tacts and collaborations with him as photographer and co-lumnist of HYDE PARK, the free press magazine from which this new editorial challenge stems and in whom I figure as photo editor.The minute I accepted, I thought: this is the chance, one in a lifetime, to create the magazine of my dreams, the one which I have always wanted but have never found in a bo-okstall!The project is ambitious: to offer a magazine that talks and focuses on photography in terms of language and form of art that “writes with light”. Art, of course. When we talk about photography we often forget that we’re talking about a form of art, and this unfortunately holds true even more for Italy where, with the exception of a few cases, specialized pu-blishers consider photography nearly exclusively in terms of updating potential readers on the latest photographic equipment and camera models found on the market, inste-ad of publishing articles that talk of the “daguerreotype” or of important personalities like “Henri Cartier Bresson”. The

end result is that readers who are not interested in buying a new camera will end up with a magazine full of articles that are not of their interest.This is where our idea stems from: the creation of a photography magazine done by photo-graphers and for photographers, both at an amateur and professional level. Our intention is thus to offer a magazine totally open to the collaboration of readers giving care to the final product by offering a magazine of quality and, equally important, that is novel to the market.The editorial and market needs impose us to keep pace with time so that the magazine will also have a web interface. Also communication has changed since the advent of internet and this will be taken into consideration by HYDE PARK MAGAZINE in its way to propose itself to its rea-ders and collaborators. We have an internet site that presents the magazine well and functions as active instrument in terms of presenting the product as well as functioning as interchange between the editorial staff and our readers/collaborators.From a personal point of view, my role as photoeditor and supervisor of the proposed projects is a role that is involving me a lot and will continue involving me constantly also in the future. This implies contacting the possible photographers who we want to involve in the project of the month: the magazine will have a main theme on which we will build our planning and selection of photographers and columnists. Behind this project is an editorial board focused on selecting and choosing the theme and contents offered to readers month by month. Inevitably, my work and that of the editorial staff implies rejecting many projects that do not cor-respond to the quality and standards of HP Photography and this is necessary to be credible at an international level. We expect that who proposes to publish for HP Photography is not a professional photographer, but rather an amateur or experienced photographer who has the need and will to be known and to be able to present his/her work in an effective manner. In these past weeks I have had the chance to analyze many portfolios, some being incredibly valid projects others appearing instead more like a scattered bunch of photographs put together but disconnected one with the other both in style and contents.We will have the chance to go back to this subject in a later issue as my intention is to prepare an article strictly focused on the tips to consider in the presentation of a photographic or image portfolio/project.This said and going back to our editorial choices, I would like to underline that we will not for bias automatically exclude to publish articles that talk of camera models and photo equipment within the magazine but will however try to talk about these subjects using a different approach, focused maybe on where the market is going more than classically reviewing a certain product tested.So we start from here, certain that this editorial adventure will take us far. We believe in this project and in its potential and are sure that we will capture the heart of many readers and col-laborators willing to get involved in a magazine of quality done by photographers and devoted to all those having a passion for photography.

REDAZIONE HYDE PARKPHOTO@GMAIL.COM

4 | EDITORIALE

WEDITORIAL

alessio coghe

4 | editorial

HP PHOTOGRAPHY | STREET PHOTOGRAPHY

photo.rivistaydepark.org | 5 photo.rivistaydepark.org | 5

FELIX LUPA

FELIX LUPAstreet photography www.felixlupa.com ukraine

HP PHOTOGRAPHY | STREET PHOTOGRAPHY

FELIX LUPA

HP PHOTOGRAPHY | STREET PHOTOGRAPHY

ANNA MONTUORI

ANNA MONTUORIstreet photography http://flickriver.com/photos/annamontuori italy

HP PHOTOGRAPHY | STREET PHOTOGRAPHY

ANNA MONTUORI

HP PHOTOGRAPHY | STREET PHOTOGRAPHY

MARKUS HARTEL

6 | INTERVISTA A MARKUS HARTEL

INTERVIEW WITH MARKUS HARTELstreet photography http://www.markushartel.com

hen we thought of this first issue and has been accepted my proposal to dedicate to street photography, immediately my mind is stroke to Markus Hartel and the idea of interview him.I know virtually Markus for several years, and sometimes we have to discuss in the various platforms where we meet online about hambur-gers in the street of tour respective city or about web initiatives, up to the photography of course.I know him as kind person extremely helpful and courteous. His affability, confirmed during this interview, is a lesson in humility for photo-graphers all over the world, and he is for me

- but i’m not certainly alone in thinking this - is the greatest contempo-rary photographer.

Hello Markus, thank you for your time and sharing your experti-se and experience with us. Can you tell us a little bit about your background before you came to New York? Tell us how you got started with street photography.Thank you for inviting me… I have a professional background as a typesetter, one of the remaining old-school graphic and print desi-gners. I remember using my grandma’s rangefinder camera for family pictures and I always had an interest in photography, but never pho-tographed in the streets until I moved to New York, which was a great inspiration to me.

How do you work are you a photographer in constantly moving, looking for interesting scenes or do you find a backdrop and wait for people to fill it? What’s your approach to taking photos in the streets?

Normally I’m not very patient and can’t stick around in one place for a very long time. I need to keep moving to keep things interesting.

Tell us about your project Americans 2010…The idea of traveling the US by public transportation sounded romantic at first, but was incredibly hard to do within a short timeframe and a very limited budget. I have done quite some interesting work in the Northeast and in the South, especially New Orleans, and I hope to get back on the road soon. The economy has been unstable for some time now and it shows anywhere one goes.

How much more difficult has your street photography become in these last years, with the increased suspicion over photography in public places?There certainly is a heightened awareness of photographers in public, but I also must say that upcoming street photographers need to be aware of their surroundings and should never forget to shoot with a courteous attitude in mind.

Do you think the public have become more paranoid about photo-graphers too?The public gets driven by the media and is generally more aware of photographers in public.

How important is gear to you as a photographer and what are you shooting with at the moment? What do you think is the “ideal” camera for street photography?The camera is important on a subconscious level, and one should use what feels right in their hands. After shooting with a lot of different systems, I keep going back to Leicas, because rangefinders feel right to me.

W

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Leica, overall. Why?They’re simple cameras that get the job done, computer aids and autofocus tend to be counter-productive for my work, with some cameras I like to use aperture priority though.

What do you think about the mirrorless came-ra systems?The 4/3rd system does have potential, paired with the right lenses, and image quality gets better with every generation that comes out. Finally ma-nufacturers have learned that one can cram only so many pixels on a sensor without degrading image quality.

What is one of the most memorable street shots you have taken?I personally love the subway motion studies and have a huge 60” print in my living room.

In your website there is a section with great tutorials. I’m talking about the section LEARN FROM MARKUS…Thank you. I love to share my knowledge – feel free to send questions my way and I will publish tutorials around them when I get a chance.

You are born in Germany. How much is im-portant for you a city like New York for your photography?I grew up in a pretty rural area in Germany and coming to New York inspired me tremendously – there is so much to discover at any time of the day.

How much do you thank the smoke in New York City?The smoke is a very characteristic “element” in NYC during the winter, and I’m absolutely fascina-ted by the visuals it presents.

Tell us one tip you would give to aspiring stre-et photographers…Act natural in your environment, as if you belong there, don’t try to “sneak” a picture.

MARKUS HARTEL

8 | INTERVISTA A MARKUS HARTEL

MAIN CAMERA: LEICA M9PREFERED LENS: 28MM ELMARIT

POST-PROCESSING SOFTWARE: ADOBE LIGHTROOM 3FAVORITE LIGHTING: NATURAL LIGHT, ESPECIALLY DURING

OR AFTER RAINONE CHOICE: BLACK AND WHITE OR COLOR? BLACK & WHITE

FILM OR DIGITAL? DIGITALFAVORITE QUOTE RELATED TO PHOTOGRAPHY: I PHOTOGRAPH TO FIND

OUT WHAT SOMETHING WILL LOOK LIKE PHOTOGRAPHEDA STREET PHOTOGRAPHER FROM THE PAST: GARRY WINOGRAND

A CONTEMPORARY STREET PHOTOGRAPHER: BRUCE GILDENA LIFE WITHOUT PHOTOGRAPHY IS. . . UNINSPIRING

FAVOURITE BOOK: “CHOKE” CHUCK PALUHNIKFAVOURITE MUSIC: REGINA SPEKTOR

Additional quick questions:

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DARIO DUSIO

DARIO dusiostreet photography web: www.dusio.net italy

HP PHOTOGRAPHY | STREET PHOTOGRAPHY

DARIO DUSIO

HP PHOTOGRAPHY | STREET PHOTOGRAPHY

IAN BRUMPTON

IAN BRUMPTONstreet photography www.ianbrumpton.com UNITED KINGDOM

HP PHOTOGRAPHY | STREET PHOTOGRAPHY

IAN BRUMPTON

HP PHOTOGRAPHY | STREET PHOTOGRAPHY

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