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Consciousness, Photo Series by Santosh Korthiwada

Consciousness

About 

Like most people, my relationship with photography started way before I held a camera in my hands for the first time. On our wall at home, there was a photograph of my grandparents from the 1940’s, probably taken a few years after their marriage. I remember asking them a thousand times, in utter disbelief, if they were the same two people in that photograph. My grandparents always said ‘yes’ and were amused at my question. I couldn’t believe them because the photograph was showing me something from the past, and the reality looked so very different. In another photograph of my aunt, uncle, and cousin; a very candid and lively moment captured and although it was made years ago, what was shown in the photograph seemed real in the present. The photograph told me the truth and it also lied to me, at the same time. It’s just that I’m now able to articulate it, and recollect the moments of absolute fascination with the photograph.

I grew up in a small village called Chegunta, in Telangana state, India. My life took many extreme twists and turns, and after four decades of craziness, I’m what I’m today. My wife Kavya and our son Ishaan have been my strength, and they have always been supportive of me.

I enjoyed drawing and painting more than regular studies, and my love affair with the arts started at a very young age.  Camera was introduced to me in my B.F.A, and I didn’t do much with it except for a few snapshots. It was only when I bought my first 35mm Film SLR camera, I took my hobby seriously. Thanks to photography, my travels became frequent and more interesting, made new friends, interacted with a lot of strangers, and I was exposed to random acts of kindness from totally unexpected situations.

Just like attempting to perseive architecture through music, music through mathematics, mathematics through sculpture, sculpture though language, language through painting, painting through dance, and so on, my work can be considered as an incomplete text because although each of these attempts are made to communicate successfully, the essential aspects are lost in translation. Each of these art forms are intrinsically different from each other and yet they are all devises to explore the inner self and for me it is photography. The more I photographed, the more I learned and the more I learned, the more I photographed. However imperfect, I love what I do and I do it sincerely.

Photography helped me see life with intensity, and depth that I otherwise would not have. It started as a hobby, became a serious passion, transformed into a profession, and now it is my way of life. People tell me that I chose the road less travelled, and with all due respect, I tell them that there is no road at al. First, I must pave it to walk on it.

Artist statement

My major project is titled ‘Consciousness’ and it probably took me at least five years to bring it to completion.

Consciousness for me is an unending, ever-changing flow of imagination that never ceases to grow; with and without a singular answer. Contemplating, observing, reacting, and presenting everyday things and questioning my perceptions is what I am passionate about and that is what this project is about. What makes this project uniquely positioned is the choice of everyday subject matter juxtaposed as visual pairs. This decision is to stimulate curiosity and challenge conventional thinking. In the contemporary context, considering the time in which information bombardment and cognitive overload are the new normal, in the context of photography, we must question not only the topics it depicts, but also the role of photography, the photographer, and the photograph itself. Within the framework of conventional human progress, this might seem like an anti-development strategy, but I believe that it is not. We take too many things for granted too readily, and as a photographer, I attempt to slow down the pace through this body of work, Consciousness.

This project is a visual exploration through constructed narratives. It is a play on awareness, perception, and imagination as if one is trying to solve a riddle. Regarding aesthetics and personal style, my strategy is; to pull and push the viewer from the visuals for cognitive friction, to bring out surface textures for emotional intimacy. I predominantly use active framing and capture the images both on film and digital cameras.

I think a lot and sometimes a bit too much, and I read and write, and I walk a lot. Most of my thinking, and actually photographing happens during these walks. Along with the images, I diligently construct sentence fragments and extend the narrative for an additional layer of my own way of  storytelling.

For analog, I use Kodak Tri-X 400 ISO B&W 35mm format and push it to 1600 ISO. For digital, I use Canon Mark II camera, and all the images are converted to black and white using Silver FX plugin. I mostly work in black & white because I realized that color, in general, has rarely impacted me emotionally. I do not have any childhood memories that I associate with color and all I ever liked was white or black, and technically, those are not colors. Robert Frank once said “Black and white are the colors of photography. To me they symbolize the alternatives of hope and despair to which mankind is forever subjected.”

However, I do produce color work occasionally, and may be the color started impacting me at this juncture of my life. I’m yet to figure it out.

Interest and any future projects

I experienced and observed a strange but prevalent social conditioning to excel in everything one does, and we are made to believe that anything less than excellent would lead to an unhappy life. Once upon a time, we looked at the stars and drew constellations, then we looked at the valleys and constructed industries. Later, we looked at our empty homes and made televisions and now, we looked at our bare hands and made cell phones and yet, we search for that happy life. In the name of human progress, we built great civilizations in-excess of everything, and nothing could satisfy our thirst for greatness. We are plagued with violence through wars, poverty, hunger, disease, discrimination, and have accumulated an abundance of utterly futile fame. All this is because, I think, we as a society are afraid of being ordinary and average.

Initially, I used to take up a new project only when I finished with my current one. My inexperience didn’t allow me to deal with more than one idea or concept. As I got matured with photography, I now work on at least 9 to 10 projects simultaneously. I guess, my mind is engaged and fired-up this way as of now, and I don’t know how long it will go on like this. There is no right way or wrong way with this, but what’s important is not to get comfortable with your work.

I think, there is great beauty in the ordinary. There is a lot to learn from the ordinary. So, I decided to pursue this topic for the rest of my life. As of now, it is with photography. As of now, I’m focusing on two major ongoing projects called ‘Conversations’, and ‘Absence’. And by the way, ‘Absence’ is conceptually opposite to ‘Consciousness’.

Influences 

Don’t think I can list all of them here, so I will name a few.

Even though I do get inspired from photographic work (Minor White, Harry Callahan, Aaron Siskind, Josef Koudelka, Masahisa Fukase, Daido Moriyama), many of my influences come from non-photographic disciplines such as philosophy (Immanuel Kant, Jaques Derrida, Carl Jung), poetry (Adi Shankara, Jalaluddin Rumi, Annamacharya), cinema (Akira Kurosawa, Satyajit Ray, Guru Dutt, Narsing Rao, and literature (Sri Sri, Thapi Dharma Rao, Ayn Rand).

Some of my favorite books are ‘On Photography’ by Susan Sontag, ‘Camera Lucida’ by Ronald Barthes, ‘The Photographer’s Eye’ by John Szarkowski, ‘Photography Between Covers’ by Thomas Dugan, ‘Light Readings’ by A.D. Coleman, ‘Concerning the Spiritual In Art’ by Kandinsky, ‘Sapiens’ by Yuval Noah Harari, ‘Man’s Search For Meaning’ by Viktor E. Frankel, ‘An Autobiography of a Yogi’ by Paramhansa Yogananda.

Galleries and museums overwhelm me sometimes. So, I walk around quickly and settle down in front an art-object. I remember visiting SFMOMA and sitting in front of a photograph for almost four hours. It was an image of a makeshift chair by Mexican photographer named Anthony Hernandez, and the title is ‘Landscapes for the Homeless # 18, 1989.

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Photo Stories, Project,

Ordinary Days, Photo Series by Nobuyuki Taguchi

Ordinary Days

About

I born in Japan and I am a permanent resident in the U.K. since I came to study Fine Art in 1990.

Taking photos is something that I have always enjoyed, and I have re-discover the photography as new medium as the digital age came into the photography process.

I have published my digital photography to my old website (www.photo-visible.com) back in 2006 and stared receiving enquiries about my photography.

This lead me to work as a semi-professional photographer.

Artist Statement

For me the photography is a medium to express my ideas. The some of my personal photography works are based on a concept.

I quite often treat a group of photos as one single project work.

Ongoing Projects

I have been working on few my personal projects such as portrait photography using film camera, Street photography, and Architecture photography.

Influences 

I get lots of influences from works done by fashion and street photographers who are often worked on Black and White film photography.

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Photo Stories, Photography, Project, Uncategorized,

Solitude, Photo Series by Putri Nadhira Saraswati

Solitude by Putri Nadhira Saraswati

Analog photography exhibition contributor Tabu volume 1

Bio

My name is Putri Nadhira Saraswati. I am currently taking major in architecture in Bandung. I started photography as a hobby when I was in high school. I just shot what I like, and I find it relaxing for me.

But the process doesn’t just stop there. I love how photographs can take me back to how I feel when I take the shot, and I would like other people to feel it too. So recently, I try to explore photography as a way to express my feeling and tell stories.

Project Description

This actually isn’t a really well-thought-out project. This is more of a spontaneous project. I spent a lot of time alone and thinking at the moment, and the idea just popped up. Unintentionally, I call this project ‘Solitude’.

I believe that people has their own way to find solitude. To take time for ourselves, reconnecting with our own minds, building an atmosphere to recharge our energy. Some people find it in quiet places, some may even find it in crowded places. A morning run, a walk into nature, writing a journal, or starring at buildings. Simple things to simply make us feel better.

Influences

Basically everything around me. Movies, music, poetry, traveling, even deep talks with my friends can influence my work.

Links

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Copyrights:
All the pictures in this post are copyrighted Putri Nadhira Saraswati

Photo Stories, Photography, Project,

The Arrival, Photo Series by Andi Sudjana

The Arrival,  by Andi Sudjana

Project description

The arrival was my first attempt to make a photo story based on a science fiction background. It was created initially to response to a submission of Bungkus! (Bandung photography Now!) In 2014.

The idea is to reconstructed or re-imagined the arrival of alien entities to Bandung city based on random article that I found on the internet.

At that moment of the idea emerged I already have some random candid photos that I took during my times wandering my city and somehow it was coincidentally fit to the theme that I want to produced, after that I continue building the story and at the time of presentation of the submission, The Bungkus! Team help me arranged and sequenced the story since it was also my first time creating a photo story.

The Arrival also has been presented as a group exhibition during Bandung photo showcase 2015 event in Bandung, Indonesia.

Short bio:

Andi Sudjana (b.1986), Photography Enthusiast based in Bandung, Indonesia.

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Fault Line, project by Sophie Barbasch

Fault Line, by Sophie Barbasch

About

I started studying photography in high school and then got more serious about it during college. After college, I realized I wanted to pursue my MFA.

Grad school helped me a lot in terms of understanding what I was trying to do and say with my work. I feel like I am still processing some of the feedback I got, even though I’ve been out of school for a number of years now.

I have experimented with other media, but I feel like photography comes closest to expressing how I experience the world. Even so, I still think a lot about what images cannot express and how to fill those gaps.

Preferences, preparations, photography equipment

It depends a lot on the project—sometimes, I stage the images and work with a tripod. For other projects, I just shoot hand-held and respond in the moment.

I am using the Mamiya 7 and the Sony mirrorless camera right now. I love film, but digital is very liberating.

Project statement

Artist Statement: Fault Line

Fault Line is a story about my family. The protagonist is my younger cousin Adam. It takes place in Brooklin, Maine, where he lives. I have been working on this project intensively since 2013.

It was then that I went to visit Adam and was overwhelmed by his intelligence, humor, and vulnerability. I couldn’t help but feel connected to him. We understood each other in a way no one else in the family did.

I felt like he was my stand-in, my double. When we started taking pictures, we both wanted to make the same images; I didn’t have to explain anything.

In 2013, I had already been estranged from my father for seven years. I wanted to return to a family base to understand what had happened.

I wanted to make images that expressed moments from the past: moments of conflict, isolation, and despair. I also wanted to express the desire to connect to family and to belong to something.

I chose the surreal landscape of Brooklin, sandwiched between the coast and the dense forest, to begin exploring these fragments from my childhood. I used Adam as my model.

Over the years, I also began to incorporate myself, my brother, my aunt, my cousins, and finally my father, into the images.

Influences and favorite stuff within and outside of photography

At the moment, I am inspired by the Not Surprised project (http://www.not-surprised.org/) as well as Barbara Kruger’s new NYC Metrocard series. I just finished reading The Babysitter at Rest by Jen George, which I loved. My new favorite photo book is Blind Date by Leiko Shiga.

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Copyrights:
All the pictures in this post are copyrighted Sophie Barbasch

Blog, Photo Stories, Photography, Project,

Poison, by Aji Susanto Anom

POISON

Photo Series by Aji Susanto Anom

Orgasm, La petit mort, The Little Death

This is a poison, a poison delivering my visual interpretation about sex and death. Sex and death is a nature of being, sex is the gate to the birth yet death stands at the end human life. But is it true that sex and death is a matter of life and reproduction?

Bio

Aji Susanto Anom (b.1989) is a photographer based in Indonesia. His work is basically explores all his personal question about the darkness of his deeper life. He has published three photobooks independently called “Nothing Personal”, “Poison” and “Recollecting Dreams”. In 2015, he was selected as one of the participant of “Angkor Photography Workshop” under the mentor: Antoine D’Agata and Sohrab Hura. His works can be discovered through his featured publication on Lens Culture, The Invisible Photographer Asia, Top Photography Films, Monovisions, Dodho Magazines, Sidewalkers.Asia and more.

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Copyrights:
All the pictures in this post are copyrighted Aji Susanto Anom