Interview with photographer Julia Autz

JuliaAutz20F-Stop Magazine: The current issue of F-Stop Magazine includes images from “Transnistria,” can you tell us about this project? What led you to creating this work?

Julia Autz: It was kind of an accident. I was searching for a subject for my diploma and while I was doing the research I found an article about Transnistria. Immediately I knew that this was the place where I would like to go for my diploma. Before that article I had never heard anything about that country and none of my friends knew of the place either. I found it interesting that this “country” is so unknown and that the media doesn’t tell anything about that. So it was very important for me to tell something about that country.

F-Stop: How do you choose what or who to photograph? What are you looking to capture?

JA: It is always different. For this project it was very important for me to show the daily life of the people in that unrecognized country. In many articles about Transnistria you only hear about the negative things: the KGB, corruption or the huge present of the Russian military. But not often do you hear something about normal people and their daily life. So I wanted to show that. How is it to grow up in a country that is shunned by the rest of the world? How is it to live between the Russian and the European cultures. The question about their identity is very interesting and not easy to answer.


F-Stop: Do you have a favorite image in this series? If so, which one and why is it the image that speaks to you most?

JA: No, I don’t have a favorite image. I just have one for a period of time. And then comes another picture. But I think I have about five favorite pictures, and they are all portraits.

F-Stop: Are you working on any other projects currently?

JA: I am currently working on a project about Abkhazia. It is also not recognized, just by a few small countries. After the collapse of the Soviet Union there was a big war between Georgia and Abkhazia.

JuliaAutz01F-Stop: Why do you photograph? What do you think compels you to make the images you create?

JA: After one documentary photography course in university I realized that this is the medium I wanted to work with. I was fascinated by communicating stories through images. With photography you have many opportunities to see the live of other people or cultures. And you have as the ability to illustrate untold stories, to see the world in a different way.

F-Stop: What photographers or other artists inspire you?

JA: August Sander, Robert Frank, Rineke Dijkstra, Martin Parr, Alec Soth, Cuny Janssen, Rob Hornstra….


For more of Julia Autz’s work:

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Center Forward 2016 @ The Center for Fine Art Photography

Prix West N. 189 © Christa Blackwood

Prix West N. 189 © Christa Blackwood

Center Forward 2016
September 2 – October 1, 2016

Center Award |Christa Blackwood
Forward Award | Chris Sanford

All Selected Artists | Anne-Laure Autin, Mariana Bartolomeo, Craig Becker, Sara Belleau, Bieber Boyz, Christa Blackwood, Richard Bram, Angie Brockey, Robert Calafiore, Janaisa Cantele, Heidi Clapp-Temple, Rebecca Clark, Bridget Conn, Margherita Crocco, Melanie Eclare, Carol Erb, Catherine Fairchild, Christine Fitzgerald, Suzanne Goodwin, Susan Guice, Garrett Hansen, Stewart Harrison, Adriene Hughes, Ilonamarja Laine, Mary Shannon Johnstone, Susan Keiser, Sandra Klein, Brian Kosoff, Molly Lamb, Maggie Meiners, Ashley Miller, Emmanuel Monzon, Robert Moran, Kat Moser, Heather Oelklaus, Michael Pointer, Emma Powell, Vicki Reed, Jared Ricardo, Ibai Rigby, Casey Riggs, Michelle Rogers Pritzl, Zak Rose, Sebastian Rut, Kris Sanford, Erica San Soucie, Nicole Schwartz, Paul Sisson, S. Gayle Stevens, Dane Strom, Pat Swain, Jane Szabo, Brandy Trigueros, Mariana Vieira, Rebecca Webb, Guanyu Xu, Dianne Yudelson, and Shari Yantra Marcacci.

The Center for Fine Art Photography, 400 North College Ave., Fort Collins, CO 80524

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Stratos Kalafatis @ Bernier-Eliades Gallery

KALC/N_30052_11_15 002

Stratos Kalafatis “The pig and other stories”
May 26 – July 12, 2016

The photographs of Stratos Kalafatis are narrative. Twenty years ago, in the island of Skopelos, the artist began to photograph in a daily basis creating a calendar format and recording landscapes, coastlines, people and every detail of life. With the use of the medium, square format, Kalafatis uses a palette of saturated colors, imposing seductively the flash even during daylight.

The photographic narrative is as important as the content of the images. The artist becomes therefore an author-photographer, a story teller.
This process has been repeated in previous photo projects, at different destinations, at the island of Skopelos, at Saga, Japan, at the Aegean Archipelago, at mount Athos.

Bernier-Eliades Gallery
Athens, Greece

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Curated by Vince Aletti

Opening Reception: Saturday, May 21, 6-8pm

Moran Bondaroff
937 N. La Cienega Blvd.
Los Angeles, CA 90069

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Corey Grayhorse @ dnj gallery

unnamedCorey Grayhorse: Artificial Memories
June 18 – July 23, 2016

“Color and wonderment is a consistent thread throughout my work. A wide-ranging influence of styles in art, photography, and fashion combined with traditional, and pop culture inform my perspective. I find myself inspired largely by my daughter, who serves as a constant muse in my art, and reminds me that everyday is an opportunity to offer a fresh perspective in my work. Through the lens I create strange beauty and satire, eliciting emotional and social responses. Frozen in time through photography, the work becomes a window into a fantastic dream world, with hints of my reality, to draw an audience in. The sets and locations are installations and a platform for performance art constructed and acted solely by myself, and my subjects. Through the addition of characters, my portraits show a deep interest in the unique human expression.”

dnj gallery
2525 michigan avenue, suite J1
santa monica, california 90404

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Book review — Metro: Scenes from an Urban Stage by Stan Raucher

Line-4-near-Les-Halles-Paris-920x613Public transportation can seem a bit like a traveling theater. Periodically the scene changes from one part of the city or country to another, or from day to night as the train cars travel from above-ground to below-ground, and the cast of characters can be varied throughout the play. Doors open and shut like the curtains on stage with each new scene. Tranquility can give rise to energetic vibes in just a few stops when new members of the cast come on board; and while viewing Stan Raucher’s images, one is immediately drawn into these vignettes of life.


In his project statement for Metro, Stan Raucher speaks to the metaphor of theater. “Whenever I step into a subway station it feels as though I have entered a magnificent theater with a diverse cast of characters performing in an unscripted play on an ever-changing stage. My series Metro documents the behavior of ordinary people in mass transit systems in various countries and cultures. As individuals interact with one another in these tightly-packed public spaces, occasionally extraordinary situations that are unexpected, mysterious, humorous or poignant unfold. A strange or wonderful juxtaposition, a spontaneous gesture, a concealed mood or a hidden emotion may materialize and then vanish in a split-second. Such ephemeral events are often overlooked or quickly forgotten. My intent is to capture these fleeting moments as evocative, richly-layered images that allow each viewer to generate a unique personal narrative, and that these candid photographs will prompt us to pause and reflect on our modern lives.”

Linea-1-near-Museo-Naples-920x613Photographers are generally voyeurs, observers, people-watchers. Metro: Scenes from an Urban Stage allows the reader to catch glimpses of these improvised plays as Raucher saw them. He took the photographs in Metro between 2007 and 2014 during numerous trips he made to fifteen cities on four continents. He captured scenes in the metro systems of New York City, Mexico City, San Francisco, Paris, Budapest, Naples, London, Warsaw, Rome, Prague, Vienna, São Paulo, Lima, Delhi, and Shanghai. Raucher’s images are like the work of other masters like Walker Evans, or Robert Frank, who shot clandestine images of people and public places. “Using available light and a bit of serendipity,” Raucher says, ” I endeavor to create compelling photographs that provide a glimpse into aspects of the human condition.”

Linea-2-at-Montesanto-Naples-920x613The hardbound book contains 50 duotone images on matte paper stock which beautifully gives depth to the scenes. The intimate views of people in their own worlds lead us to guess what they are thinking, where they are going, or deduce what their day has been like. Raucher’s masterful images are rich with details and emotions, which allows the viewer to decipher body language, soak in the details of these fleeting moments in their travels, and mentally craft a script to narrate their lives based on our own sense of the world around us and the people we know. As Marlaine Glicksman sums up the book in her essay, “Raucher’s images explore and magnify a self-contained world. Yet rather than contain ours, they enable us to see farther, both into the metro and into ourselves.”

Stan Raucher is an award-winning photographer who has been documenting aspects of the human condition around the world for over a decade. His photographs have been featured in 20 solo exhibitions and included in over 60 juried group shows. His work has been published in Slate, LensWork, Black & White Magazine, The Daily Mail, The Independent, Lenscratch, F-Stop Magazine, Shots and The Havana Times. He was a 2012, 2013 and 2015 Critical Mass finalist, a 2012 CDS/Honickman First Book Prize in Photography finalist, a 2015 PX3 Bronze Award winner, and he received a 2015 Artists Trust GAP Award. His prints are held by museums, institutions, and private collectors.

Metro-Line-1-near-Peoples-Square-Shanghai-920x613Ed Kashi is an award-winning photojournalist, filmmaker, educator, and member of VII Photo Agency. He has authored numerous books detailing the social and political issues that define our times, and he is known for his complex imagery and its compelling rendering of the human condition.

Marlaine Glicksman is a visual storyteller: an award-winning filmmaker, screenwriter, photographer, and writer who creates dramatic character-driven stories set in multicultural contexts both narrative and documentary and in moving images and stills.


Metro: Scenes from an Urban Stage
Foreword by Ed Kashi and Essay by Marlaine Glicksman

ISBN: 9781942084150
8″ x 10″ inches
88 Pages; 50 Duotone

 To order Metro, visit Daylight Books site. For more information about Stan Raucher and his work, visit his website here.

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Interview with photographer Giselle Brewton

from the Light Studies Series

from the Light Studies Series

F-Stop Magazine: How did you first become involved in photography and what led you to working in this medium as an artist?

Giselle Brewton: Having moved around a lot growing up, taking photographs was one of my earliest concrete memories. I’m drawn to this medium because of it’s limitless avenues for experimentation. The darkroom process is meditative, time slows and hours feel like minutes. A painter friend once said that it must be easy for me to produce work because photography is collaborative and social while painting is secluded. For me it’s quite the opposite. Photography is more of a solitary experience, and that’s exactly what draws me to it.

F-Stop: The current issue of F-Stop Magazine includes images from your “Light Studies Series,” can you tell us what led to this project?

GB: This project arose from a need to rescue memories. I was noticing the disappearance of sentimentality for tangible objects. The rarity of current day photo albums, handwritten letters and postcards. A growing lack of attachment to family keepsakes that turn up in dusty flea market boxes. Objects are losing their emotional weight as story telling devices. I wanted to gather them up and bring them back into the light.

F-Stop: Can you discuss your process for making these images or your creative process more generally?

GB: This ongoing series follows in the spirit of photograms by peeling away the obvious layers leaving only the bones. I shoot b&w to avoid distraction from the essential form. I pull the objects out of their environment further isolating the details. The final step is to shift light until only shapes, shadows and inner workings are visible. Apart from cropping I don’t like to alter the final image digitally, computer editing kills the creative process for me. It’s important to capture what I see in that moment through the viewfinder and lens. It has to be the work of hands to inspire any project I do.

from the Light Studies Series

from the Light Studies Series

F-Stop: How do you choose what to photograph? What are you looking to capture in these items?

GB: I become deeply attached to the simplest things. I keep random objects in cigar boxes, pinned to walls, and in my pockets. For this project I choose subjects that have personal significance. Some of my favorite keepsakes don’t make the best photographs. I’m not sure if they’ll work until I start to play with light and let the subject guide me. My aim is to capture a deeper layer that may otherwise go unnoticed. For some objects this element lies in the geometry, for others in the texture.

F-Stop: What do you hope people experience or feel when they look at your photographs?

GB: The personal stories attached to the objects won’t be evident, my intention isn’t to push a particular feeling. My hope is for these photographs to communicate with the viewer visually and emotionally, creating individual interpretation. People experience art in different ways, that’s the beauty of it. We gravitate to what moves us most.

F-Stop: Do you have a favorite image in this series? If so, which one and why is it the image that speaks to you most?

GB: Henri Cartier-Bresson once said “The important picture is the next one you’re going to take”. I envy his ability to always be looking forward creatively. I can’t help but mentally carry a project with me until it’s truly complete.

There are some new images joining the series, one of a broken glass beaker that is fresh in my mind, however, a constant favorite is the reptile skin photograph. It’s a piece of naturally shed skin from a Red Tegu lizard belonging to a friend of mine. Mr X was hand raised from a baby to a 4′ adult. He lived loose in the home, was completely mellow and would follow my friend around. I hoped this would make a good light study but had no idea it would almost breathe life. The object is recognizable, obviously belonging to a solid hefty reptile yet remains so incredibly fragile it appears to float. It has texture and geometry combined, It’s the perfect alternate view to shake up our perception of beauty for a moment.

from the Light Studies Series

from the Light Studies Series

F-Stop: Are you working on any other projects currently?

GB: Apart from a in-camera multiple exposure project and darkroom experiments, I’m currently editing a film, continuing a collage series, and entering the early stages of putting together Bagazine Issue 7, an assemblage art literary magazine in a bag. Photography is at the core of my creative expression, but I also work in the medium of film, collage, printmaking, and assemblage. When the gears start spinning on a photo project I step back by diving into collage or other mediums. It gives me breathing room to return to the project with clarity and focus.

F-Stop: What photographers or other artists inspire you?

GB: I’m Inspired by many forms of visual art as well as music, and writing. Here are a few visual artists that are important influences.

Germaine Krull for her photographic experiments especially ‘Métal’, André Kertész, Henri Cartier-Bresson, Alexey Titarenko, Weegee. Man Ray and the artistic anarchy of the Dadaists and Surrealist, the photographs and films of Bruce Connor notably ’10 second film’, Marcel Duchamp’s rotoreliefs, the films of Stan Brakhage in particular ‘Mothlight’ composed of moth wings, Joseph Cornell’s sculptural boxes and experimental films, Wallace Berman’s assemblages and collective art movement, Kenneth Patchen, Dieter Roth’s artist books, Jackson Pollock, H. N Werkman printer and experimental artist, Bern Porter’s founds, the fluxus art movement, the collages of Robert Motherwell…many others.

Aside from known artists I’m also inspired by old discarded photographs found at flea markets by unknown photographers. The relationship between the photographer and subject is powerfully evident. The photographer didn’t fall into the self conscious trappings of forcing an artistic shot. They were in the moment, honest and unapologetic. The photographs themselves were taken as keepsakes and weren’t intended for strangers. I’m moved by these genuine connections.


For more of Giselle Brewton’s work:

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Jérôme Bryon @ Gallery La Forest Divonne

Jérôme Bryon: Grand Sud
May 19th – June 25th, 2016

Jérôme Bryon interrogates the uninspired, charmless common grounds and, through his objective gaze, transforms them into strong and powerful images.

Gallery La Forest Divonne, Paris

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Nick Brandt @ photo-eye Gallery



Nick Brandt: Inherit The Dust
June 10th – July 23rd, 2016

photo-eye Gallery

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Interview with photographer Lali Khalid

Of, home

Of, home

F-Stop Magazine: The current issue of F-Stop Magazine includes images from your project “Being between”, your statement about the work is very poetic and I am intrigued by the idea of you following yourself and how that relates to the title “Being between”. Can you tell us about this project? What led to this work?

Lali Khalid: This project is a continuation/extension of the self-portraits that I have been doing since 2007. When I say “following myself”, I am referring to constantly photographing myself. “Being between” is about the endless struggle I have of being at home, and not being at home at once. The first ever picture of me with the dopatta floating over my head reminded me of home, of my mom, of how far I am from all that I so dearly love. I knew immediately that I’d be working on this project for a while. It’s very close to my heart.

F-Stop: What does the floating fabric represent or mean to you? For me as a viewer it seems to evoke a sort of presence or awareness of something more, something beyond what is seen in the image…

LK: The fabric “Dopatta” represent my family, my home, my culture, and my life that I left behind. That something beyond what’s seen in the image is maybe all of these things. It’s the people I miss, the culture I am losing, the things I am forgetting.

Clothesline, birds squawking

Clothesline, birds squawking

F-Stop: Can you describe your process for making these images or your creative process more generally?

LK: I set the shot up using a tripod. Once the timer is set, I run back to the frame and throw the dopatta up in the air. The camera captures me as I interact with the dopatta. Its at once staged and chanced.

F-Stop: How do you choose the moment or location to photograph, what are you looking to capture?

LK: Unlike a lot of my other self-portraits, I like doing these pictures outside. I want to try and capture the vastness of the land around me. I am at once, comfortable in that vastness and a total stranger in it.

F-Stop: What do you hope people see or feel or perhaps learn when they look at your photographs?

LK: If I can get my photographs to hold someone’s attention, my job is done. I want people to engage in empathetic feeling when they see my photographs, to feel something familiar within.

Pursuing the light

Pursuing the light

F-Stop: Do you have a favorite image in this series? If so, which one and why is it the image that speaks to you most?

LK: My favorite is probably “Pursuing the light”. I love this image because of the light in it. It also is close to me as it has my son and me in it, with the dopatta like a protecting hand above us.

F-Stop: How does this project relate to other work or project you have done?

LK: It is a continuation of self. Exploring themes of identity, home and diaspora, these images

F-Stop: Are you working on any other projects currently?

LK: Yes. I always work on multiple projects simultaneously. “Self”, “The Mom Series”, “A place (I live in)”, “Of you and I” are some of the ongoing projects.

F-Stop: What photographers or other artists inspire you?

LK: Allesandra Senguinetti, Alec Soth, Tom Hunter, Philip Perkis, Allen Frame, Gregory Crewdson, Richard Misrach, Hellen Van Meene and Dita Pepe are some of my favorites. Sorry I like too many of them.


For more of Lali Khalid’s work:

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