D EV E L O P I NG TH E PH O TOGRAPHER’S EY E, HEAR T AN D M IN D

INSPIRED EYE
ISSUE XXIII

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ANNE - BRENDAN - FIONN - GENE - SHLOMY - CYRILLE - JULIE - KICIA - MARK - YASUO - ZAC
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S U M M A R Y
I N S P I R E D E Y E I S S U E X X I I I

MAGAZINE

174

Photo essay
Kalkutta by Fionn Reilly

158

Photo essay
The Hassidic jews from the Lower East side by Gene Lowinger

122

Photo essay
On the road by Zac Patsalides

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Inspired Readers
Features the work of our readers

INTERVIEWS

10 Anne Gibson 80
Julie Higelin

32 Brendan O Se 192
Kicia Randagia

58 Shlomy Evron 100

Mark Rosales

140 Cyrille Druart 222

Yasuo Furue

10 32 58 80
ANNE BRENDAN SHLOMY JULIE

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GENE

100122140158174 192222
MARK ZAC CYRILLE FIONN KICIA YASUO

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INSPIRED EYE
10 points to understand our mission and what we are doing

1- Inspired Eye exists to showcase the work of the photography community, to

learn, to teach, to inspire and to be inspired from it.

2- Inspired Eye is a platform for photographers. We belive in an ongoing

relationship with the community, expect to see recurring photographers.

3- We put the spotlight on photographers at large. Wether they are famous or

unknown, pros or not, full time shooter or only have time to shoot after work.

4- We feature photographers of different skill levels. Everyone started somewhere,

everyone has something to say, everyone needs some attention.

5- The format, the seclection, the design are geared torwards developping your
eye, heart and mind

6- We repeat our questions in order to see how different answers can come from
one question. It teaches to see the same things as new.

7- Each question is about the photographer, but the answers are puzzle pieces
for the reader to pick and chose for themselves. By relating (or the opposite)
readers can form their own view of photography

8- As much as possible we try to preserve typos and mistakes, we minimize the

editing. This is so to preserve the voice of the photographer and to show that
English is not the universal language, photography is.

9- Our reader’s gallery is thick because we want to showcase the most work by the
community

10- While we do not focus exclusively on street photography, it is the most

accessible form of photography and is the most practiced by the community

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 INSPIRED EYE

ANNE GIBSON
INTERVIEW WITH

BY DON SPRINGER

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What inspired you to
become a photographer?
I don’t think I was ‘inspired’
so much as I was ‘driven’ into
photography to save my sanity.
I didn’t know that at first but
looking back, I realize it was a
necessity ­like air.
I was just 2 1/2yrs clean and sober
from a lifelong heroin and alcohol
addiction that began when I was
barely a teenager until March 17th
2012.
The realization that my entire life
had passed me by in a haze drove
me to want to live life­as much
as I have left ­and to express my
voice and what i have experienced
through images.
If not, I would suffocate.
What age are you and
at what age did you
start your journey as
a photographer?
From the very beginning I insisted
my cell phone come with a good
camera. That was the deal breaker
for me.
After years of shooting images
that would ONLY ever be able
to be seen on something like
Facebook, I got frustrated.
What I saw in phone images was
NOT what I imagined in my head.
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It was just a poor representation ­
a mere carbon copy.
In the fall of 2013, I took one
picture with my cell phone that
tipped it over for me.
I *knew* if I wanted control over
my image, I would have to have
access to full manual mode. So, I
bought a Canon Rebel T5i on a 6
month installment plan.
I was 57 at that time. (I am 60
now) THAT is where my ‘journey’
began.
Would you mind
sharing some of the
things you feel helped
you along the way with
your photography,
(lessons, workshops,
books etc)....and also
some of the things that
may have hindered
you that you overcame
on this journey?
After my Rebel was paid off
completely I decided I really
didn’t know enough about how
it worked so I took a small 5hr
course at the local camera store.
I didn’t know what all the dials
and buttons were for. However, I
really didn’t want to be told what
a ‘good’ image was so i skipped
the last class on composition.
That was in April of 2014.
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But, I did go on to the internet to look

at the works of other people whose
work I respected.

I studied what they were doing. I

watched documentaries and found my
place in an historical context. The first
I watched was “Finding Vivian Maier”
and I related to her as a single, older
woman on the street with a camera.

I have seen most of the great masters,

read about them etc. but no one
affected me more that she did.

She seemed to ‘give me permission’ to

just follow the story and shoot for no
other reason than that it pleased me.

The *biggest* hindrance (although

I have come to see it as a valuable
lesson) is that I joined a group that
critiqued everyone else’s work.

They had ‘rules’ about what could be

posted and what was a ‘good’ street
photograph. I saw right away that
following the ‘rules’ has very little to do
with whether or not it is a good image.

In fact, slavishly following rules

impairs the creative vision. Others find
that kind of process helpful. For me, it
is not.

Rather, I found a very small group

of like­minded photographers whose
opinion I respect and whose work I
love and who love me back.

I learn THE MOST from looking at

images that inspire me and from my
‘support’ people. When I left the ‘rule’
group, I just let loose. I realized that
I already had what I needed to create
images that excite me.

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So, what I took away from the ‘rule’
experience is to trust my gut. A dear friend
once told me that only people who take
huge chances make great things.
But, they also risk failing catastrophically.
If I’m not prepared to fail catastrophically
then I will always make slavishly,
mediocre images.
That drives me to be fearless ­an essential
element my photography.
If we are speaking specifically
of photographers, which
are the ones of the past and
present do you admire?
Clearly, Vivian Maier 1st off. But then, I
would have to say a few photogs I follow
on Flickr who are probably completely
unknown. Some actually come from
different fields.
I find, say, people who have always painted
and then turned to photography especially
interesting because they think WAY
outside the box.
Or, if they come from film or some other
field, they seem to bring in a whole new
dimension. That really excites me.
There is a painter from Paris,Alain Crocq,
whose work doesn’t limit itself to even
*trying* to be perfect representations.
He does crazy things with exposure and
post that, for me, blow it out of the water. I
think, now that I’m asked, it is people who
are not limited strictly to photography that
I look at the most.
They seem to be oblivious to the ‘rules’.
They are the most influential to me.
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What purpose does
photography serve for you?
At first, it was just to make nice images.
Very quickly it became a way of speaking, a
way of meditating, a respite from my head
and finally, a social conduit.
When I am shooting I completely lose
myself. That is bliss for me. Once I began to
feel that ‘lost’ feeling, that feeling of being
‘ego­less’, just being an ‘observing being’ I
was hooked.
There is nothing quite like it for me ­to
‘lose myself’ for those few hours when I
a shooting. I actually carry my camera
around with me in my purse. It is with me
always ­like a prayer.
The moment I feel troubled or worried, it is
always there for me to take me away. I can’t
imagine walking out the door without my
camera ready to shoot.
I am an introvert but when I have a
camera planted in front of my face, I
can be anywhere. All my self­conscious
awkwardness disappears. I can
LITERALLY engage with anyone.
It is the “business card” that allows entry
anywhere, anytime ­to the world.
What Genre’ of photography
are you most comfortable
working in?
Well, “Street” but for a variety of reasons.
First off, I am poor. Once I have my little
camera and my imagination, nothing else
is required.
Secondly, the “Street” literally, is my world.
it is what I know, it is where I live, it is my
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‘comfort zone’. Thirdly, I am
impatient. I like to move about
and not spend time thinking too
much about anything technical.
In street, it is all about the
moment. All I have to do is ‘find
the story’ and then move on.
Perfection is not a requirement.
4th ­I love that there is so much
dispute about what constitutes
‘proper’ street.
I laugh because, so far as I
can tell, what makes the great
masters truly great is that they
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broke the rules that preceded
them so that appeals to me.
When you work,
are you working on
different series or
just finding photos
that fit the way you
feel at the moment?
Totally wing it. I can’t follow a
script to save my life and don’t
want to. For me, street is about
‘finding’ the story not conjuring
it up in advance and then going
out to prove a point.
It is all about discovery and if
I have a preconceived notion
about what I am looking for,
I’ll more than likely miss the
*better* story unfolding before
me.
Can you describe a
few of your trigger
mechanisms that
make you want to
stop and shoot?
Light. always light.. on
something.. that is what I look
for first.
How is the light? What is it
saying? What is being lit? What
is hidden?
After that, I look for forms..
shapes, elements that create a
story. I use a fixed lens so I have
grown accustomed to seeing the
world in the lens I have.
That ‘frames’ my world. So I
look for framing.
Sometimes, I realize I am too far
away so I either run up to where
I need to be or I just have to let
that moment pass.
I look for people who interest How strong of a
me or who are in interesting connection do you
situations.
have with your
Once I see a scene, I imagine the subject matter and
different angles it can be shot can you describe
from and move around until I that connection?
see a frame that pops.
I cannot separate my subject
I also look for juxtaposition of matter from my inner world.
elements. Things that are out of
context ­especially when framed All my successful images are
from a particular vantage point. projections of something inside
me, though rarely literal.
But, first and foremost, it is how
it is lit, what is obscured and That is the whole point for me.
what is revealed with light.
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What are your

recurring themes?
I would say the diversity of the human
condition as it is played out in one form
or another. But, that is “street” isn’t it?
Nothing else really interests me.

What is the distance to

your subject you are
most comfortable with
while working?
Any distance, really, that gets the shot I
want. I have very little fear of getting up
close to a person. It’s another shield the
camera affords me.

I can, quite literally, get as close as I need

to be.

If I have a willing subject and I think it will

make a good shot, I’ll get right up in their
face without the slightest reservation.

What is your favorite Focal

Length or Field of View?
I am just playing with that. I don’t have
one. Right now, I try to let the subject
matter determine what ‘quality’ needs to
be enhanced by the camera.

It varies from subject to subject. But, best

case scenario, i like to get a close to my
subject as humanly possible and still have
a narrative in the shot.

Whether I use a long or short FL is entirely

dependant on what the story is telling me
is relevant.

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What camera
are you working
with currently?
Fujifilm X100t (Note: 6 months
after learning how to use my
Rebel, I *knew* want I wanted
from a camera and the Rebel
fell short.. most specifically
in lack of portability and
conspicuousness. It was just
too big.)
How do you see the
relationship with your
camera? Is it a friend,
tool or whatever?
Honestly, I sleep with it.. I have
4 cats who love to knock things
off of surfaces so my bed is
the safest place for it ­or in my
purse.
But, seriously, my relationship
with my camera is quite
literally the most important
relationship I have in my life.
I know that sounds weird
because I have dear friends
I love a lot. But, I never visit
them without bringing my
camera.
They all know I am going to
shoot them while I am there
because that is my way of
interacting with the world.
I have ‘tricked out’ my Fuji to
make it so ergonomically slick
that when I hold it, it feels like
nothing more than a kid glove
on my hand. It has *become*
and extension of me.
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Are you self taught,
educated or a little
bit of both?
Self taught.. intentionally. I
*killed* my creative writing
ability by going to University
to study Philosophy (including
Aesthetics and Philosophy of
Mind etc).
Studying is great but you have
to know when enough school is
enough school.
But, Philosophy taught me how
to think outside the box and do
it in a disciplined way.
Once I learned the basic
mechanics of the camera, I
wanted my photography to be
as much ‘mine’ as possible.
How do you feel about
being photographed?
I hate it!
However, I have had Street
Photogs try to take MY picture
thinking I am an “interesting
local”.. but I usually spot them
before they can shoot and whip
the camera up to my face and
shoot them shooting me. I’m
very fast!
Do you like to work
by yourself or to have
someone with you?
Please explain why.
I work alone ­always. it is a
solitary pursuit. When I get in
my ‘bubble’, ‘zone’ whatever
you want to call it, I only
care about the subject I am
photographing. I move around
a lot and I don’t want to have to
think about someone else.
But I do love running into
other Streetogs and chatting
for a bit so long as we go our
separate ways after a friendly
chat.
Do you have a
preference for images
as an analog or as
a digital state?
I think it’s all great. I have no
preference . I would love to
shoot with a Rolleiflex but I
wouldn’t want to be restricted
to just that.
If the time comes when I feel
the need to get more gear and
I have a LOT more money to
spend on processing than I
have right now, that would be
where I would go just for the
experience of it. But, I stick
with what is within the realm
of possibility and that is fine.
Where in the world
are you located?
Toronto, Canada
Where is your favorite
place to work?
Kensington Market. I have
been in the neighbourhood
for over 35yrs and that is the
best place to find just about
anything that goes.
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Everyone is candid and it is
highly congested. It has a great
element of the chaotic which is
perfect.
Very little is scripted there. The
familiarity of it allows smaller,
more discrete stories to emerge;
that is, once you get past all
the ‘billboard’ shots that every
tourist takes.
However, I am going on my
very first holiday ever to NYC
for the Memorial Day Weekend.
I have no plan but i am
wondering how different it will
really be to shoot outside my
‘hood.
When you’re feeling
somewhat slow or
lost, how do you find
your way back to
find inspiration to
get working again?
I just suit up and get out to put
the ‘miles’ on. I work ‘through’
that. It’s the only way.
If I sat around waiting to be
inspired I’d never get anywhere.
I shoot whether i want to or not.
Eventually, that damn breaks
and the magic shines through.
But, this is what I call “doing
the leg work” it’s a critical part
of the process.
If I am stuck at home because
of the time of day, and i am
looking to be inspired, I watch
a movie, read a book... anything
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that will bring in outside
influences.
Getting stuck in the
photographic image as a world
unto itself is death to the
creative mind.
I need to mix it up. I also
meditate that frees up my mind
as well.
Do you exhibit your
work in any form?
I post to Flickr, National
Geographic and 500px.
I haven’t done a print exhibition
yet. Though I have been asked
to. Whenever the subject is
broached to me I get anxious. I
just want to be shooting.
I’d like to hire someone ELSE
to do that instead. I’d really like
that to be someone else’s job.
How satisfied are you
in your current state
in photography and
what would you like
to improve upon?
Actually, I am thrilled with it.
Everyday is a new challenge.
Sometimes I look back at some
of my images from last year and
can’t believe I took the picture.
I *feel* like I am growing but
on the other hand, I feel like my
‘eye’ has always been there, I
just didn’t know it.
What i would like to improve
upon is my technical skill. I am
still learning the things this
camera is capable of.
I haven’t, yet, found the
boundaries. So, it is still
exciting to me.
The other thing is the ever­
developing synergy between my
camera, my hand, arm and eye
and my mind.
I would like that there be an
unconscious flow of energy
that makes the thought and
the image in the camera flow
seamlessly from one into the
other.
So, that requires simple,
manual skill and familiarity
with my camera which is just
more practice.
Can you describe
how you judge the
success or failure
of your work?
I am really crappy at that. It
fluxuates. Sometimes I take
an image that *really* gets me
stoked and then I look at it 3
months later and I SEE that it is
not a great as I thought it was.
The same happens in reverse. I
really only trust the judgement
of those, very few, friends who
know me and even at that, if
they haven’t made a good case
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I override it anyway. I don’t
actually believe in “failure”.
The closest I ever come to
failure is when I take a picture
because I *think* someone else
will like it. When that happens
it is SO obvious to me it makes
me cringe.
I do it less than I used to.
But I keep those images and the
discomfort they cause me as a
reminder to trust MY gut and
not to drink the coolaid.
How do you feel about
the current state
of photography?
I think it is great!
The more the better. it has
become so egalitarian that
pretty much anything goes and
no one can really say squat
about it.
If someone, anyone, likes
it, even if it’s just the
photographer him or herself,
it’s good. That appeals to me. It
takes the pretense out of it.
Is there a question
that you would like to
answer that I haven’t
asked? (Anne) Besides
yourself, who else is
your photography for?
Since I was a ‘street person’
myself for so many years and
from a very early age, I know
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what it feels like to be invisible Doug, i am going to wait on
and not to have a voice. this one just because answering
these questions has been a
I shoot a lot of street kids. I psychic marathon and I am
share the images with them. I exhausted and am not even sure
allow them to speak through my about how all this plays out.
lens.
So why don’t you let me know
I give full copyrights to any how this works for you and I’ll
street kid who appears in an just sit and digest all I’ve been
image. I allow them ownership thinking about.
of their image and of their
voice. For me, this is important Thanks for this opportunity
because they feel like people Don.
view them as oddities without
culture, without values and
without self worth. FLICKR
They feel this objectification ­
often by other street
photographers. I know because
they tell me all the time how it
feels. It further pushes them to
the margins.
When I shoot street kids, I tell
them MY story and that I am
not so unlike them. I survived
and they can too. In the mean
time, I give them self­defined
images of themselves that they
like and identify with. It’s not
much but it means a lot to
them.
If I could supply every streetkid
with a camera to take the shots
themselves, I’d do that.
If you would like
to make a closing
statement, we’d
love to hear what
you have to say.
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Brendan Ó Sé
Interview with

By Don Springer
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Please tell us something
about you, your life
and interest etc.
I am a university teacher/teacher
trainer from Cork, Ireland,
working in my local university.
I am married to a very patient
and loving wife and we have two
small children: Sumi­Anna is 7
and James is 5.
What inspired
you to become a
photographer?
I come from a creative
family and have always been
encouraged to express my
creativity.
While I would love to be a
painter, I just don’t have the
talent for it. So instead of paint
and a paintbrush I use a camera
to create and to express myself.
I have always loved travelling
and I love to people watch and
what better way to learn and
immerse yourself in a culture
than hitting the streets and
shooting.
I guess the abstract work I do is
me trying to get close to what I
might do if I was able to paint.
What age are you and
at what age did you
start your journey
as a photographer?
I am now 46 (older than I have
ever been). I am seriously
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photographing for the past
three years; before that only
on occasion. Since 2012, I have
been posting two photographs
on a daily basis to my two Flickr
accounts.
I have one for iPhone work
and one for non­iPhone work.
I have realised shooting on a
regular basis with the iPhone has
accelerated my development as a
photographer.
Would you mind
sharing some of the
things you feel helped
you along the way with
your photography,
(lessons, workshops,
books etc)....and also
some of the things that
may have hindered
you that you overcame
on this journey?
Flickr! Nothing else has shaped
or informed my photography like
Flickr has.
I am very active on Flickr,
with two accounts. I also run
four Flickr groups: Superosity,
The Superness of Superosity,
Blur will save the world and
iPhonography.
In my time on Flickr, I
have learnt so much from
the interaction with other
photographers.
It has allowed me to evolve
in an environment where the
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photographers support and encourage

each other.

Another important aspect of my

photography is my ability to assimilate
what I observe.

Without consciously studying

photographs, I realise I am able to
establish the elements of composition that
go towards creating good photography.

This has helped me along the path of

‘imitate, assimilate and innovate’. Before
I would have thought that this path was
linear, but now I realise it is not.

At any given stage, I am experiencing all

three. Being an educator, I realise this
process is all types of learning.

The iPhone has made me the photographer

I am today. Without it, I would have a
much smaller and less interesting body of
work.

The iPhone 4 was when I first got into

shooting seriously. I went from a situation
where I would occasionally take the
camera out with me, to one when I always
had a camera with me.

Not only was it a camera, but all the stages

in the process were available to me with
the iPhone. I could shoot, edit and share
all with one device.

It made me much more aware of

photographic opportunities.

My sensitivity and awareness heightened

as those shots I would mentally frame in
my head before were now being captured
with the iPhone.

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Couple that with my broadening

interest in street photography and
I was well on my way.

For me, the iPhone is the best

street photography camera there
is. I can use one­handed as it fits
perfectly in my hand.

It is discreet and allows me to

get up close to the subjects I am
interested in. With each release
the quality just gets better and
better and this excites me.

I tend not to use apps too much in

the post­processing stage, except
for Snapseed.

As for influences, there has been

no photographer’s whose work
stopped me in my tracks like the
work of Trent Parke.

Learning how he returned each

day to the same spot over a period
of months to get the shot he
wanted resonated with me.

I guess I had been getting more

patient when out on the street, but
this notion of committing yourself
to an endeavour until you are as
close to satisfied as possible really
got me thinking about my own
photography.

I have slowed as I have progressed

and now will work a location or
scene until I get that shot.

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If we are speaking
specifically of
photographers, which are
the ones of the past and
present do you admire?
As mentioned above, the one whose
work slows and quietens me is Trent
Parke. Moriyama, Sobol, Schles,
Winogrand, Leiter, are some of the
other photographers whose work I
enjoy.

I admire a lot of photographers, but

the ones who inspire me are the ones
I engage with on Flickr and they know
who they are.

What purpose does

photography serve for you?
It allows me to create and understand.

It is my hobby and hobbies should

be fun and you know what it, it really
is great fun (once you get over that
99% part of it which can be sheer
frustration).

What Genre’ of photography

are you most comfortable
working in?
I am most comfortable not working in
a ‘genre’ of photography. Recently, I
have had some success as an iPhone
photographer, but do not want to be
pigeon­holed into that.

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There is so much that gets
my interest and sparks my
curiosity.
It could be trees, architecture,
abstract, landscape, travel or
street.
The one I am most drawn to is
street photography, but even
with that I tend to experiment
with the creation of abstract
street images.
When you work,
are you working on
different series or
just finding photos
that fit the way you
feel at the moment?
When I head out with my
cameras, I am not consciously
intent on capturing certain
things. I prefer to be open to
what I encounter.
As things appear, I am more
aware of how they might fit into
the projects I am working on
and may more actively pursue
them.
Later, in the processing stage
this becomes more pronounced.
Can you describe a
few of your trigger
mechanisms that
make you want to
stop and shoot?
It can be someone with an
interesting face, expression or
look that gets my attention.
46
I have some series on the go.
One is the distances couples
create between each other and
the idea that the gap will be
filled with love or loss.
Another is the idea of
committing to the future as we
carry whatever it is in our past
that weighs us in the hope that
the future will free us of it.
Then I have an abstract series of
people isolated in motion.
How strong of a
connection do you
have with your
subject matter and
can you describe
that connection?
A while back, I was asked by a
street photographer friend of
mine, Sheldon Serkin, to do a
little interview for his son who
was doing a school project on
street photography.
He asked a similar question and
this is the answer I gave:
I feel that street photography
makes people more aware of
each other; more aware of the
similarities we all share; be they
struggles or joys.
Life is fast nowadays and
the sense of community and
neighbourliness can be lost.
I would like to think that when
people see a street photograph
of a moment isolated in time
that conveys emotion, that it
can trigger something that is
familiar to themselves, and
in turn, they can become
more empathetic and
compassionate to those they
encounter on the street, and
also, very importantly, more
compassionate and empathetic
to themselves as well.
Street photography can bring
people together and remind
them that we are all share
common struggles and joys.
I believe I connect with each
person I photograph. There is
something which draws me to
them, but I am rarely aware of it
in those moments.
It can be later when reviewing
that something strikes me
and I may get to understand
why I wanted to capture their
image.
I rarely talk to those I shoot. I
may show them the photograph,
but I do not have a desire to get
to know them.
What are your
recurring themes?
Isolation, loneliness, absence,
hope, love, Forms, shapes, lines.
Stories.
What is the distance
to your subject you
are most comfortable
with while working?
It really depends. Some shots
can be created at a distance
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 INSPIRED EYE
while others are lost if you do not
get in close. It can be location
dependent.
On a subway train, you are close
to people and don’t need to move
that much. On the street, you
move more. Shooting with either
the iPhone or the Fuji X100t
means that very often to get the
shot you need to be close. As
time moves on I am becoming
more comfortable with that.
What is your favorite
Focal Length or
Field of View?
I bought the Fuji X100T because
I wanted a fixed focal length as I
believe this will improve me as a
photographer.
Moving from the Nikon d7000 to
the Fuji is a steep learning curve,
but I am enjoying it a lot.
What camera are
you working with
currently?
iPhone, Fuji X100T and Nikon
D7000. All have their purpose,
all have their charm.
How do you see the
relationship with your
camera? Is it a friend,
tool or whatever?
50
Have never really thought about
this. Is my camera a friend? My
iPhone is precious to me. I could
live without it, but my life would
be dramatically different. As for
other camera – instruments and
intermediaries.
Are you self taught,
educated or a little
bit of both?
Self­taught.
How do you feel about
being photographed?
Posing for photographs is not
something I enjoy. Who does?
Someone getting a candid
snap of me is fine. It would be
hypocritical of me to have any
other attitude towards it.
Do you like to work
by yourself or to have
someone with you?
Please explain why.
By myself. To get in the zone,
I feel I need to be free of
distractions and free of the
competitive space that can exist
when shooting with others.
What can occur when shooting
with friends is a combination of
you or they spotting something
first and then having to step
aside.
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 INSPIRED EYE
I find when shooting with
friends, I tend to shoot very
little in comparison to being on
my own.
Often, with other
photographers you might
arrange to go on a photo walk,
but in reality you will shoot
little, but talk a lot – and that
is necessary too. Larger groups
can work a little better than
smaller ones. You can just stray
and do your own thing.
Do you have a
preference for images
as an analog or as
a digital state?
I live in a digital world. For
now, I cannot see myself going
back to analog.
Where in the world
are you located?
I live in Cork, Ireland’s second
city.
Where is your favorite
place to work?
Easy question and only one
answer to it: Tokyo. No other
place on the planet injects me
with such verve as Tokyo.
It is an electric city with such
contrasts. In the morning, it is
52
sombre and even sedate. Surges
of crowds move in silence.
All you hear are the click­clack
of shoes, the swoosh of the
trains (or traffic if overground)
and the public announcements
over the tannoys.
At night, it changes people are
more relaxed, less hurried and
more animated.
Tokyo has everything. The
most amazing architecture
and millions of people who are
friendly and receptive to being
photographed. I spend hours
and hours on the streets there
and never get bored.
When you’re feeling
somewhat slow or
lost, how do you find
your way back to
find inspiration to
get working again?
Good question. Do you have the
answer?
I don’t, except for accepting
it. You cannot maintain the
same drive and passion for
photography all the time.
I guess I am lucky in that I get
to travel quite often and being
in a new place is invigorating.
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 INSPIRED EYE
Another thing I try to do is to
look back at old work of mine
and try find a direction and
motivation from that.
Sometimes it can work. Also,
looking at the work of friends on
Flickr who continue to shoot is a
good way to get your photo mojo
back in action.
Do you exhibit your
work in any form?
One photograph is on display
in 70 cities worldwide as part of
The Apple World Gallery at the
moment. The same photograph
won the Mira Mobile Prize and is
in a gallery in Porto.
As I said, I post regularly to my
Flickr accounts and my work is
organised into categories on my
website.
How satisfied are you
in your current state
in photography and
what would you like
to improve upon?
I am rarely satisfied. I want to
improve in all areas but if I could
improve in just one area, it is in
the mathematics and mechanics
of cameras.
I am mechanically minded and I
can find some camera mechanics
baffling. I would like to have the
patience to learn more about
this.
Can you describe how
you judge the success
or failure of your work?
54
There is neither success nor frequent frustration I encounter,
failure in this, I believe. There is then it’s a success.
not one photograph of mine that
I would not like to revisit and How do you feel about
endeavour to capture again. the current state
of photography?
It is all about learning and there
is often much more to learn from There is some great work being
the shots that don’t work out done and more people enjoying
that those which initially may photography than ever before as
appear to do so. all aspects of photography are
more easily accessible today.
Styles and interests evolve. What
That can only be good.
I may have been shooting before,
may not be interesting to me
Is there a question
now.
that you would like
The question does get me to answer that I
thinking, however. Obviously, haven’t asked?
one metric for this is the reaction
from contacts when I share on No
Flickr.
If you would like
Work of mine that consistently is to make a closing
well­received can be perceived as
statement, we’d
success, but there are times that
images which I am really proud love to hear what
of might not be so well­received. you have to say.
We all look for validation Just to say thanks for this
and acknowledgment. Few of opportunity to showcase my
us are Vivien Mayer. I enter work. It is an honour to feature
competitions; of course, I do. in a magazine like the Inspired
And why? To see if my work is of Eye.
a standard.
Winning or placing is another
FLICKR
way to assess if what I am doing
is succeeding.
INSTAGRAM
However, ultimately, for me,
success can be measured in the
enjoyment I derive from the
pursuit.
I love the creative process of all
stages of photography. As long
as I can balance this against the
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 INSPIRED EYE

SHLOMY EVRON
INTERVIEW WITH

BY DON SPRINGER
58 59
 INSPIRED EYE

What inspired
you to become a
photographer?
First of all I must say: I am
an amuture photographer!! I
have old pictures of me and
my brother at age of 2 years
old. The pictures was taken
at a studio by a professional
photographer and I was always
thinking “I wish I could take
such pictures”.

What age are you and

at what age did you
start your journey
as a photographer?
I am 57 years old. 8 years ago
after a divorce I bought my first
digital camera (Canon 40D)
and started to take photography
as my first and prefered hobby.

Would you mind

sharing some of
the things you feel
helped you along
the way with your
photography, (lessons,
workshops, books
etc)....and also some
of the things that may
have hindered you
that you overcame
on this journey?
I am a self study person. I
read books like “National
Geographic photographer
guide” and the camera manual

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to understand the technical side

of photography.

If we are speaking
specifically of
photographers, which
are the ones of the
past and present
do you admire?
As Street Photography is my
genre I really admire Erwin
Elliot for his humor and dogs.

I love Alex Webb work with

light, speaking of light Trend
Parker is a special one. There
are many more talented Street
Photographers that I can learn
from.

What purpose
does photography
serve for you?
When I am going out for
shooting, I forget every thing,
its like a meditation, looking
for that special moment when
something funny, differnt,
touching catch my eye.

What Genre’ of
photography are you
most comfortable
working in?
As I mentioned before its Street
Photography.

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 INSPIRED EYE

Can you describe a few of

your trigger mechanisms
that make you want
to stop and shoot?
First of all the light, photography
is all about it, then an interesting
situation, between people, between
the background and what in front, I
can stand in one place long time and
wait for the right frame only because I
like the background. Dogs are always
catching my eyes.

How strong of a connection

do you have with your
subject matter and can you
describe that connection?
I dont have any connection with
the people I photograph befor I am
photographing. Sometimes they ask
me why and what I am photographing
and for what newspaper I am working.

I try to explain that it’s my hobby,

usually they think I am crazy as I am
doing it for fun...

What are your

recurring themes?
Human behaviour, the way I look at it,
did I mentioned dogs?

What is the distance

to your subject you
are most comfortable
with while working?
As close as possible, taking pictures
with wide angle lens from close
distance have much stronger effect

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 INSPIRED EYE

than taking pictures from How do you see the Good question. I know many
distance with tele lens, it’s make relationship with your photographers that do not like
you feel you are in the sense. being photographed. I like being
camera? Is it a friend,
photographed.
tool or whatever?
What is your favorite
Focal Length or Camera is a working tool. I have Do you like to work
Field of View? to master it and feel comfortable by yourself or to have
working with it. someone with you?
I have 17­40 lens on my camera Please explain why.
for the last 5 years. Usually I use Are you self taught,
24mm. I have a very close friend, Gabi
educated or a little
Ben­Avraham, we meet a lot and
bit of both?
What camera are going out together for shooting.
you working with Definitely self taught.
We have many things in common
currently? like street photography, drinking
How do you feel about beer, and we enjoy working
Currently I use Canon 5D mark
being photographed? together.
II.

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Usually we are not staying at the same

place together, and we don’t take same
pictures.

So, from one hand it is nice to have a

company and from the other hand it is
not, as that person can distract my mind
and disturb.

If the person I am with thinks the same

as me, its very nice to have a company.

Do you have a preference

for images as an analog
or as a digital state?
I dont have an analog camera now. I
dont intend to buy one.

Analog photography have its beauty

but you must master the development
process.

Where in the world

are you located?
Ramat­Gan, Israel.

Where is your favorite

place to work?
Markets are always interesting, center
of city where all the action is happening,
the beach.

When you’re feeling

somewhat slow or lost,
how do you find your way
back to find inspiration
to get working again?

I hope I will have an answer for that

question!! I dont. Sometimes I feel

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 INSPIRED EYE

nothing is interesting and I am lost. Then I go

out again and again until its comes to me, that
inspiration. A good practice is try new places.

Do you exhibit your

work in any form?
I exhibit my work only on the Internet.

How satisfied are you in your

current state in photography
and what would you like
to improve upon?
Photography is like a journey without a goal,
just enjoy the road and the view, take the
pictures that catch my eye and bring it home.

Currently I use Canon’s software DPP for

post processing, its quite basic and simple. I’d
like to learn lightroom and improve the post
processing.

Can you describe how

you judge the success or
failure of your work?
There are two sides to judge my work. How
others like it, it’s nice to have feedback. But
first of all I have to like what I am doing
successful or not.

How do you feel about the

current state of photography?
Now days every one is a photographer. You
can take nice pictures with a smartphone, It’s
a good thing and bad thing.

Good because like anything, when there more

peoples practicing it there will be more good
photographers to be discover. Bad thing is the
amount of pictures that are out there that are
not good enough.

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Is there a question that

you would like to answer
that I haven’t asked?
Nooooo

If you would like to make a

closing statement, we’d love
to hear what you have to say.
Learn everything you can about
photography, see others work, learn
what work in a picture, like composition,
light and shadows, similarity, candid
etc… then put it all in the back of your
mind and look for what YOU see.

FLICKR

WEB PAGE

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 INSPIRED EYE

INTERVIEW WITH

BY OLIVIER DUONG

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It’s been 2 years now that it
became my professional activity.
Would you mind
sharing some of the
things you feel helped
you along the way with
your photography,
(lessons, workshops,
books etc)....and also
some of the things that
may have hindered
you that you overcame
on this journey?
I’ve learned photography in
books and on internet- and
of course on the field! If I
remember well, the firsts books I
got were from Mickael Freeman
and David Duchemin.
Later I met and became friend
with the travel photographer
Mitchell Kanaschkevich. From
him I got the way of working on
the field, and the final push to go
pro.
I guess the main thing I had to
understand is “Go and make
your shot!” In the beginning,
I was so concerned about
not bothering my subjects,
that many times I didn’t dare
creating my image the way I
wanted it. The thing is that
what would be unpolite or
unappropriate in our western
culture can be absolutely fine in
different one.
As Mitch told me once “Don’t
worry, do your work. In any
culture, any language, if you
really do bother someone, you’ll
quickly come to know about it.
Then just smile and say sorry”.
It’s true, since he made me
realize this, I have felt much
more confortable creating my
images, for example by moving
objects in someone’s house, and
so far no one never got pissed

Please tell us of producing something rather love for travel and my curiosity
something about than just travel as a tourist in towards different cultures that
holidays. got me into travel photography,
you, your life and
as well as the need to share my
interest etc. All this mixed up well and I experiences. I think its a natural
am now a full time nomad thing for many of us to get into
I am from France and in photographer, mainly focused photography when we start
my previous life, I was a on people. travelling a lot.
physiotherapist.

I guess I was a bit suffocating

working between walls and
overall having a clock ruling
over my encounters with
people- my patients in that case.
I was finding freedom in my
travels, but I also felt the need
What inspired
you to become a
photographer?
I think I have always admire
the story-telling aspect of good
photographs and the authors
who made them. Then it’s my
What age are you and
at what age did you
start your journey
as a photographer?
I am 31 and I started learning
photography at the age of 26.

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 INSPIRED EYE

off at me. After all I think to be

a photographer shooting people
is also to be sometimes sweetly
annoying...

If we are speaking
specifically of
photographers, which
are the ones of the
past and present
do you admire?
Spontaneously I’d say: Steve Mc
Curry, Ami Vitale, Pierrot Men,
Tim Allen...

What purpose
does photography
serve for you?
It’s a testimony and a way to
express myself, to tell about my
travels, what I discovered and the
poeple I have encountered. A good
image can replace a long speech!

What Genre’ of
photography are you
most comfortable
working in?
My work is predominantly
documentary with a focus on
lifestyles, ancient cultures and
traditions.

When you work, are you

working on different
series or just finding
photos that fit the way
you feel at the moment?
In the past I have been more into
single shots, but now I am trying as

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 INSPIRED EYE
much as I can to produce photo-
stories.
Can you describe a
few of your trigger
mechanisms that
make you want to
stop and shoot?
Traditional looking people
definitely attract my eyes.
Traditional clothes, ornaments,
tatoos, anything that visually
gives a strong sens of belonging to
a specific culture.
90
There is also a light factor of
course, I feel much more like
shooting during the golden hours.
If I see smoke coming out of a
traditional, I want to stop and
check.
I guess as a woman it’s also a
good way to invite myself in
someone’s house... “Oh, you’re
cooking!
Can i see your kitchen and how
you do?” That’s probably why
I end up with a lot of photos of
women cooking!
What are your
recurring themes?
Countryside life and religious
ceremonies/festivals.
I don’t follow a specific religion
myself but I find interesting
to see people being deep into
their faith and celebrating it.
What is the distance
to your subject you
are most comfortable
with while working?
I like to be close to my subjects.
Actually, shooting people
from a distance makes me
uncomfortable.
If I feel I can’t be physically close
to my subjects to shoot, it means
I am not yet accepted by them.
It sometimes takes time to work
on creating the contact and gain
the trust of the subjects before
shooting, but I can feel free to
work only once this is done.
What is your favorite
Field of View?
When it’s possible I like to
shoot with my wide angle.
I also quite often shoot from
a lower position than my own
height, even sometimes laying
on the ground- I’m used to dirty
my clothes that way and make
people laugh at the same time.
What camera are
you working with
currently?
A canon 5Dmark3 and I feel
I couldn’t change yet -even if
I’m thinking of buying a small
mirrorless as a second camera-
as I quite often shoot in dark
conditions.
Are you self-taught,
educated or a little
bit of both?
I am Self-thaugh.
How do you feel about
being photographed?
I definitely prefer to hold the
camera, but as I spend so much
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 INSPIRED EYE
time photographying people,
I feel I can’t not play the game
when someone wants to shoot
me!
Do you like to work
by yourself or to have
someone with you?
Please explain why.
When I want to explore a
region or go to some villages, I
always try to have a local fixer
working with me. He helps me
to get where I want to go, to
communicate with people and
94
understand their culture. I think
a good fixer definitely smoothes
your way into making the
photographs you wish for.
Do you have a
preference for images
as an analog or as
a digital state?
In today’s world the images
are mostly available as a digital
state, and it’s fine for me, but a
good quality large print probably
makes me spend more time on
the image.
Where in the world
are you located?
In the moment, I am in
Colombia, I am working on
documenting the indigenous
tribes in the region of the Sierra
Nevada.
Where is your favorite
place to work?
I think Rajasthan in India is the
most photogenic place I’ve been
so far.
Over there, I just don’t feel like
putting my camera back in its
bag. It’s the place where I feel
more than anywhere else that a
good shot can be just around the
corner...
When you’re feeling
somewhat slow or
lost, how do you find
your way back to
find inspiration to
get working again?
One way is probably by seeing
the work of others.
I am following many
photographers and photography
pages on the social networks, so
when I see interesting images-
which is quite often the case, it
makes me want to get back to my
camera!
Another way is sometimes to
change my location/subject if I
feel things are really not working
out where I am.
Do you exhibit your
work in any form?
Not so far...
How satisfied are you
in your current state
in photography and
what would you like
to improve upon?
I am hardly self-satisfied in
general... Although I do realize
I’ve made some way in this field.
In the last year I didn’t have
much time to shoot personnal
projects and improve.
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I want to take this time now, and
work more on producing photo-
stories.
Any anecdotes you can
share?
I guess the most akward memory
I have from my photographic
journey so far was during
a baptism in the Ethiopian
countryside.
My local fixer Zemenfes and I
already attempted another one,
but I missed the shot of the
baby getting showered with holy
wáter because of the lack of light
available.
I was so disapointed to be
missing on the shot I couldn’t
miss on! We decided to look
for another baptism and luckily
found one.
This time, we bought a whole
bunch of the long candles they
traditonally use in the church and
distributed them at the right time.
We were very satisfied to have the
situation under control, but when
the crucial moment came, the
priests unexpectedly took the two
babies away, in the darkest corner
of the room!
98
I looked at Zemenfes, horrified,
and whispered to him: “Grab
some candles, as many as you
can! Hurry up!”
He quickly grabbed 5 or 6 candles,
but in the rush to not loose the
moment, he came so close that
he almost burnt the baby’s feet! I
got the flare of the flames on the
image, but well, at leat I have an
image.
Thanksfully the priests didn’t
seem to notice our mess, but my
Ethiopian Mr Bean and I have
been laughing out loud for a while
after that!
Any closing comments?
For anyone who would be
interested, I am planing to give
individual workshops in a near
future, more especially in India
as I know well some interesting
places there.
The infos will be on my website
as soon as I get a high speed
conection again!
FLICKR
WEBSITE
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MARK
INSPIRED EYE

MARK ROSALES
INTERVIEW BY DON SPRINGER

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What inspired you to

become a photographer?
About 4 months before my son was
born, I knew I wanted to take photos
of my son as soon as he was born and
document his life through photography.

I wanted to learn as much as I can

about photography and the camera
beforehand.

So I bought my first DSLR which was a

Nikon D80 with a kit lens and used that
18­55 lens for the first two months then I
bought the nifty fifty and just fell in love
with it.

What age are you and at

what age did you start your
journey as a photographer?
I was 29 when I started my journey
through photography and never looked
back since then.

Would you mind sharing

some of the things you feel
helped you along the way
with your photography,
(lessons, workshops, books
etc)....and also some of
the things that may have
hindered you that you
overcame on this journey?
In the beginning I was reading a lot of
those Photography for Beginners to try
to understand and learn more about the
camera.

I started reading a great deal

magazines about photography, Popular
Photography was the first one I

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subscribed to and read each magazine

from front to back. I started studying
photos that interested me and would
always ask myself why I like such
photos or styles.

My brother who was a portrait/

wedding photographer played a major
role in the beginning stage. He would
always tell me how important lighting
was and he told me about the Strobist
website.

So I was going to that website

religiously for a full year studying
and learning as much as I can about
lighting. My brother also introduced
me to the work of Magnum Photo.

Six months into shooting, I bought

my first Magnum book “Magnum/
Magnum” and just fell in love with
what I saw.

I studied that book over and over and

over. From lighting, composition, and
try to understand the fundamentals of
photographing the moment.

In that book I also ran into a photo

that was taken by Steve McCurry title
“Bazaar In Ruins.” It’s that moment
I knew I wanted to do the same exact
thing that they are doing.

I don’t have the money to travel the

world, so I had to do the next best thing
which was photograph the street of Los
Angeles.

It was that same week I took my first

venture out to Burbank, CA and tried to
photograph people.

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If we are speaking
specifically of
photographers, which
are the ones of the
past and present
do you admire?
Magnum Photography. Steve
McCurry for getting me started,
but the whole Magnum as a unit.
Diane Arbus, Deborah Tuberville,
Daido Moriyama, and Annie
Leibovitz to name a few.
What purpose
does photography
serve for you?
To escape the daily routine of life.
What Genre’ of
photography are you
most comfortable
working in?
Editorial and photographing the
street.
When you work,
are you working on
different series or
just finding photos
that fit the way you
feel at the moment?
I never go out there with any
place in mind. I always leave it up
to the day to see how I’m feeling.
Normally I just shoot anything
that makes me feel something.
Can you describe a
few of your trigger
mechanisms that
make you want to
stop and shoot?
I’m not really sure how to answer
that to me it’s always just about
feeling.
There are things that catches
my attention but when that
happened that’s where I actually
would stop whatever I’m doing
and try to photograph it.
It could be the light or could
be a shadow or could be an
actual scene that’s just starting
to come together or it could be
the environment or an actual
moment.
So pretty much anything that
would make me feel something
I would try to photograph. If
it doesn’t do that, I don’t even
bother bringing the camera up
to my eye.
How strong of a
connection do you
have with your
subject matter and
can you describe
that connection?
I don’t think I really have any
connection with my subject
matters. I’m there then I’m
gone.
What are your
recurring themes?
I try to photograph different
things that are in the street and
catch life as it happens. I just
take what the streets gives me
and that’s it.
I don’t really care much
for themes really. I love to
photograph people, if that’s
considered a theme.
What is the distance
to your subject you
are most comfortable
with while working?
I really like to get up close where
I even joked about it to my
friends that I want to be able to
smell them.
I like to shoot with a 21mm and
with that lens I really need to
be close to my subjects which
allows me to fill the frame.
Of course every situation is
different so there are times

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where I would pull back and catch the

full environment. It all depends on the
scene, it’s different every time.

What is your favorite Focal

Length or Field of View?
My two favorite focal length is the
21mm and the 28mm.

What camera are you

working with currently?
Right now there’s five cameras that I
actually use depending on my mood. If
I want to shoot digital it would be the
Leica M9, the Sony A7S, or the Ricoh
GR. If I’m shooting film it would either
be the Leica M6 or the Nikon F3.

How do you see the

relationship with your
camera? Is it a friend,
tool or whatever?
It’s a damn part of the family.

Are you self taught,

educated or a little
bit of both?
I’m self­taught. I spend a lot of time
reading books and I try be out there
shooting as much as I can whenever I
get the chance.

How do you feel about

being photographed?
I don’t belong on the other side of the
camera. It feels awkward to be on that
side of the camera so whenever I see
a camera that is pointed at me I just
make a stupid face.

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Do you like to work

by yourself or to have
someone with you?
Please explain why.
It all depends on the day, sometimes I
like to be alone and sometimes I like to
be around people. Either way,

I tend to go off on my own anyway and

when I go out to shoot I normally have
my headphones on listening to music. It
helps me focus.

Do you have a preference

for images as an analog
or as a digital state?
As of right now I shoot a lot more with
digital but I have been shooting film for
the past month or two trying to learn
more about that side of the craft.

I can honestly say I like them both

because they’re both different from
each other, approach is different, and
the post process is different and I like
that.

Where in the world

are you located?
I live in Los Angeles.

Where is your favorite

place to work?
I’ve only been there once but it has to
be New York City.

Ever since my trip last year, I promised

myself that I will go to New York at
least once a year… this year I’ll be there
end of June to beginning of July.

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When you’re improve on, I just want to

feeling somewhat improve, period.
slow or lost, how
Can you describe
do you find your
how you judge the
way back to find
success or failure
inspiration to get
of your work?
working again?
I’m very hard on myself
I have felt this way many and I’m never satisfied.
times and when that time
comes I normally just How do you
experiment. Try to change
things up and shake it up a
feel about the
bit. current state of
photography?
Do you exhibit your
What is the current state of
work in any form?
photography? I just go out
I’ve done gallery exhibits and shoot.
before but majority of
I try not to worry about
my work is just posted
what other people are
on Facebook, Instagram,
doing, what other people
and my website @ www.
are saying, I just try to
bazaarinruins.com. I’m too
focus on myself and
lazy to post anywhere else.
improve.
How satisfied
are you in your WEBSITE
current state in
photography FLICKR
and what would
you like to
improve upon?
I’m never satisfied. I try to
learn something new each
day. Just really nothing
specific that I would like to

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I’m a street and travel
photographer from Ipswich,
Suffolk. I like to believe that
the world presents me with the
moments I capture although it
may also be down to luck.
The magic of film inspired me
to become a photographer. My
first camera was a Pentax ME
and there’s nothing I love more
than shooting a few rolls of ilford
delta and spending the day in the
darkroom printing.
I’ve done a lot of experiment
darkroom work from printing
with spinach to building my
124
own camera to create a series of
Daguerreotype portraits.
These were shot travelling from
Hanoi down to Saigon on my
beloved bike ‘ChiChi’.
I’m a street and travel
photographer from Ipswich,
Suffolk.
I like to believe that the world
presents me with the moments I
capture although it may also be
down to luck.
The magic of film inspired me
to become a photographer. My
first camera was a Pentax ME
and there’s nothing I love more
than shooting a few rolls of ilford
delta and spending the day in the
darkroom printing.
I’ve done a lot of experiment
darkroom work from printing
with spinach to building my
own camera to create a series of
Daguerreotype portraits.
I was lucky to grow up with art
and photography around the
house so I was exposed from an
early age. I’ve always loved the
idea of creating things, original
things.
I’ve practised various mediums
of Art at school but I find
my lack of patience always
leaves me rushing ahead with
the excitement of my idea.
Photography is more of an instant
medium, even with film.
Once the image is captured you
can only change certain aspects
like the tone and contrast but the
main form of the image can’t be
changed. It’s my moment in time
that can’t be recaptured.
These were shot travelling from
Hanoi down to Saigon on my
beloved bike ‘ChiChi’.
It was a journey of downs and lots
of ups and something I’ll always
remember.
I was inspired by Top Gear to
do Vietnam on a bike. I’ve never
rode a motorbike before so it
was a bit of a baptism of fire,
especially getting used to the
gears on the busy Hanoi streets.
The project really started when
I was consumed by the beauty
of the whole experience, riding
past craggy green islets in Halong
Bay, feeling at one with the
road, I knew I had to try and
capture the whole experience in a
photographic series, which would
be truly difficult.
I think the series is about
freedom mostly. Being away from
the daily grind, with the ability go
anyway and stop anywhere.
The picture that particularly
put forward that conception is
the shot with ducks. The ducks
are a visual metaphor for being
trapped in everyday life.
The bike cutting through the
ducks symbolises the escape
to freedom. It has been by far
my most popular series and I
think this is because it really is
something you can wanderlust
over.
It’s something that has enough
danger to get your heart pumping
but accessible enough for almost
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anyone today. I know while we were

away we convinced many people to
head out to Vietnam, buy a bike and
travel.

The main challenge was riding one

handed while trying to control the bike.
I had a few near misses with cows but
overall I pretty much mastered it by the
end.

Another challenge was making sure

I had my aperture, focus and shutter
set properly because trying to focus
a rangefinder camera whilst riding a
motorbike one handed is no easy task.

I used a Leica M Monochrom with a 12

mm Voigtlander. Which was the perfect
set up. The lens was wide enough to get
the mirrors in which created a constant
that I wanted in the series.

Also the camera was small which is

ideal on a bike. Being manual focus
surprising helped me in a way because
I was able zone focus before I stared
shooting.

Anecdotes and scars came part of the

package. I start with the one which
ended our journey with the bike. Me
and my partner were about 2 hours
from Saigon when we ended up on a
‘road’ if you could even call it that in the
middle of no where.

It was thick sand and we ended up

falling over a fair few times. In the end
we found a shack and played charades
until they realised we wanted to swap
the bike for a lift to our hotel.

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Another time, we got off to an early

start and stopped on the side of the
road for some Vietnamese soup for
breakfast.

The locals didn’t see many tourists

around those parts and insisted I
took some snake blood vodka shots
with them. After that we set off on
our way, only to realise 15 minutes
later we had left the bag with
passports and cards back there.

I quickly turned around and hared

back towards the restaurant. When
we got there we found out someone
had been chasing us the whole time
trying give it back. The Vietnamese
are some of the friendliest people
you will ever meet.

WEB PAGE

INSTAGRAM

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138 www.theinspiredeye.net 139

CYRILLE
INSPIRED EYE

DRUART INTERVIEW
BY OLIVIER
DUONG
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Please tell us
something about you,
your life and interest
etc.
My name is Cyrille Druart. I run
my Architectural and Design
agency in Paris, France.
This is my main job. I also
travel in order to make pictures,
several weeks a year.
I’ve been interested in Arts since
my childhood. Living in Paris i
spent a lot of time at the Louvre
and those wonderful museums
we have here.
So today my life is made of
works on spaces through
Architecture, and images
through Photography and
drawing. That’s a great
combination.
What inspired
you to become a
photographer?
I have always felt an attraction
for Photography. Something was
deeply exciting but i wasn’t sure
to be able to practice properly.
My father offered me a Nikon
camera in 2002 and i then
started taking photos.
What age are you and
at what age did you
start your journey as a
photographer?
142
I just turned 35. I started at
23 but really got into it around
25. So it has been 10 years of
practice, that’s not much… the
journey has only begun.
Would you mind
sharing some of the
things you feel helped
you along the way with
your photography,
(lessons, workshops,
books etc)....and also
some of the things that
may have hindered you
that you overcame on
this journey?
It is very important to look at
other photographer’s work.
Start from the beginning of
photography, then modern
masters, then present ones.
That’s fundamental to me, when
discovering some japanese
photographers i felt very
liberated. It validated some of
my thoughts.
Also study geometry, abstract
works (paintings, sculpture). I
think all arts are related.
Music may influence your
photography, in terms of rythm
for exemple, or even in terms of
colour.
Think about your distance,
about the way you want to
show things. Questionning is
essential.
If we are speaking
specifically of
photographers, which
are the ones of the past
and present do you
admire?
I have to say i admire Japanese
photographers a lot, Tomatsu,
Sugimoto or Moriyama for
instance. Their work is very
creative. Brandt too. I like
fashion photographers as well,
Avedon, Newton.
What purpose does
photography serve for
you?
I use it to show how i see things.
It’s in fact a very personal
process.
What Genre’ of
photography are you
most comfortable
working in?
I really try not to stick to
one genre in particular. I
take pictures of what moves
me, whether it is landscape,
someone’s face or a particular
place.
You may then group my photos
in genres but that’s really not my
way of working.
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When you work,
are you working on
different series or just
finding photos that fit
the way you feel at the
moment?
I don’t really think of series, or
perhaps 2 or 3 images maximum
in a row. I try to work on a
continous scale.
Can you describe a
few of your trigger
mechanisms that make
you want to stop and
shoot?
It can be specific lighting, a
shape, or just something that
moves me. I usually preset my
camera and go.
What are your
recurring themes?
An editor recently told me
women, sensuality and urban
moods were central in my work.
I guess it’s true..
What is the distance to
your subject you are
most comfortable with
while working?
I used to stay away from my
subjects. Things have changed
and i don’t hesitate to come
closer now.
144
But I like to use diferent lenses
in order to get into things,
whether it’s a 35mm, 50mm, or
200mm. There is no rule really.
What is your favorite
Field of View?
That’s hard to say, as sometimes
i want to slightly distort or
compress what i see. I choose my
lenses in relation to the moment
and what i have in mind. I like
35mm very much though.
What camera are
you working with
currently?
Today i use a Leica M6 and a
Mamiya 6 for my personal work.
Also My Nikon FM2, which was
my first camera.
This combo works well for me. I
tried many camera in the recent
years, and ended up choosing
those ones.
For my Architectural related
work -and for fun- i use a Nikon
d800. I also have a little Ricoh
GR with me all the time.
Are you self-taught,
educated or a little bit
of both?
I am self-taught.
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How do you feel about
being photographed?
Although i don’t mind too
much, i can’t say i really like
it. Photoshootings annoy me a
little. In the street i don’t mind
though. Doing the same to
others, i can’t really complain…
Do you like to work
by yourself or to have
someone with you?
Please explain why.
I really love being on my own
when out shooting. I usually
listen to music which allows
me to stay focus. When i travel
with friends, i leave early in
148
the morning and walk around
looking for interesting things.
They know me and respect this.
I can’t stand getting stuck in a
hotel room.
Do you have a
preference for images
as an analog or as a
digital state?
I shoot film for technical reasons
only. Nothing nostalgic or
trendy.
The way film handles sudden
change of luminosity is beautiful.
I preset my camera using
scale distance and a specific
speed/aperture combo and i
can focus or moments rather
than technical aspects. B&W
films give me full spectrum, no
clipping.
When using my digital cameras
it’s not that easy. Digital is great
for studio work where careful
lighting is required, or when you
have time to properly expose.
I also love the way film deals
with transitions and contrasts.
It’s smooth, natural and delicate.
Where in the world are
you located?
I live in Paris, France.
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Where is your favorite
place to work?
I love cities. So far my favorite
place has been Tokyo.
The energy there is
phenomenal. Japanese people
are very creative and have
this conciousness of doing
something in the best possible
way.
They are totally dedicated to
their craft. I feel very close to
them in that sense. They do
care.
150
When you’re feeling
somewhat slow or
lost, how do you find
your way back to find
inspiration to get
working again?
I usually don’t force myself.
When i return from a
photographic trip, i can’t touch
a camera anymore.
This usually lasts for a week or
two. During that time i process
my films and work on them on
my computer.
This is perhaps the most
exciting moment. Very diferent
from the shooting in terms of
feelings but for me that’s where
the thrill is.
Do you exhibit your
work in any form?
Having recently decided to
show my work, i am still
gathering contacts.
I meet with people, talk, and try
to understand the way things
work. I am right now working
on a book project with some
publishers.
How satisfied are you
in your current state
in photography and
what would you like to
improve upon?
I can’t say i am satisfied with
my work. There are exceptions,
but i am in fact almost always
disapointed with myself and
my images… I still feel the next
image will be the good one.
I tend to be very picky at
selecting my keepers. On a 36
frame roll, i choose 3, 4 photos
maximum. I have stopped
working on average images.
Using digital i don’t shoot much WEBSITE
more. Having too many choices
in the end creates issues… FLICKR
Any anecdotes you can
share?
I am really not good at
remembering that kind of
things…
Any closing comments?
I will be in Miami and NYC
in September, really looking
forward to it !
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In 1993 I was working as a

documentary photographer in
the New York City area. One
day I was walking around the
neighborhood of the Lower East
Side and found a synagogue
on Rivington Street called the
First Roumanian American
Congregation.

It was an historic old building

that my father had talked to me
about quite a few times.

Jan Peerce and Richard Tucker

had both served as cantors there
before going on to establish
solo careers at the Metropolitan
Opera, and quite a few celebrities
- such as Red Buttons, Milton
Berle, and Eddie Cantor -
had been members of the
congregation.

I was taking pictures of the

building when the rabbi
approached me to inquire as to
why I was photographing the
building.

After talking with him for a

few minutes, he invited me in
to participate in the afternoon
‘mincha’ prayer service. I asked
if I would be allowed to take
pictures, and after a few seconds
of hesitation he agreed.

That was the beginning of a very

meaningful relationship with
Rabbi Jacob Spiegel and of a
project that was to occupy me for
the next two years.

I returned often to participate

with and photograph members

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of the congregation, and
frequently the rabbi suggested
other opportunities I should
pursue for the project.
At the time I had no idea where
I was going with the whole
thing, but I had a feeling in my
gut that it was important for me
to pursue the work.
As I photographed merchants
and residents of the area I
realized that the character
of the neighborhood was
changing and the immigrant
nature of the Lower East Side,
especially Jewish, which had
been dominant for almost the
168
whole of the Twentieth Century,
was disappearing and being
replaced by gentrification.
So I wanted to grab what I
thought would be the last
gasp of a dying community.
These photos are part of that
collection.
More recently, I was
encouraged by my photography
instructor, Mario Cabrera, to I
return to the neighborhood to
see what had happened, and I
was surprised to see that while
gentrification was progressing
nicely, there remained a kernel
of the old community.
The historic synagogue building
had since collapsed and is
now a vacant lot. But other
buildings were still there, some
renovated. Rabbi Spiegel’s
family still lived in the area,
so, after a twenty-year hiatus, I
picked up the project.
This is a small sample of some
of the original and later work.
WEBSITE
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FIONN REILLY

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KOLKATA 175
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Fionn Reilly is a London born

photographer living in New York.
Primarily a portrait photographer,
his work has been published in i-D
Magazine, Esquire, GQ, Nw York
Times, LA Times, Playboy and others.

Project Title: KOLKATA CALCUTTA

Photographs form Kolkata in August

2014

I went to Kolkata a couple of years ago

and spent a tantalizingly short amount
of time there and took very few
photographs, so I decided to go back
in 2014 and spend a few weeks there
getting a detailed a portrait of the city.

I realize now that I had in the back

of my mind, a memory of Raghubir
Singh’s book on Calcutta but more
presently I have been impressed by
Satyayjit Ray’s films like Jalshagar.

At a young age I was often told that

my bedroom looked like the Black
Hole of Calcutta, so there has always
been a fascination.

Most people associate India with color

but in this case I thought black and
white would be more penetrating.

When I processed my film, I realized

that my camera had revealed a much
older city than i had witnessed.

This is the reason for the title of the

project. I had traveled in 2014 to
Kolkata but came back with pictures
of old Calcutta, steeped in it’s roots of
empire. All the shots were taken with
a wide angle lens challenging me to
engage the city and it’s people from

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close quarters. These photographs

are the product of walking all
day around unknown streets and
neighborhoods, following my nose
for things I found interesting.

Largely human activity in

the streets and the incredible
crumbling architecture. Kolkata
is the artistic, intellectual city of
India. Of the major cities it is the
least modernized and has a true
Dickensian quality.

The people are resilient and the

suffering laid bare on the streets
certainly give it an edge.

WEBSITE

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Please tell us
something about you,
your life and interest
etc. Put as much detail
as you like and then we
will start the questions.
My name is Arleta Zawadzka
, but in my little world as a
photographer I am known as
Kicia Randagia . I was born in
Poland , the country that I love
deeply. But “ all roads lead to
Rome “ and about 15 years ago
I came to live in Italy . I am
separated and I live with my
beautiful baby girl , which is
thick my muse.
I love nature and everything
that is not contaminated by the
stupidity of man.
What inspired
you to become a
photographer?
I always liked to watch the faces
and attitudes of the people
around me . With photography
I found a way to freeze these
moments.
What age are you and
at what age did you
start your journey
as a photographer?
I’m 40 and I started seriously
five years ago.
Would you mind
sharing some of
the things you feel
helped you along
the way with your
photography, (lessons,
workshops, books
etc)....and also some
of the things that may
have hindered you
that you overcame
on this journey?
I think anyone who wants to
become a photographer , it
should at least attend a basic
technical course and then let go
on instinct .
All this at the same time careful
observation of the photographic
world and the study of the great
photographers.
If we are speaking
specifically of
photographers, which
are the ones of the
past and present
do you admire?
It might seem obvious,
but I like all the masters of
photography . HCB , Erwitt
, Cindy Sherman , Sebastião
Salgado , Annie Leibovitz , are
the ones I prefer.
What purpose
does photography
serve for you?

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It’s just my passion . I think

everyone should cultivate one or
more passion . this is mine.

What Genre’ of
photography are you most
comfortable working in?
In this moment I work on portraits of
children.

When you work, are you

working on different
series or just finding
photos that fit the way
you feel at the moment?
Usually I do not like the series of
photographs to describe a situation or
a state of mind . The maximum would
reach the goal with just one image .
I work in this way, or at least I try.

Can you describe a few of

your trigger mechanisms
that make you want
to stop and shoot?
A good light and a curious expression
are fundamental . And if they exist at
the same time, this is the ultimate.

How strong of a connection

do you have with your
subject matter and can you
describe that connection?
I have to love my subject to get anything
close to a good result.

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What are your

recurring themes?
Children and animals . For their
spontaneity , I often do not find any
difference .

What is the distance to

your subject you are
most comfortable with
while working?
I photograph from very close.

What is your favorite Focal

Length or Field of View?
Around 30mm (on APS-C).

What camera are you

working with currently?
I usually work with an Olympus OMD-
EM10. But I have others.

How do you see the

relationship with your
camera? Is it a friend,
tool or whatever?
I love the small cameras . My Olympus
is ideal to be taken anywhere with
discretion and still get excellent results.

Are you self taught, educated

or a little bit of both?
A little a bit of both.

How do you feel about

being photographed?
I like so much.

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Do you like to work by yourself

or to have someone with
you? Please explain why.
Working with children is very challenging .
They do not always do what I want. In this case
I need help.

Do you have a preference

for images as an analog
or as a digital state?
No.

Where in the world

are you located?
Rome, Italy. But I am Polish.

Where is your favorite

place to work?
I love to work in Poland because you can find a
bit of wild world that here, in Italy, there is no
more.

When you’re feeling somewhat

slow or lost, how do you find
your way back to find inspiration
to get working again?
Simply just wait . Sometimes hours , sometimes
days.

Do you exhibit your

work in any form?
Generally my work is aimed at individuals and
the results are not public for privacy.

Every time I have a chance to put (on the web

or live) my works. But it is just the tip of the
iceberg.

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How satisfied are you

in your current state in
photography and what would
you like to improve upon?
Every morning I wake up having 10000
things to learn. And in the evening I am
happy if I have learned one.

Can you describe how

you judge the success or
failure of your work?
Photographing seriously only recently ,
I believe I am not contaminated by the
fashion of the moment , but I just do what I
feel .

How do you feel about the

current state of photography?
Anyone with a good camera thinks he is a
good photographer . If an image is “ bad “ , it
is “ bad “ even after a million of “I Like “.

Is there a question that

you would like to answer
that I haven’t asked?
I hoped that you would have asked me
to marry you . Too bad . We lost a good
opportunity . :)

FLICKR

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JAPAN
CAMERA
HUNTER
I source quality cameras and other photographic
equipment from Japan to customers around the
world. Having built strong connections in the camera
industry over the past seven years as a buyer and
broker in Tokyo I am able to quickly and expertly
meet the needs of each customer on an individual
basis. No matter what it is you are looking for, Japan
has it, and I can find it.

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www.japancamerahunter.com
220 Inspired Eye Affiliate 221
www.theinspiredeye.net
 INSPIRED EYE

Interview with

YASUO FURUE
222
by Don Springer
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What inspired you to

become a photographer?
It might sound strange, but I was inspired
by many JAZZ music and its players. When
taking a picture, JAZZ is always flowing in
my mind.

What age are you and at

what age did you start your
journey as a photographer?
My age 38 and started journey as a
photographer at 2014.

Would you mind sharing

some of the things you feel
helped you along the way with
your photography, (lessons,
workshops, books etc)....and
also some of the things that
may have hindered you that
you overcame on this journey?
Its difficult question because I never learned
about photography and I will not learn
photography.

I always believe the sense and follow the

intuition.

If we are speaking specifically

of photographers, which
are the ones of the past and
present do you admire?
If I must say its Ed van der Elsken.

What purpose does

photography serve for you?
Nothing. If I had my way, I would quit
photographer. Because it won't be as I
thought, the life is exciting.

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What Genre' of
photography are you most
comfortable working in?
Of course it's street photography.

When you work, are you

working on different
series or just finding
photos that fit the way
you feel at the moment?
Just finding photos that fit the way you
feel at the moment.

Can you describe a few of

your trigger mechanisms
that make you want
to stop and shoot?
When I take photo, I’m almost
unconscious.

Maybe I feeling something at that time

but I can’t explain well.

How strong of a connection

do you have with your
subject matter and can you
describe that connection?
At that moment something attracted
and may be feeling. That’s the speed,
an expression, sound and composition.

What are your

recurring themes?
I have no themes.

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What is the distance to

your subject you are
most comfortable with
while working?
I will always cherish the distance to the
subject. But it’s not always at the same
distance.

What is your favorite Focal

Length or Field of View?
I have not particular about Focal Length
or Field of View.

What camera are you

working with currently?
It’s an iPhone. It’s the best camera in the
world.

How do you see the

relationship with your
camera? Is it a friend,
tool or whatever?
iPhone is best partner, because always
carry it.

I never missed a good opportunity to take

photos .

Are you self taught, educated

or a little bit of both?
Self taught.

How do you feel about

being photographed?
I am very excited every day. But
sometimes I just wanna drop everything.

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Do you like to work

by yourself or to have
someone with you?
Please explain why.
I like work by myself. But someone to
get happy when watch my photos, I
think its the best thing.

Do you have a preference

for images as an analog
or as a digital state?
I’m using iPhone but I like analog.
Sometimes I take by analog camera and
developed and printed in a darkroom.(in
my room)

In digital there is atmosphere that can

not be expressed . It very tough but it’s
worth a shot.

Where in the world

are you located?
Tokyo, Japan.

Where is your favorite

place to work?
Street. Especially wet day.

When you’re feeling

somewhat slow or lost,
how do you find your way
back to find inspiration
to get working again?
Listen Jazz music, but it’s difficult to
keep feeling.

Do you exhibit your

work in any form?
Flicker, Facebook, ebook
and Photo exhibition.

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How satisfied are you
in your current state
in photography and
what would you like
to improve upon?
I have no choice but to believe
and continue oneself.
Can you describe how
you judge the success or
failure of your work?
I’ll follow my nose.
How do you feel about
the current state of
photography?
236
I think it’s difficult situation. We
can spread a work for the world
easily using some SNS. All over
the world at same time.
I think photo life is getting
shorten year after year. But I
believe a wonderful work to be
always noticed by someone.
Is there a question
that you would like
to answer that I
haven’t asked?
No, but If I were able to speak
English better I would have been
able to speak with you more.
(Don, Yasuo, Language may
seem to be a barrier but your
photos speak loud and clear. It’s
an honor to have you here my
friend.)
If you would like to make a
closing statement, we’d love to
hear what you have to say.
I’d like to keep believing oneself
and sending new Tokyo for the
world through my eyes. Thank
you.
FLICKR
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READER’S GALLERY
If your photos are not there, please try again next issue. To submit your image, head to the website
(www.theinspiredeye.net), head to the Gallery tab and follow the instructions there.
C lick on image to go to phot
ographer’s website

Q  theresagroth
Stopping Traffic – Yonge Street and Queen
Street, Toronto, Ontario,
http://theresagroth.tumblr.com

https://500px.com/TheresaGroth

QQ   Giuseppe Milo
Praga district, Warsaw, Poland

RR   Kevin Demers
Dog Day Afternoon. Walking past this
house one afternoon, I saw this dog
just completely flopped out on the step,
dead to the world. I thought to myself,
yup that looks like a great idea. So
returned home and proceeded to flop
on the couch. Thanks pooch!!

R   Giuseppe Milo
The couple

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 INSPIRED EYE

R   Noel Lopez
Any bartender can be a friend and a keeper of
secrets.

Q  Gordo
Dreaming of Venice…..

QQ Stefan Neagu
Arachne

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 INSPIRED EYE

Q   VF
talking to some customer

ok, when I waiting I can also take a

shoot

QQ   Jeremy McCarthy
A visitor leaving the Tate Modern in
London as the sun setted.

RR   Richard Bresden
death calls, but we keep running

R   Miguel Tejada-Flores
Lucy, my mother in law, is in the last stages
of a long illness. Some days and moments are
difficult; others have a quite sense of focus and
reflection. This was taken in such a moment; we
were sitting, talking, and there was something
about her face, and her look.

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 INSPIRED EYE
Q   Spero Ginis
‘not convinced’ One of my favourites!
I saw this girl and we made eye contact
when she saw I was going to take a
picture, I then discreetly motioned with
my hand for her to come closer to the
guy preaching ‘fire and brimstone’ BS.
I just wanted to get a contrast between
the two. She added the fingers/tongue
thing – which made the picture that
much better. (Thanks you, Punk Rock
Girl)
246
RR   Rafael Ianos
Paris, France. Rafael Ianos
http://www.rafaelianos.ro/black-white-gallery#3
R   Rafael Ianos
Street reflection. Rafael Ianos
R   Subro Sengupta
“Skater Boys”
This photo was shot in front of
President’s Palace, New Delhi
(India). It was early in the
morning and I spotted a group of
kids practising skating. I mainly
focussed on the white line pointing
straight, positioned my camera,
took a few shots of the kid in front
and then he moved to the left and
I got this shot.
https://www.flickr.com/photos/
subrosengupta/
Thank you.
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RR   Roland Co
I saw the shot…and i quickly took it.

R   Roland Co
When everything falls into the right
place and you only have split seconds to
react…

Q   gretchen krueger
old biker,new mexico

QQ   Marc-Andre Robert
Kid watching a non functional Mercedez
in Cameroon

https //www.flickr.com/photos/
artamarc/

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RR   Gastón Etchegoyen
sleeping beauty

R  Joannis
Momentum 2015,,in my Backyard! The
Title ofe the Pic: Stromrider. Greets
Joannis

Q 
LS
Speedy

QQ   David Gleave
Bass player in dressing room,
Manchester 2014.

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Q   Marc-Andre Robert
With detailed images from the four
corners of the earth, I try to show the
human condition in all its wonder. My
approach to imagery ensures a very
visual experience, most notable in my
black & white work. I prefer to invest in
marginal areas, meet the landless, the
homeless...telling stories with images.
https //www.flickr.com/photos/
artamarc/

QQ   Marc-Andre Robert
Kid watching a non functional Mercedez
in Cameroon, https //www.flickr.com/
photos/artamarc/

Q Marc-andre Robert
A dog in the middle of the jungle in Africa
R   Kimberley Britt
A gent in a fedora will always catch my eye.
In this case he happened to be in an old
train station that has just recently reopened
as a transit hub ….the setting, his gaze, and
the simple window light, I think, adds to the
timeless quality.

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RR   Jim Matthews
Spotted in Paignton Devon while
looking at the sign on the machine.

R   tgoarant
loss of inoocence – Thibaut Goarant.
Taken at the Yokohama Museum of
Art

https://www.flickr.com/photos/
tgoarant/

Q   GRANT CAMPBELL
Taken outside a city cafe and caught
the eye of the man inside.

QQ  jbarab
Waiting for a falafel, winter in NYC

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RR   jbarab
https://flic.kr/p/iX58Wx

Hanging out, waiting for what??? in

Miami Beach. Jordan Barab

R   GRANT CAMPBELL
Waited across the road at an
underpass while the woman with her
walking aid went past , luckily at the
same moment a cyclist came into view
and I took this frame.

Q   Jochem Schmidt
A shot from the back of a shot from
the back of a models back.

QQ   marcwick
I liked the different pattern sof the
ground in combination with the light
and shadows

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Q  marcwick
Seen near the Taj Mahal, India

QQ   Fiverdog
What prompted me to take this
photo was the woman’s polka
dot outfit and her jewellery.
It was a quick grab shot and I
hadn’t even noticed the little
boy blowing bubbles so was
pleasantly surprised on viewing
the image later in Lightroom.
I really love his expression –
he wants his mum to look but
she’s too engrossed on her
‘phone. Sue Berry

R   Fiverdog
So often in a big city we are rushing from
one place to another and never take time
to view our surroundings. This man sitting
in the shade watching the pigeon seemed
to be an oasis of calm amidst the hustle
and bustle.

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RR   Never Edit
The Godfather Himself

R  Ron Dennis
A Lonely Walk

Q   Bjoeki
while an impressive organ sample
this man took his sleep

QQ   Brett Franklin
Both photographs taken in 1996
in New York, shot on Kodak
transparency film, I’ve scanned
them and converted too black and
white in Lightroom, I still enjoy
shooting film as well as digital,
there is a different feel too analogue
photography.

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Q  Brett Franklin
Taken on Kodak transparency 1996
New York, converted into black and
white via lightroom

QQ   Jordi
138 l 137, Kobe Japan. Fuji Acros
ei320.

RR   Jordi
Past watching, Yokohama Japan. Tri-x
(ei1600).

R   amberdenzphotodotcom
My husband and I spent 3 days at an
elephant preservation camp where
these images were created. All images
taken with Fuji XE2 + 55-200.

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RRR   david
breakfast

RR   Crystal Calton
I took this photo while walking through
Venice, Italy. The alley was so small and
cramped I found myself looking up to just
get a glimpse of the sky.

R  Sandra Dalton
Fence in cemetery.

Q   Bjoern Bremer - Takin’ Shotz

Taken in my hometown “Vegesack”
(Bremen) in Germany. Early in the
morning. I love the foggy silhouette in
the background.

QQ   david
Allo?

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