$3.99 • Issue 41 • December 2017 (Digital Product)
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ISSUE 41 • December • 2017
From the 1630’s the word camera is associated with a “vaulted room.” A judge’s private office is called a camera. From Latin, “comrade” also comes up as an association with the word camera. The camera captures images, and they are only released from the ‘vault’ so to speak if the judge “the photographer” feels a kinship with the photo and with the work. Imagine all the images waiting to come out and play from these vaulted chambers. Social media is but a drop in the bucket.
How does a photographer reconcile their choices? How do they choose?
Our cover photographer, Sophia S, unfolds more of the mystery that is The Homemaker. Her series asks us to question the endless ways a woman can hide behind the things that are historically considered woman’s work. The plates, beautiful dresses and self-portraits of Sofia create images that are stunning. They seem to say that women can hide behind the beauty of these things and be happy, maybe for a little while.
Charles Osawa’s series, Unchahar Light, are images of streetlights and power lines brightly lit against the night sky. Foliage glows, a halo surrounds the vortex of light as each human-made construct begs to be seen as the real thing; a star. I am the light, just like the sun, I open up the dark spaces.
From Lauren Welles’ series, I Love NY, a young girl with stars for glasses stands on the subway, looking off into the distance as her mother holds her arm, only as a mother will to make sure she is safe from harm, even though the stars in her eyes say, “Mom I’m already holding on, don’t worry I’ve got the stars to lead me.” I Love NY is a compilation of New York street art where each picture tells its own story. Your story may be different from mine. That is the beauty of New York.
Lieven Engelen takes us on a different journey, in his series the Land of Lost Content, a fairy tale world that encapsulates all the dreams and all the beauty we didn’t know were hiding within. In one photo, there is no fear from the goats that graze at the edge of a cliff with heavenly clouds behind them; their only curiosity is the camera pointed at them.
Kent Krugh’s Speciation exposes the mystery within the apparatus; the resulting photographs are a mixture of the clear and the opaque. The possibility inherent within each machine is palpable. How can these various combinations of circles and squares bring forth the magic that we call photographs? The machines themselves are things of beauty.
Lifelines by Neal Panton takes our hands and redefines them as the markers of uniqueness that they are. We grasp the fabric of life metaphorically in so many ways, but daily we touch and move around the world through the tactile feelings of our bodies. Our hands work hard to keep the magic of living alive.
Sandra Djak Kovacs