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BLUR MAGAZINE 22

video by Igor Kalendari

BLUR 22 PRESENTS
http://www.youtube.com/user/MagazineBlur
BLUR MAGAZINE 22
photo: Riccardo Giordano
2 photo: eljko Koprolec

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PHOT O
Exhibition of international creative photography
9/6-6/7/2011, Gallery of Croatian National Post, Juriieva 13, Zagreb
impressum
B
lur magazine is project Robert Gojevi
founded and run by founder | chief editor | design | dtp
photography enthusiasts, and e-mail: robert.gojevic@blur-magazine.com
volunteers from all parts of
Croatia. Aiming at achieving high quality Ivana Krnji
content, the magazine is published executive editor | marketing and PR
quarterly in PDF format so it can easily e-mail: ivana.krnjic@blur-magazine.com
be downloaded, saved and browsed
through every now and then. It is only Tomislav Mari
available on the Internet, in order to editor | columnist
avoid high cost distribution fees, break e-mail: tomislav.maric@blur-magazine.com
territorial borders and reach every
single part of the Earth, free of charge. Denis Plei
It is because of its cosmopolitan nature columnist | translator | proofreading
that Blur is edited simultaneously in e-mail: denis.pleic@blur-magazine.com
Croatian and English. Though initially
Jennifer Henriksen (Holga Jen)
established under the name of Bulb at
editor of Playstick
the close of 2007, in September 2009,
e-mail: jennifer.heriksen@blur-magazine.com
it changed its editorial board, refreshed
its team of collaborators and, using a
Jennifer Rumbach
bit more blurry name, Blur now heads
editor of Instantion
for new challenges. e-mail: jennifer.rumbach@blur-magazine.com

Mark Sink
editor of Wet plate
e-mail: mark.sink@blur-magazine.com

Michael McAllister
proofreading

Igor Kalendari
video producer
Photography association CREATUS ISSN: 1847-7410
(F.U.C.*) is a non-profit and non-govern- elimir Koevi
mental association founded in August expert associate Publisher: F.U.C.*
2009 with the aim to contribute to the Address: street Ljubiica 19, 10 360 Sesvete
development of artistic photography Contact: info@blur-magazine.com
scene in Croatia, while promoting and Associates for BLUR 22: Bank account: Zagrebaka banka 2360000 1102112539
connecting Croatian photographers Ivan Pekarik MB: 2580837
with their international colleagues. Tea Rihtar OIB: 39145219372
E D I T O R I A L C O L U M N
Finally, the time has come for the Blur exhibition. I year. Recently, while talking to a person who has cannot simplify and banalize the issue completely, In Blur, the tools are irrelevant. Here the tools
say finally, because this idea goes back 3-4 years, never read the Blur magazine I had to explain whats because there are different photography tasks are secondary, compared to the photos and
since the very beginnings of our magazine. Ive so special about our photo magazine, and also and processes some are more and some less photographers. We dont really care what you
bothered many people about it, but regardless of about the photos at the exhibition. The question demanding. used to take that photo and how the photo came
how good it sounded as an idea, things never went came immediately after discussing the camera I was to be. Our philosophy is quite simple: we provide
ahead as planned. Obviously we needed the right holding in my hands, so it wasnt difficult to follow There are no rules, but regardless of the tastes and the space for the photographer and his/her photos
editorial team: Tomislav, Ivana and Tea, who turned up on the issue we just discussed. differences, somehow today we get an impression regardless of the tools used to produce the photo.
this dream of mine into reality. They did their job that photography is always overshadowed by the The focus is only on the creativity. And, who would
by professionally organizing a big and demanding You need the right tool for the job as everyone photographic tools. Whether we speak of photo have thought it: such a simple approach was enough
exhibition, a real treat for every true photography who ever tried to do a demanding job can tell you. magazines or web sites, the quantity of material to make us unique, and we get so many different
buff. Unlike many other professions, photography is dedicated to tools, when compared to what is photos in one place. Therefore, this exhibition is
actually in its essence not that demanding, so its dedicated to the photographer or photographs interesting and different, and should be seen, even
We named the exhibition Blur Photo 011, and it is a strange how some photographers are willing to themselves, is simply unbelievable. if only online :).
selection of the photos weve published in the past spend endless hours discussing tools. Of course, we

Robert Gojevi, editor in chief


robert.gojevic@blur-magazine.com

BLUR MAGAZINE 22
COVER PAGE 03

IMPRESSUM 07

EDITORIAL COLUMN 08

CONTENTS 09

GALLERY 24 12

PORTFOLIO | Franjo Bahovec 38

MEET THE... Croatian State Archives (HDA) 64

INTERVIEW | eljko Koprolec 81

PROJECT | Lapi/Utulica 95

COLUMN | Denis Plei 105

TETRA | Bruno Mercier 124

INSTANTION | Boris Zuliani 139

PLAYSTICK | Pamela Klaffke 157

BLUR PHOTO O11 172

WINNING GAME I Photo book by eljko Koprolec 228

CONTEST I BLURS AMBASSADOR 229

march june september december

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CONTENTS BLUR MAGAZINE 22
FRANJO BAHOVEC
PORTFOLIO

CONTENTS
Croatian State Archives
(HDA)
MEET the...

eljko Koprolec
INTERVIEW

LAPI/UTULICA
PROJECT

DENIS PLEI
COLUMN
Bruno Mercier
TETRA

CONTENTS
Boris Zuliani
INSTANTION

Pamela Klaffke
PLAYSTICK
BLUR

BLUR PHOTO O11


PHOTO

CATALOG 11
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The main mission of Blur magazine is to promote and celebrate artistic photography

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and to ensure coverage of all photographers, professional and amateur alike, who capture
motifs that intrigue them in fascinating, innovative and fresh ways.
Gallery 24 is a collection, or even better, an exhibition of all of those individual, unique

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and successful photographs which are not grouped by a given theme, but are based on
their quality, specific characteristics and the wow effect. Your work can be part of this co-
llection too and thus be seen by several thousand people from all over the world.
If your work matches the description, dont hesitate a moment but submit immediately

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using the (link!).

http://www.blur-magazine.com/submission/photo-submission/

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Send us 2 photos per issue maximum.

Send each photograph in a separate e-mail

2
Send photographs as a .jpg file

Name the photograph: name-surname-photograph name.jpg

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Every photograph has to be 1,500 pixels in its wider side

Resolution: 72 dpi

Maximum photograph size is 1MB.

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Canada
http://www.wix.com/wawaphotography/wawa
Alanah Correia

Memento Mori
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BIH
http://pticica.gorila.hr/korisnici/Quesheii
Vedran Kurtesh

U losoj formi sam


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Germany
http://13184.portfolio.artlimited.net/
Maximilian Baeuchle

Rock
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UK
http://www.flickr.com/photos/13581586@N08/
Tomas Januska

Henrikas
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Croatia
Suzana eli

Simplicity
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Montenegro
http://www.srdanovic.me
Radonja Srdanovi

Man from Shadow


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USA
http://robertholmgren.com
Robert Holmgren

Art Installation
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Russia
http://blue-velvet.ru
Dmitriy Orlov

Dryad
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France
http://butportraiture.com
Sylvain Norget

Selfportrait with a fish


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Ukraine
Vitaliy&Elena Vasilieva

Conversion
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Spain
http://www.senju-hime.deviantart.com
Cristina Otero

Icicles
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Northern Ireland
Clare Gallagher

Clare-gallagher-untitled
from domestic drift
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Russia
http://arsenjev.com
kirill arsenjev

The carrot
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Russia
Alexey Miroshkin

Working-class locality
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Poland
http://sebalos.deviantart.com
Sebastian Plonka

From Sharin Serie


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USA
http://wwDeanna Molnar
Theres More Than
Meets The Eye
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France
http://www.gviews.com
Gtz Gppert

Gtz-gppert-routesolitaire
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Indonesia
http://hengkilee.1x.com/
Hengki Lee

The Dream Cather


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Croatia
http://fotozine.org/?omen=rudla
Valentina Vukadinovi

...will he?
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Ireland
http://www.rjrphoto.com
rudy ramos

Missed
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Ukraine
http://dimitribogachuk.500px.com/
Dimitri Bogachuk

Langerons minimalism
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Croatia
Bojan Beni

Funny Walk
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Montenegro
http://shadowness.com/miroslav
Miroslav Jovovic

Dark side
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Slovenia
http://www.sasahuzjak.com
Saa Huzjak

In the air (The Flaming Lips)


Three years ago, Croatian photography became
richer for the unique work of Franjo Bahovec
had the opportunity to capture different mo
ments through stereography, at that point, in the Stories from the past family, sports and romantic moments. Because
of its documentary and artistic value, it is indi
which was discovered by Mr. Josip Horvat, a lo late 19th and early 20th century, a new medium of Franjo Bahovec (Samobor, 1851.-1924.)
sputable the importance of this photography
cal collector of antiquities, and first presented to photography. This photography technique was collection to the Croatian heritage.
the public by an adviser of the Museum of Arts capturing images on glass which, when viewed
and Crafts in Zagreb, Mrs. Marija Tonkovi. through a stereoscope, resulted in an optical illu This is why we decided to present you the work
sion and turned into a 3D experience. of Bahovec and, through them, tell you some
Franjo Bahovec was a successful businessman Collection of Franjo Bahovec is truly versatile. interesting stories from the past, which consist
from Samobor, a small town in Croatia, and a In it, you can find cities like New York, Vienna, of four parts:
passionate amateur photographer. Due to his London, Prague, Trieste, Samobor and Zagreb,
wealthy position, enabled by his job, Bahovec as well as stories from his intimate life such as

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WORLD
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HOME BLUR 22 BLUR 23
INTIMACY
PEOPLE

BLUR MAGAZINE 22
Franjo Bahovec (Samobor 1851.- 1924.)
Whether locally or globally, the images (or more precisely
stereo slides), which belong to the legacy of the member
of the Samobor bourgeoisie, Franjo Bahovec, are simply
full to the brim of life. This amateur captures with almost
cinematic speed the life that escapes the eye, but not the
camera. The technology of the cameras of the time enables
him to incorporate the dynamic of movement into his images,
whether it is the gracious movement of the local female tennis
player or the leisurely winter activities of the local gentry.
Photos selected by: Robert Gojevi and elimir Koevi.

Introductory text: elimir Koevi

To those who reflect endlessly on the presence of death in the images in the medium
of photography (for example R. Barthes, S.Sontag, and they are not alone), there is a body
of millions of photographic images which convey exactly the opposite. If we take a better
look at them, each of those images practically teems with life, and whats missing are only
the sounds and smells. It does not matter if the people depicted in the photos are already
dead and buried, since they are before as as alive, and in no way as dead. This is, after
all, the whole magic of the medium, the medium which transfers life through the space of
time, resisting decay and oblivion. Photography does not record death: on the contrary, it
records life, living people and the space around them, their living and irreplaceable mo-
ments. The professional photographers had not understood this for quite a long time, but
in the hands of the amateurs, during that crucial time in the late 19th and the early 20th
century, the camera was an instrument which precisely measured the width of life, placing
it within its frame.

Whether locally or globally, the images (or more precisely stereo slides), which belong to
the legacy of the member of the Samobor bourgeoisie, Franjo Bahovec, are simply full

portfolio
to the brim of life. This amateur captures with almost cinematic speed the life that es-
capes the eye, but not the camera. The technology of the cameras of the time enables him
to incorporate the dynamic of movement into his images, whether it is the gracious move-
ment of the local female tennis player or the leisurely winter activities of the local gentry.
FRANJO BAHOVEC
The stereo slides, i.e. images, of Franjo Bahovec, are not in the function of the message, but
SAMOBOR | Croatia

BLUR MAGAZINE 22
only and exclusively in the function of the medium. Those who are in the photo are there
only by accident, we could say, passing through, and although we could today discuss at
length about the documentary value of Bahovecs images for the local history, their true
value is hidden in the medium of photography, whose real potential Franjo Bahovec was
discovering (together and simultaneously with J-H. Lartigue, P. Bonnard, P. Martin, V. Gutea,
B. Csiko-Sessia and many other anonymous fans of photography) as an enthusiastic amateur.
Without any high ambitions or artistic pretensions, without trying to have his photos be
exhibited at the contemporary Photography Salons, Bahovec intuitively felt the power of
the photographic image. In his images he incorporated perceptions as an auxiliary means
and the extension of his own visual sensitivity for the dynamics of the quotidian - however
banal it might have been, like the undressed gentry in the summer sun, or the polite con-
versation of the Austro-Hungarian officers in the pub garden somewhere in Samobor.

From that empire of the accidental offered by the mundane reality, the photographic
medium left an impressive number of images which this generation has inherited and in-
corporated into their own memories. The people of Franjo Bahovec offer a wide panorama
of the everyday life of the first decade of the 20th century. This panorama very precisely
speaks of the then social, economic and cultural life, its public and private strata, but above
else, also of the new visuality which will a quarter of the century later become a cultural
framework within which a reportage and the so-called documentary photography will
appear. Without the amateurs who have accepted the photographic form also without the
artsy ambitions, and from the need to interleave the owns daily life with the general and
individual memory, the photography would not have found its authentic way and would
not have become a separate discipline of visual expression. In that sense, Franjo Bahovec
is not the past, but the present, because the people in his photos are not in the least dead,
but are watching us from his images as if they were alive. And this is precisely the food
for thought for those who see mute ghosts in the photographic images.

elimir Koevi

portfolio
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BLUR MAGAZINE 22
the... A tale from the vault

What happens when photographs become history? We found the answer at the
Croatian State Archives (HDA) where we spoke with the manager of
the Central Photo Laboratory, Mr. Zvonimir Barievi.
By: Tomislav Mari, Tea Rihtar
Photos: Tomislav Mari, HDA

BLUR MAGAZINE 22
The State Archives keeps more than 700,000 photos in various techniques and formats. They are categorized into 76 collections and one fund, which
is made up of collections from many important individuals, institutions, and photos related to significant eventsa real treasure in pictures.
BLUR MAGAZINE 22
What does the State Archives do; what is its role?
The Archives collects, processes, and keeps archived materials and
provides it for use. The archived materials are records in various
media, which depict events of the past. They can be documents,
photographs, films, audio recordings, etc. The photography belongs
to unconventional archived materials and is its most significant and
valuable part, particularly if we consider that those who can read
photography can find in it more information than in hundreds of
written pages. Besides, a photograph is indeed a trustworthy source
of information. For a long time in the archival science, photography
was not treated as archival material but was classified as miscellanea
ephemera or memorabilia and was not given archival significance. In
time, its importance has been recognized and cannot be ignored any
longer.

How does the Archives go about obtaining its material?


There are three ways of obtaining the archival materials. The State
Archives, pursuant to the law on archival materials and the archives,
takes over the materials from the state institutions when they are
holders or creators of such materials. Another way is by purchase
from individuals, and the third is by accepting donations.
Regarding photography, we get them through elimination from
traditional funds and collections. This is how we got the only
daguerreotype that we have. There are only a handful of those in
Croatiaonly about 50so this is an important find.

meet the...
Unknown author - Nikola Crnkovi Doljski, around 1850. (Daggerotype)

HDA
www.arhiv.hr | A tale from the vault

BLUR MAGAZINE 22
How do you go about selecting material for purchase? Do people
offer you the material, or does the Archives research and identify
the materials for purchase itself?
As any good collector, the Archives makes lists of creators and
monitors the creation of archival material that it is interested in. It
is important to note that there is an optimal timeframe for taking
over materials, which actually depends on the age of its creator. It is
not good if the creators are either too youngbecause they are still
active and have need for the materials and their useor when they
are too old, because they cannot provide all the information related
to the material. It is best to receive the material from people who are
not active any more (i.e., when the creator stops creating) but is still
vital and can still provide personal information about the material,
which is very important for the future processing and use of the
materials.

What is the last material you received in the Archives?


The last thing we received was the collection of photos from Prof.
Aleksandar Kukec, who taught photography at the School of Applied
Arts in Zagreb. He gave us his collection of photographs, completely
sorted, together with the glass negatives of his predecessor at the
school, Milan Fizi, author of the well-known and, for a long time, only
photography tutorial book in this part of the world.

meet the...
Franjo Pommer - Petar Preradovi, 1856.

HDA
www.arhiv.hr | A tale from the vault

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How do you keep photographs? How do you preserve them?
The preventive measures are the cheapest and the most efficient
way to preserve. We try to follow the international standards and
keep the photos in the appropriate microclimate conditions in the
storage with monitored temperature and humidity. The relationship
between humidity and temperature is extremely important in the
preservation of the material. Together with other risks, the most
dangerous situation is simultaneous rise of both temperature and
humidity. The better the microclimate conditions, the longer the
life expectancy of a photograph. For example, colour emulsions
are particularly sensitive to changes, and for those, freezing is
recommended (i.e., storage in temperatures below freezing), but
we cannot provide such conditions. For such storage, it is necessary
to have the pre-chambers for gradual cooling and heating, because
sudden defrosting creates condensation, which causes the emulsion
to swell, and the photograph is damaged.
Maintenance of permanent microclimate conditions is expensive,
and to be completely safe, you need to have a backup system,
which is immediately activated in case of failure of the primary
microclimate system. Without such an additional security system,
changes in climate conditions can do great damage. For these
reasons, I am personally a proponent of having the conditions as
close as possible to natural conditions in order to have the changes
reduced to a minimum in the event of a system failure.

Ljudevit Vranyczany-Dobrinovi - Vladimir Vranyczany holds his own coat, around 1905. (photo manipulation)

meet the...
HDA
www.arhiv.hr | A tale from the vault

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Regarding the demanding storage conditions, what is the
availability of the photographic archival materials? How
accessible it is to the general public?
The material is accessible to the public in a number of ways.
Depending on the degree of protection and processing, we generally
provide copies and the originals only rarely. We benefitted greatly
from digital technology, so a section of our materials is already
accessible on our website, www.arhiv.hr.
In the pre-digital era, we protected the material by making safe
and protective copies on a photosensitive emulsion with polyester
base. We did that primarily with negatives on a nitrate base, which,
besides contaminating the storage environment, also have a
tendency to decompose the emulsion that they support. This results
in a loss of information from the material. Despite this, I must admit
that we have had rather positive resultsnamely, our negatives on
nitrate base older than 50 years are in reasonably good condition
and are still usable, probably due to the conditions in which they
were stored.

Do you keep the backup copies in different locations?


Our photo lab, besides serving as storage for photographic positives
and negatives, also has the laboratory for microphotography where
we keep microfiche with photos of other valuable archival material,
which is particularly well suited for copying and duplicating. Under
the archival provisions and standards, we make three copies and
keep them in three different locations. The original negatives are
always kept separately from their positives.

meet the...
HDA
Milan Pavi - Too Dabac, 1951. www.arhiv.hr | A tale from the vault

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Is microfiche still considered more durable than any digital
medium?
Yes. There is actually a good maxim about the difference between
analog and digital records. An analog record can be accidentally
preserveddigital cannot. A digital record is not reliable in the long
run if it is not continually worked on. Preservation of digital records
is expensive and must be done continually. You also need constant
modernisation and upgrading, i.e., migrating the records into
the new media to keep them readable in a modern technological
environment. By developing digital technology, storage is becoming
safer and simpler. Today, there are specialised systems for data
storage, so-called storage systems, which can be programmed
to perform control of digital records in predetermined intervals
independently and to restore damaged data using the information
found on backup copies.

When did the Croatian State Archives start with digitalisation?


The Croatian State Archives started with digitalisation as early as
1996 out of pure necessity to sort out a recently acquired collection
of valuable photographs that needed to be itemised and individually
described, which is not the typical way archival material is described.
The digital technology provided a new possibility, which is to have
a connection between the object and its description, maximizing
its searchability. Today, with the use of ARHINET, a program for the
processing and management of archival material, we can access the
digitalised archival material from any location where you can use a
computer.

meet the...
Franz Thiard de Laforest Bridge in Mostar, north side, around 1880. (collodion negative)

HDA
www.arhiv.hr | A tale from the vault

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How do you maintain the international cooperation?
International cooperation is one of the very important activities of
the Archives. It enables the exchange of information important for
the evolution of the profession and for comparing our situation
with neighbouring countries. Our experts participate in educational
activities initiated by institutions such as the Getty Conservation
Institute and the Northeast Document Conservation Centre in the
USA or participate in the projects of international institutions such as
SEPIA (Safeguarding European Photographic Images for Access). We
also organise lectures by foreign experts who share their knowledge
and expertise about caring for photographic heritage.

Is there any particularly noteworthy collection in your


photographic archive?
Of course. The largest, and in many ways the most important,
photo collection in the Archives is the Fund of the Agency for Photo
Documentation AGEFOTO since it composed of photos documenting
all public events in the territory of the former Yugoslavia during the
period from 1945 until the end of the 1980s. The creators of those
photographs are, among others, the well-known names of Croatian
photography, like Mladen Grevi, Milan Pavi, Ivan Medar, Drago
Renduli and Zlatko urjak, which, besides documentary value, also
gives those photos artistic importance.

What are the characteristics of archival photography?


In the archives, photography is always a source and not an auxiliary
material. It is important that the archival photography testifies about
the time in which it was taken, whether by its content or by the
technique it uses. Today, due to the possibility of determining the
exact technique used for the photo, it is possible to date the time
of the photograph. The archives generally keeps a vast quantity
of mostly documentary photographs, mainly without significant
Peter Salcher X-ray of hands of baroness Josephine Mollinary Vranyczany, 1896. individual or artistic value, although it is sometimes impossible to
deny the artistic value of certain photographers, the exemplary

meet the...
nature of old photographs, or the importance that those photos
have for the study of those photographers and their work.

HDA
www.arhiv.hr | A tale from the vault

BLUR MAGAZINE 22
What are HDAs plans for the future? Is there a plan to digitise
everything for public access in digital form?
This is exactly the goal we have in mind, and in this regard, the
Central photo lab has a major role to play whether it concerns
the Photographic Fund we manage or the conventional archival
material we reproduce photographically in various forms. It should
be noted that the digitalisation is done for two reasonsnot only
for the already-mentioned wide availability, but also for the purpose
of protecting the archival material whose originals are therefore
not exposed to the dangers of damage or even theft in the course
of frequent access and use. Since digital photography is now
pervasive, it is to be expected that we will soon be receiving original
photographs and printed media originating in a digital form, which
will lead to many professional questions regarding modern archival
techniques and practices.

Compared to foreign archives, what is the technological


situation of HDA?
HDA is very well equipped. I have had the opportunity to visit many
archives, both in the East and the West, and I can say this from
personal experience. The only deficiency, so to speak, is that the
building is not modern. However, it is a cultural heritage monument,
which gives it a special meaning. We have invested a lot into its
maintenance and modification to have the proper conditions for
the preservation of archival material. We managed this despite the
problems related to installing modern technologies in a building
that is itself a historical monument. On Marulis Square, we have
modern equipment, ateliers, and workshops where we can provide
good care of the material. Besides our main location in the central
building, a part of our work is also being done on location in
Kerestinec near Sveta Nedjelja where, after the construction of the
modern building of the Archives, we will have even better conditions
for the preservation of the archival material.

meet the...
Vaso Margeti Spring of river Una near to Suvaja, 1895.

HDA
www.arhiv.hr | A tale from the vault

BLUR MAGAZINE 22
When purchasing the material, how do the negotiations go?
It is necessary to be patient and tactful; sometimes it takes a long
time and can be rather exhausting. We must be aware of the fact that
authors are treating their works essentially as their children, and for
them the fate of their work is of utmost importance, so they require
the best possible storage and display. Speaking of authors, they
mostly donate their work, probably because they want to preserve
it that way. In the case of inheritors, they are more likely to ask for
compensation.

What are the criteria for the collection?


Every archival institution that engages in collecting and preserving
archival material has its own acquisition policy. It should be noted
that the archive is not a warehouse. We have our own acquisition
policy, which is very selective, and we take only what is in line with
our policy. HDA has chosen the archival photographyphotos that
depict certain people and events of importance for Croatia. They
can have additional value, the artistic one, but that is not the main
criteria for selection.

Do you have any photos that are special in some way?


Naturally. We have photos that are not archival documents per
se but are documents in themselves due to their technique and
are evidence of the technique that was used. This is important in
following the history of the development of photography.

Ivan Standl Fall of Gaka near vica, 1869.

meet the...
HDA
www.arhiv.hr | A tale from the vault

BLUR MAGAZINE 22
Are there any limitations in accessibility of material?
Yes, there is the so-called reserve material. For the purpose of
protecting privacy, the law stipulates a certain time during which
public use of certain materials is not allowed, or it is allowed only
under special conditions. The restrictions in this sense can also be
determined by the creator of the material, which is then set out
in the contract executed upon delivery of the material. Since the
archival material is preserved in order to be available to users, we are
not keen on taking over the material for which the author requires
nondisclosure requirements exceeding those stipulated by the law.

Is there a fee for the use of photos?


Yes, there is a certain fee that has been determined for the purpose
efficiently protecting the material but is also related to the actual
cost of creating copies and the time spent on individual searches
and manipulations. Namely, our effort is directed toward the work
of processing and preserving photos, and in this way, we are taking
care of the future of the valuable material we safeguard.

Do you have any anecdotes related to photographs?


Yes. There is one related to the manipulation of the contents of the
photo and an interesting story about it. My friends, two brothers and
photographers, did a lot of photography work for various museums.
In Veliko Trojstvo, near Bjelovar, there used to be a museum
collection of Josip Broz Tito (since he once lived there for a while),
for which these photographers were preparing an exhibition. The
photos on display included a photo of Tito with the local politicians,
some of whom had later taken different political views, and the
photo was a very undesirable document. The photographer who
did the reproduction of the original photograph showed me that on
the photo the number of legs did not correspond to the number of
headsnamely, there were about a dozen legs visible but only three
visible heads. Those who ordered the photo to be doctored did not
notice this, but the photographers intentionally made this error

meet the...
in order to leave a trace of what they were ordered to do.

Franz Thiard de Laforest - Split. Tower and temple, around 1870.

HDA
www.arhiv.hr | A tale from the vault

BLUR MAGAZINE 22
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To identify the photos so we could place them in the course of
development of photographic history, to determine them by the
process, to date them, organize and protect them is now considered
an essential set of activities in the field of photo conservation with
which every guardian of photographic collections should be familiar
with.
It is therefore not surprising that the authors of recent publications
about historical photographic techniques and the protection of
photographs are often quoting Linnaeus: Nomina si nescis perit
cognitio rerum (If you do not know the names of things, knowledge
about them is being lost).

Accordingly, the initiative Fundamentals of the Conservation of


Photographs founded by the Getty Conservation Institute in Los
Angeles in late 2006, was led by the following idea from the beginning:
to make selected archivists, curators and conservators familiar with
as many possible photographic processes, and then to upgrade this
knowledge with all other aspects of photo conservation, such as
making a plan for the protection, presentation, documentation and
execution of various conservation interventions.

Having mastered with names and the nature of these sometimes


very complex objects, education about photo-techniques continued
through recreation of several historical processes such as salted paper,
cyanotype, platinotype and daguerreotype, while the problems and
damages encountered specific for certain types of photographs
pointed to the particular fragility of these objects.

By knowing the damages and their causes, it is possible to act


preventively, and, by selecting suitable materials for storing and
providing proper storage conditions, to slow down the natural aging
of materials.

Slovakia was selected as the place for a school arising from this
important initiative. In this school, during three years, the most
prominent names of the worlds leading photo-conservation today
were passing on their knowledge and experience gained from many
years of work to a group of participants from ten Central European
countries. Now, after the training ended, it remains only to implement
the knowledge into daily practice and share valuable findings with
colleagues in order to better preserve the valuable heritage of Croatian
photography.

Hrvoje Grina

BLUR MAGAZINE 22
interview | Robert Gojevi
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
BLUR MAGAZINE 22
Tell us about your first experience with a camera.

My first camera was a Certo Dollina folding camera. I got it from my


father who in turn got it during World War II from an Italian officer, a
great photography enthusiast. The camera still holds a special place in
my studio. My father later bought me the popular Russian Zorki when
he was in Moscow, and I remember it well as it helped me take my first
professional photos for the magazine Plavi Vjesnik.

You were a respected photojournalist for Vjesnik. What drew you


to journalism and this type of photography?

As a kid I was fascinated with television, and I thought journalism could


bring me closer to that medium, so I became a youth journalist in Plavi
Vjesnik. Since I was a photography enthusiast from my early childhood,
it was an ideal opportunity to have a serious go at it, which later made
me realize photography was indeed to become my life.

interview
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
What was the trigger that made you switch from journalistic to
fashion photography? Was it an escape from the real and limited
to the unreal and unlimited?

Working as a photojournalist, I developed my photographic expertise


and got well acquainted with the environment. The creative
approach, which was always my primary driver, was something
one couldnt always use in the framework of journalism. So I had to
find a completely new area to be creative. The fashion industry was
expanding rapidly at the time and demanded creative presentation of
products. This was an interesting challenge for me, which gave me the
opportunity to express myself creatively through catalogues, posters,
and similar media.

interview
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
You worked for the biggest fashion brands of the timeVarteks,
NIK, Mura, MTC What are your most vivid memories of that
time? Do you feel any nostalgia? How would you compare those
times to today?

I worked for the fashion industry that sold its products in foreign
markets. I had a recognizable photographic style. It was a time of great
excitement and ambition in modest conditions, and Im still amazed
at how we were able to be on par with the foreign photography of
this kind. For instance, you couldnt get professional makeup here,
so you had to travel all the way to Graz to get some powder! And
all the assistants, stylists, makeup artists, prop masters, and stage
designers were just beginning to learn their respective professions.
So a lot of the time I had to be a master of all trades. At the time, in
1973, the international Modefest took place in Trogir, Croatia, where
our designers stood shoulder to shoulder with some of the biggest
international fashion names of the time, and I was hired by the great
Renato Balestra to shoot a collection for him. When I compare that
to today, I feel that profits and conforming to trends took over the
industry.

interview
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
You perfected your skills in Paris and Milan. Did you meet some
interesting people who compelled you to go there, or did you
simply go to these famous capitals of fashion on your own accord?
Can you remember any famous names of the time with whom you
cooperated or learned from?

The acquaintances and contacts I made at Modefest soon led me to


European fashion centers, where I furthered my education by assisting
in studios. Renato Balestra and his team introduced me to my first
contacts, for which Im in debt and gratitude to this day. Also, my
colleagues in that environment offered great professional support.

interview
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
One can hardly call you a limited or niche photographer. Youve
been around and for a while you also worked for Jugoton with
the famous designer Mirko Ili. Which one of the 50 or so existing
albums is your favorite and why?

As I was a fashion photographer, I was often hired by the famous


singers of the time to shoot posters and record covers. Ili worked
for Jugoton at the time, so we started collaborating. One particular
collaborationthe one with Josipa Lisaccontinued throughout the
next 20 years, and it resulted in an exhibition of her portraits in the
Museum of Arts and Crafts. Other than music albums, Ili and I started a
series of politically engaged magazine covers for the magazine Danas,
which had a big impact, but our cooperation eventually ended with my
departure for Paris.

interview
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
You worked for magazines like Vogue and Graphis. Did this open
any doors for you? Today, when we browse through your website,
theres no mention or photos from that era?

Im immensely proud of the work published by those magazinesits


well known they maintain the highest standards in the trade, so I really
saw that as acknowledgement of my photography. Ive been around
for a long time, and my work received awards, but I personally dont
emphasize that much. My website actually does have a piece that
was published in Vogue, but the concept of the website is to promote
our clients and the market in which I work primarily as an advertising
photographer. This opens further opportunities, so Im currently
working on a project for Vischy-Paris. That will also be on the website.

interview
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
Youre probably most recognized and famous in Croatia for your
advertising photography, which you seem to reign over with
sovereignty. Since youve been through so much, can you say that
youre personally fulfilled with this kind of photography?

Advertising photography is the current focus of my professional and


artistic expression, with emphasis on studio photography. My studio is
equipped to meet exceptionally high technical standards. I like to use
a thoughtful approach to preparing a scene, with particular attention
given to lighting and its relationship to objects in the scene. So you
could say I prefer shots that satisfy both marketing and artistic criteria.
There are no coincidences in these photographs; theyre thought
through, precisely shot, and in artistic balance, and the resulting
recognizable photographic style they posses is something Im rather
proud of.

interview
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
Is advertising photography the best-paying segment of this
industry? What are its positives and negatives?

Advertising photography is strictly utilitarian, demanding in


preparation and realization, and it needs a team approach to problem
solving. So its logical that all of this affects the associated fees.
Advertising photography has a set of given parameters you must
respect, which is in itself a limitation, but I also find it challenging to
promote high aesthetic criteria within these limits. It opens you up to
different dimensions of photography.

I remember you once told me in casual conversation that youre


the only Croat in your German agency. Can our photography
compete internationally?

Sure, there are lots of talented Croatian photographers that could


compete in the demanding international market, but I feel they
should be more persistent, determined, and more willing to present
themselves in an organized way.

interview
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
On one occasion I was quite interested to hear you describe a
foreign companyI cant quite remember the countrythat
rented all sorts of props for photographers and cameramen. I
rather liked the fact that they manufactured anything they didnt
have. It would be amazing to have something like that in Zagreb!
Do you think its possible in the near future?

Countries Ive visited and worked in do have such easy options to


obtain photography props. I feel it would be possible in Croatia if the
industry were a bit bigger to justify the required investment into a prop
rental and/or manufacturing agency. In our quite recent past, weve
had a respected and rich prop house that aided the movie industry and
production efforts on our region. Im an optimist, so I think therell be
something similar in the near future for photographers too.

interview
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
Your fashion series presented by BLUR was created thanks to
cooperation with the Museum of Zagreb. Tell us more about that.
Which models are featured and how old are the fashions and other
items?

This photographic project, aided by the museum of private collections


and family heritage, recreated details and mood of the Thirties, ranging
from hairstyles, costumes, poses as well as background objects. Thats
my homage to the crazy Thirties and the aesthetics of art deco
my personal favorite because of the charming visual and stylistic
harmony associated with it. Coincidentally, these photos were actually
nominated for the first photographic Oscar award in Rovinj, where I
was also honored with a prize for my advertising photography, and
the entire series was also featured at the fashion Biennale in Varadin
in 2009 when the organizers decided to feature it as a stand-alone
exhibit.

interview
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
Since youre a photographer with experience in journalism,
fashion, portraits, nudes, landscapes, and product photography,
whats your favorite type of private photography, just for
yourself?

I feel the greatest photographic romance in those inspired moments


that take me on creative journeys, and it does not matter which kind
of photography this creativity is aimed at. Im most content with a
photograph created and shot in complete harmony with my vision.

interview
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
interview
ARTISTIC BALANCE
eljko Koprolec
Croatia |http://www.zeljkokoprolcec.com/

BLUR MAGAZINE 22
PAG
photo: Lapi

LAPI

BLUR MAGAZINE 22
photo: Lapi

- Draen, you and Sinia have been professional photographers for a number of years - You had the exhibition, printed the catalog, Branka Hlevnjak wrote the foreword:
(how long?), but you dont usually do landscape photography. What happened, and now all that looks rather ambitious; do you have any commercial intentions?
how did you find yourself where you are now?

LAPI Photography has been my profession and obsession for 28 years now. I started my LAPI - Yes, the exhibition part of the project is included in the program Pag Cultural
professional career immediately after graduating from the Zagreb Applied Arts School, in Summer in cooperation with the culture center of the city of Pag, and has been installed in
the class of Prof. Aleksandar Kukec. While working and cooperating with many companies the gallery Kneev dvor, and has its future. Namely, as planned with the city museum in
and agencies, during the last ten years or so I have been looking for a break from professional Novalja, the next summer we will have an exhibition with the extended selection of photos,
photography and the world that surrounds it, and I was in a position to be able to dedicate of panoramas done in a larger format, and of 3D photos, and after that, well see something
myself to eye pleasing photos of landscapes, exteriors and portraits. I am sociable and will surely come up, because our intention was for the idea In dreams of stone to have a
selfless by nature, and for me art photography is a social category like all other art forms continuity, to be expandable and adaptable. The project will surely have a commercial side,
- which needs to be shared with like-minded people. In all the projects I have done so far I but without any pressures: it will happen when the conditions are right, and until then, its
have found like-minded people and excellent collaborators. Sinia Utulica is the one whom just work and more work and we are sure to achieve good results.

Project
I found in this project he has been professionally involved in photography for ten years,
and is very dedicated and successful. During our frequent professional contacts we found
common ground in our considerations of free subjects, and in a fraction of a second we
agreed on the impulse of my initiative to do the project In dreams of stone.
PAG
Lapi/Utulica
Croatia

BLUR MAGAZINE 22
photo: Lapi

- Why Pag, why not Ugljan or Paman? What attracted you? experience and individuality. This is not a subject that youre obliged to do, but something
one wishes to do.

LAPI - Magical, unreal, extraterrestrial, inspirational landscape, the atmosphere and


the creations of the nature. Three years ago I did the project The People from Pag are - You have many panoramic images, do you use some special camera, or did you stitch
maybe, probably, definitely, Martians, the third one in the cycle Particularities of the photos?
Environment, and I deserved some extended savoring in the delights of the island Pag. It is
really impossible to remain indifferent to the stimuli offered there. Sinia accepted the idea
from the start, and after some discussions we realized that our frames are similar, but also LAPI - We did not trouble ourselves too much with the technique and post-processing.
different, which is perfect for the realization of the artistic idea. The image ratios were found intuitively, elongated, panoramic and square, and they were
representations of individual viewpoints, relationships and emotions towards the beauty and
aesthetics. The panoramas were results of the cropping of the original, save for one, which
- You did not wait for the golden hour, you photographed at different times of day. was done by stitching five images, resulting in a photo sized 35x155 cm at the exhibition. But,
Is that some new tactics, or...? as I said, the continuation of the project will have some experiments with larger and more
stretched formats and 3D photos. The panoramas will be done by computer stitching, and
3D photos by slight displacement during photographing of the same motive, and at the
LAPI Each moment of existence in such an environment is the right one, and the intuition exhibition the visitors will use special glasses. The viewers will thus be more involved in
and the individuality will result in unique art photography, devoid of restraint and learned the photos and additionally stimulated to contemplate them. All the photos are black and
postulates. So, one needs to react impulsively, without too much thinking and deliberation, white. This will also apply for the future stages of the project In dreams of stone
one needs to absorb everything, like a kid in a candy store. The right stuff will follow from

BLUR MAGAZINE 22
photo: Lapi

- Have you taken all the photos in one take or have you been there on several LAPI Since photography is not an Olympic sport, there is no competition, there is only
occasions? Did you take the photos together, or were you photographing separately mutual cooperation, as is in this case, in the project In dreams of stone. When you defeat
and independently? your own vanity, selfishness, me, me & myself attitude, and only then you can expect quality
of cooperation and results. Sinia didnt start out as a professional photographer, but that
doesnt reduce his dedication to the complexities of this profession. His talent and creativity
LAPI - Sinias photos have been taken on several occasions and in different light were already there, perhaps only hidden underneath the surface. He has found himself in
conditions, while I have squeezed my ideas into a single two-day interval of photographing. photography, he absorbs all the secrets of the profession and finds his place among the
The characteristic of photographs is that they differ in the personal touch, and are similar in Croatian photography authors. Regardless of the difference in experience between us, I
the idea: they make up the exhibition collection, they complement each other, and complete dont consider myself a teacher, although I must confess that the respect of the junior
the whole artistic expression. At the beginning of spring we plan to continue with the work, colleagues is agreeable.
and we will surely go together, for the company, and the photos are not confrontational: the
goal is collection uniformity.
I must confess that I have not noticed any separation and division of the photographs.
Perhaps it is visible in the catalog, but thats only because of the continuity of the authors
- What is the relationship between you and Sinia? Has the student become the character. The numbers of photos and representation at the exhibitions is the same. There
master? Why are your and Sinias photos presented separately, and not together? is no need for any differences in this regard: perhaps only in the formats chosen, but thats
due to the personal vision.

BLUR MAGAZINE 22
photo: Lapi

-What are your further plans? New projects?

LAPI Work on the project In dreams of stone, exhibitions, further shooting, story about
Pag, publishing of a photo book. I am continuing my long-term project Particularities of the
Environment, which involves ten years work and publication of ten photo books, of which
I have published six so far, exhibitions of the photo projects. Therefore this year I begin with
the work on the seventh project, NIN with two photographers. One of the collaborators
on the project is also Sinia. Also, there is the continuation of the project Natural Thing,
exploration and the search for the primeval things, matter, natural creations through art
photography.

Project
PAG
Lapi/Utulica
Croatia

BLUR MAGAZINE 22
photo: Utulica

PAG UTULICA

BLUR MAGAZINE 22
photo: Utulica

Project
PAG
Lapi/Utulica
Croatia

BLUR MAGAZINE 22
photo: Utulica

Project
PAG
Lapi/Utulica
Croatia

BLUR MAGAZINE 22
photo: Utulica

Project
PAG
Lapi/Utulica
Croatia

BLUR MAGAZINE 22
photo: Utulica

Project
PAG
Lapi/Utulica
Croatia

BLUR MAGAZINE 22
g
The Analo WabiSabi

by Denis Plei
BLUR MAGAZINE 22
I cannot but start this installment with something the whole a short notice about the events, which I think deserves their lives back on the track. Before this disaster we were
world already knows about: the horrible quake that hit repeating here: discussing a possible joint show of their photographic work
Japan on March 11, 2011, and the following tsunami... and here in Croatia - but now it seems that such an event is not
other, more sinister dangers, which are not over yet. In light of recent earthquake and the following disasters likely to occur very soon. Besides, I think that our efforts
in Japan, the staff, authors and the collaborators of BLUR should be directed towards those who need help the most.
When it happened, the first thing I thought about were the magazine express their sincere and heartfelt sympathies to the
wonderful photographers whom we already published here: people of Japan. To all Japanese people and in particular to our We are all doing what we can: among other things, I have
I immediately sent a mail to all of them, asking if everyone friends from Japan whose photos we have published, or are yet helped organize a kind of Japan-awareness class at the
was OK. Fortunately, they are all OK, not one of them lives in to publish, we wish a speedy recovery. Our thoughts are with local primary school, where the kids saw a documentary
the worst affected areas, and no one was hurt, but everyone Japan and with the Japanese people. about Japan and its culture and customs, and later learned
was, quite understandably, almost in a state of shock. how to make origami cranes, with lots of good wishes for
I asked if there is anything I can do personally, or if there is I feel close to these people: although I have never met them, Japan. And all the teachers participated, too: there was a
anything that we as an online magazine/community can and our conversation and contacts were rather elementary genuine positive energy involved. Such things are at least
do, but there is not really much one can do: sending any (due mostly to the language barrier), I feel that they have as important and valuable as the actual humanitarian aid
kind of aid individually to the other side of the world is become a part of my life in a way: I follow their work on being sent to Japan.
not very practical, and we have already given to the relief Flickr, post encouraging comments now and then, and
organisations and/or the Red Cross for the victims of the indeed care very much about them. They are wonderful While we are on the subject of Japan and everything
quake in Japan. What is perhaps more important is to show photographers, their work is inspiring and beautiful, and Japanese, the beginning of April is also the time when the
the people of Japan that they are not alone: we wrote all of them are doing their part in putting their country and cherry tree in our back yard blossoms. Although it is not

Fuzuki Yuichiro Miki*

BLUR MAGAZINE 22
technically the same kind of cherry that the Japanese love (which they dutifully did...), and at the same time thought cat, who has been with us for 15 years. She was almost like
so dearly (sakura), it is still a cherry, and when it blossoms, how this might well be the last time we see them in all their a member of family... Suffice to say that we were devastated
its a sight to behold. The tree is very tall: it is more than 50 magnificence. when we lost her.
years old (more like 60, from what we were able to find out), We invited a few friends - those who appreciate the cherry But then, after a few months, another cat actually found us.
which also means that it is probably nearing the end of its blossoms (my colleagues from the Japanese class), and She must have sensed that we were cat people, and decided
life. So, each year might be its last. And, although we have generally had a good time. And each time I glanced up to to adopt us - as cats usually do. And I could tell immediately
lived in this house for ten years now, and always loved this take a look of the blossoms, I remembered Japan. All in all, a that there are kittens due soon. And so, some time in mid-
huge cherry tree, this April was the first time we actually bitter-sweet feeling - almost like the life itself. March, we got a litter of kittens - five of them!
celebrated its blossom: we had a traditional Japanese All of us remembered our friends in Japan, and we thought Our kids absolutely love them, and they are a joy for
hanami (cherry blossom viewing party). The tree might be about them, too: we wished they could have been there everyone: all the kids in the neighborhood come to see
old, and close to the end of its life, but it doesnt mean we with us, enjoying the blossoms of our, Croatian, cherry tree. them whenever they can.
should be sad. Well, perhaps only a little... And, in a way, all of them were indeed with us: in our hearts,
It is also a very Japanese thing, again: mono no aware, which if not in person. So, whats the point of this sentimental drivel, you might
I mentioned once already: the feeling of impermanence, On a lighter note, the atmosphere was greatly influenced by ask?
the feeling of sadness for the transience of beauty (and the five small kittens jumping around and generally making
life). We watched the beautiful cherry blossoms, and knew a mess of everything. No point, really: life goes on, thats all. It is easier with friends
that the petals will start falling perhaps the very next day Last November we lost our long-time companion, Miso the who appreciate the beauty of transient things. And the

BLUR MAGAZINE 22
kittens? Well, no point in explaining it at length. It is another
that actually I was already repaid: if they liked the photos, I have seen, and the beauty which you can show to others -
Japanese thing, actually: something so kawaii - but not only received my reward. Like Fuzuki said in the interview in the through your photography, perhaps?
that. It is also the coming of the new life. Kittens, spring and
last installment of this column: his goal as a photographer
cherry blossoms... is to bring beauty and happiness to people. As naive as it And thats my thought for this installment, with the
Thats life for you: death and new life in an endless circle. might seem, I feel the same way: if I can bring a sincere smile remaining photos from our friends from Japan - Fuzuki,
From ashes, a new life and new beauty begins. Like in a to someones face, to me it is worth a lot more than any Yu+ichiro and Miki*: they show us the beauty in this world;
song: a sack of tears and a handful of laughter. money I might earn by selling the photo. I understand that I the world which we only too often tend to see as a hostile
am a hobbyist, and dont actually have to sell my photos for and dangerous place. People like our friends from Japan
And whats all of this rambling got to do with photography? a living. If I were, I probably wouldnt be writing this column, show us it isnt necessarily so. In the midst of tragedy and
Well, there is something: at the end of our (hanami) either... So, Im free to do things my way: I dont pretend its sorrow, there is new hope, a new communal spirit, a new
party, I gave each of our guests (there werent that many the universal recipe. It just works for me. feeling of selflessness. A lesson for us all.
of them) a present: I had several foamcore-mounted
panoramic photos that I took with my trusty old Horizon So, I wont bother you with the addresses and URLs of Remember: all you need is love - and youre halfway there!
202 camera that I love so much... Nothing special, really: the relief organizations collecting the aid for Japan: if you care
photos were not expensive to do, but are nice looking. enough, youll find them yourself. But, after you donate,
The expressions on their faces were a reward unto itself. The think also of something else: is there anything else you can
next day, when one of the guests e-mailed me and asked do to make someone happy, or at least make someone
how she can repay the generosity and the gifts, I replied smile? Can you be a better person through the beauty you

BLUR MAGAZINE 22
FUZUKI
Japan |http://www.flickr.com/photos/fuzuki

BLUR MAGAZINE 22
FUZUKI
Japan |http://www.flickr.com/photos/fuzuki

BLUR MAGAZINE 22
FUZUKI
Japan |http://www.flickr.com/photos/fuzuki

BLUR MAGAZINE 22
FUZUKI
Japan |http://www.flickr.com/photos/fuzuki

BLUR MAGAZINE 22
FUZUKI
Japan |http://www.flickr.com/photos/fuzuki

BLUR MAGAZINE 22
YU-ICHIRO
Japan |http://www.flickr.com/photos/miyano

BLUR MAGAZINE 22
YU-ICHIRO
Japan |http://www.flickr.com/photos/miyano

BLUR MAGAZINE 22
YU-ICHIRO
Japan |http://www.flickr.com/photos/miyano

BLUR MAGAZINE 22
YU-ICHIRO
Japan |http://www.flickr.com/photos/miyano

BLUR MAGAZINE 22
YU-ICHIRO
Japan |http://www.flickr.com/photos/miyano

BLUR MAGAZINE 22
MIKI*
Japan |http://rollei-life.com

BLUR MAGAZINE 22
MIKI*
Japan |http://rollei-life.com

BLUR MAGAZINE 22
MIKI*
Japan |http://rollei-life.com

BLUR MAGAZINE 22
MIKI*
Japan |http://rollei-life.com

BLUR MAGAZINE 22
MIKI*
Japan |http://rollei-life.com

BLUR MAGAZINE 22
ARTET
BLUR MAGAZINE 22
project | Robert Gojevi
T
T

project
THE FENCE SERIES
Bruno Mercier
THE FENCE SERIES
France | http://www.brunomercier.fr
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
SHORT BIOGRAPHY

Bruno is a French photographer born


in 1962 in Versailles, France. He studied
Architecture and started his carreer as
comics author and illustrator.

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
STATEMENT

In all of my photographic work, there is


a certain prevailing theme which has
something to do with light, movement, and
atmosphere. I do love playing with rhythms,
light, and lines. I often place landscape in the
foreground, inside light, and compose space
from the running lines. A play of light and
shade when light shines in darkness...
My photographs are my way to show
and express some of my feelings and my
personal perception of what surrounds
me. Photography, for me, is not about
reproducing the world. Im not really
interested in making an accurate copy of
what I see out there. In fact, I really prefer the
power of suggestion over description.

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
What you can see in my photographic work
goes through my own filters. OK... all the
elements in my photos exist, and everybody
could easily see them, but my goal is to
offer an artistic interpretation and above
all an emotion. I just show the elements I
see, like trees and fences, for example, and
use those elements as catalysts for my own
imagination and hopefully for the viewers
imagination. Im generally attracted to
places where stories can take place, where
imagination can be fired. Furthermore, living
in the Cotentin Peninsula (Normandy, France)
provides me with opportunities to explore
wonderful landscapes and seascapes.
My goal in my photographic work isnt to
produce something decorative but just to
share a poetic feeling in order to emphasize
imagination.

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
The Fence Series
I started the Fences Series in october 2006,
the major part of the series was taken in
Carteret where i work and live.
In fact it was a great surprise for me to
discover that spot, not far from my house,
West oriented with a fantastic light just
before sunset. It was for me as i discovered
a new world, a kind of Atlantis, an alive
dream in the real world. The sun began to
disapear but i started shooting, running on
the beach to catch the last rays of light...
The light was just amazing and the sand
quite perfect with magic lines drawn by the
wind.

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
That was the very beginning of the series.
Then year after year, october after october i
pursued the work.
The trees i shot (The Last Tree and
Wuthering Heights Series)and those fences
gave the title to my first exhibition in Paris
De Lumire et de Vent a sentence you
could translate in Light and Wind. Today
De Lumire et de Vent is the name of my
own Gallery in Carteret, Normandy - France.
I love that series, technically i thinkthis is
not the best i ever did, but the series is full
of what i really felt and full of a magical
feeling.

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
T

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
T

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
T

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
T

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
T

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
T

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
T

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
T

project
THE FENCE SERIES
Bruno Mercier
France | http://www.brunomercier.fr

BLUR MAGAZINE 22
The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant
Jennifer Rumbach
BLUR MAGAZINE 22
How did you become a
photographer?

I was basically born as photographer


since my mother, who was a
photographer herself, broke her water
in her studio! But seriously, school
never attracted me much, so I quit
my studies when I was 17 years old.
A friend gave me a list of studios, and
I tried to find an assistant position.
The first one on the listthe biggest
advertising studio in Parisgave me
a one-month probationary period,
even though I didnt know a thing
about cameras. I was so happy to
trade my math and grammar books
for the books of Avedon, Sieff, Max
Pam, Salgado, Roversi or Irving Penn!
My boss truly loved photography
and owned a huge collection of
photography books. I looked at the
work of masters every day and started
to understand photography. In the
studio, I learned everything about

The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
analog techniques, color and black &
white processing, lighting, models,
styling, products, and set-up. We were
working daily for catalogs and the
campaigns of famous brands, and we
needed to be extremely creative. As
an assistant, I had to constantly check
and take care of everything from
dawn to dusk, but I had this incredible
chance to work with great and wise
photographers. It was my school for
five years, and then I was ready to be a
photographer myself.

The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
When and how did you discover
Polaroid materials the first time?

It was probably my mothers SX70s,


but I dont remember exactly, though I
remember extremely well my first day
in the studio, which was delivery day
for Polaroid products. They received
a pallet of Pola 55, 79, 809, 804, 664,
and 665 every month, and my first task
was to take care of the stock. At this
time, photographers were using a lot
of Polaroids as test shots before the
real shooting. At the time, I couldnt
imagine Polaroid disappearingit was
so much a part of the process.

The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
What is the fascination for you
about Polaroid?

Im fascinated with instant films


because I believe they are closest to
paint in many ways. They are more
than a traditional film because they
are unique. They also have a soul,
delivering immediate emotion. Its also
a physical thingyou can smell and
touch them. Its really quite different.
Polaroid has been my best teacher
in photography, helping me to set
up beautiful light. At the time, only
Polaroid films could provide a reliable
test in only a couple of minutes. It was
valuable to see and understand my
mistakes immediately. We never used
all the film we ordered for a shoot. The
studio always allowed assistants to
use the leftover film for us to practice.
I was amazed by the possibilities of
this film and was spending weekends
testing the possibilities, transfers,
lightpainting, solarization. Its an
amazingly creative film, and thats why
Im fascinated with it.

IN stantion
stant

BLUR MAGAZINE 22
What do you think is so artistic
about Polaroid photography?

First, most Polaroid film doesnt have


negatives. Each picture is unique and
becomes priceless. Of course you can
scan and print it, but Polaroids give
you a true original. From my point of
view, its the same feeling a painter
might haveyou cant have the same
picture twice. Also, Polaroid film isnt
produced anymore, and as a vintage
wine collection would do, each film
becomes different from the others and
gives us different effects, color tones,
and emotions. It also has a strong
power to communicate. There is no
need to speak any words while youre
taking portraits; the model can see,
touch, and feel a real picture. They
will be freer with me because they

The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
can hold the results. Its a gift I can
immediately share, much better than
a digital screen. To me, its a magical
process, an amazing moment each
time I discover a picture right after I
shoot it. (So just imagine how much it
delights the rural people of Vietnam!)
Last, Polaroid is full of imperfections
and unexpected results. These
imperfections create the beauty.

The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
You use many different instant
materials. Why?

I love all Polaroid films, though I must


admit I have a preference for large
format. All of them have a particular
tone (even a particular smell,
depending of their expiration date).
This allows me to choose the one I
want, depending on the mood I want
for a series. Once again, its similar to
wine in your cellar; you choose the
right one for the dish youre serving.

The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
Which one do you like best?

I would say Polaroid 8x10 (809 or 804)


and even larger if I have the chance.

The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
What was your first thought as you
heard about Polaroid closing?

I had heard many rumors for a long


time, but I never wanted to believe
them. In 2003, while I was buying film
at my supplier in France, I saw a sticker
that said, Out of production soon,
and that drove me crazy. I ran to my
bank and spent my savings to buy as
much film as I could.

The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
When you are not working with
Polaroid, what is your photographic
day like?

I mostly shoot fashion and advertising


with a digital back on a medium-
format camera.

The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
You do a lot of fashion and
commercial work, but you also
document life in the Far East. How
difficult is it to switch between these
two worlds?

Its difficult to combine those worlds;


they are so different. Its not easy to
use creative concepts with commercial
photography where everything
is arranged, retouched, and fake.
We dont show reality in fashion or
advertisement photography but just
something bright and shinyeven
though commercial and artistic
photography are strongly linked and
cant survive without the other. So, I
have to make a clear distinction. For
one, I have to do research and produce
pictures with unlimited creativity,
and for the other, I have to follow the
directions of my clients. Last but not
least, the commercial photography
work allows me to pursue my personal
projects.

The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
You have done many publications.
Which of them did you enjoy the
most?

A local magazine, East & West,


published a Polaroid on their cover.

The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
The Lightpainter
Boris Zuliani
France
http://www.boriszuliani.com/

IN stantion
stant

BLUR MAGAZINE 22
PLAYSTICK
BLUR MAGAZINE 22
playstick | Jennifer Henriksen
ANIMAL CHILD
Pamela Klaffke
Canada | http://www.pamelaklaffke.com

BLUR MAGAZINE 22
How long have you been doing
photography, and how long

with toy cameras?
Ive always taken snapshots, but
I didnt start shooting seriously
until mid-2007 after I left my
career as a newspaper and
magazine writer and editor. I
started with a Holga CFN and
have never owned a digital
camera, so it was toy cameras
from the start.

playstick
ANIMAL CHILD
Pamela Klaffke
CANADA | http://www.pamelaklaffke.com

BLUR MAGAZINE 22
What is your current favorite
toy camera and why?
Its still my trusty Holga CFNs. I
have a lot of cameras, but I still
prefer Holga medium format.

playstick
ANIMAL CHILD
Pamela Klaffke
CANADA | http://www.pamelaklaffke.com

BLUR MAGAZINE 22
What are the biggest
challenges you have
encountered while shooting
with toy cameras?
The biggest challenge was
learning what to expect from
different kinds of expired film
and how different films will
react to available light, flash,
alternative processing, etc. Early
on, I bought out the contents of
a camera shops film fridge for
a great price and that gave me
the opportunity to experiment
with all kinds of film, and I really
concentrated on learning the
quirks of each type I had.

playstick
ANIMAL CHILD
Pamela Klaffke
CANADA | http://www.pamelaklaffke.com

BLUR MAGAZINE 22
Please tell me a bit about your
portfolios where you used toy
cameras, and why you chose to
use them for each project.
All of my work is analogue,
and much of it is shot with toy
cameras. As I mentioned, most of
my images are shot with a Holga
CFN, though I have deviated and
am using SLRs in a lot of my new
work. My most popular series is
definitely the ongoing Bestia
Parvulus (Animal Child) series
of children in animal masks. I
shoot all of the photographs
with the Holga CFN because
thats the only camera I had
when I started the series in the
summer of 2007, and I want
to retain continuity. The same
thing goes for the six-image
Ladies of the Balaclava series.
In 2010, however, I used a plastic

playstick
ANIMAL CHILD
Pamela Klaffke
CANADA | http://www.pamelaklaffke.com

BLUR MAGAZINE 22
Vivitar IC101 panorama camera
to shoot my photo adaptation
of Little Red Riding Hood. I
wanted to use the panorama
format in an unconventional
fashion, i.e., to shoot portraits
rather than landscapes, so thats
why I deviated from the Holga.
I suppose Im a bit boring when
it comes to cameras: I have tons,
and use others occasionally, but
Im not much into the novelty of
switching from one to another
frequently. And I often find Im
disappointed with the shots I
get with other cameras and end
up wishing I had shot them with
a Holga. That said, I do like the
Vivitar Ultra Wide & Slim and the
IC101, plus my Holga 135BC and
my old Pentax SLRs, which Im
using a lot these days.

playstick
ANIMAL CHILD
Pamela Klaffke
CANADA | http://www.pamelaklaffke.com

BLUR MAGAZINE 22
What inspires you to pick up
your camera?
Its usually an odd object, a
piece of vintage clothing
something tangible. My work
is very conceptual, so Im not
someone who shoots every
day, and because I lean towards
shooting series, it takes a while
to plan the shots and gather all
the props and costumes. I like to
shoot as few frames as possible,
so everything is very thought-
out and planned before I even
load a roll of film. But after all the
planning, the shooting goes very
quickly.

playstick
ANIMAL CHILD
Pamela Klaffke
CANADA | http://www.pamelaklaffke.com

BLUR MAGAZINE 22
What is the biggest creative
obstacle you have faced?
Ive been lucky not to encounter
any creative obstacles so far. I
have more ideas than I could
ever possibly use! I suppose
the closest thing to an obstacle
would be staying focused on one
project at a time and not going
off on tangents. Ive had to learn
to just make notes when a new
idea comes along when Im in
the middle of something else,
and get back to it later.

playstick
ANIMAL CHILD
Pamela Klaffke
CANADA | http://www.pamelaklaffke.com

BLUR MAGAZINE 22
One creative person you
admire
My nine-year-old daughter.
She comes up with fantastic
concepts and ways of putting
things together, and she has a
lot of input into the work we do
together since shes in many of
the photos.

playstick
ANIMAL CHILD
Pamela Klaffke
CANADA | http://www.pamelaklaffke.com

BLUR MAGAZINE 22
What subjects really speak to
you?
My daughter, of course, and
vintage objects, textiles and
costumes are favourites. Since
my work is conceptual, I tend to
start with an object and work
on the bigger themes of the
idea or series from there. Im
pretty focused when it comes
to subjects and dont often find
myself veering away from my
usual sources of inspiration,
though I do like to get out and
shoot in small towns on the
Canadian prairie on occasion as
well.

playstick
ANIMAL CHILD
Pamela Klaffke
CANADA | http://www.pamelaklaffke.com

BLUR MAGAZINE 22
Do you have any words of
advice for those interested in
shooting with plastic cameras?
Its clich, but just trust your
instincts. If shooting everything
and everyone feels right to you,
do it. If you want to plan things,
do that. And learn all you can
about film and processing, colour
and light.

playstick
ANIMAL CHILD
Pamela Klaffke
CANADA | http://www.pamelaklaffke.com

BLUR MAGAZINE 22

playstick
ANIMAL CHILD
Pamela Klaffke
CANADA | http://www.pamelaklaffke.com

BLUR MAGAZINE 22

playstick
ANIMAL CHILD
Pamela Klaffke
CANADA | http://www.pamelaklaffke.com

BLUR MAGAZINE 22
DONT MISS US..
Make sure you dont miss new Blur magazine issue - sign up for our
newsletter and we will keep you informed!

NEWSLETTER

BLUR MAGAZINE 22
BLUR

11
PHOT O
Exhibition of international creative photography,
9/6-6/7/2011, Gallery of Croatian National Post, Zagreb

BLUR MAGAZINE 22
BLUR PHOTO is an annual exhibition of international creative photography established to celebrate the diversity and
beauty of photography while promoting BLUR magazines photographers from all over the world.

In line with BLUR magazines editorial policy, the exhibition concept of BLUR PHOTO is based on thematic and technical
diversity, composition excellence, high aesthetic value, and the strong emotional impact of the work.

Each BLUR PHOTO exhibition presents a selection of photography artworks published in BLUR magazine during the
previous year as voted on by a jury of photography experts.
In 2011, from June 9 July 6, the first edition entitled BLUR PHOTO 011 will In addition, in an emphasis of the magazines international character, this
take place in Zagreb, Croatia. It will present a selection of works published in exhibition will trespass long distance limitations and will enable authors from
BLUR magazines 2010 issues, selected by: different parts of world to be present at the exhibition and talk about their work
through video that will be shown at the gallery.

Robert Gojevi chief editor of BLUR magazine The venue of BLUR PHOTO 011 exhibition is Gallery of Croatian National Post
Ivana Krnji - executive editor of BLUR magazine at Juriieva Street 13, which is located just next to Zagrebs main square, Trg
Tomislav Mari professional photographer bana Josipa Jelaia.
Tea Rihtar curator
We would like to thank our sponsors Hrvatska pota d.d. (Croatian National Post)
and Epson for their generous contributions as well as to our media partners
One photograph from the selected work will be awarded as THE BLUR Digital Foto, Fotogard, Fotomag, Fotografija.hr and Fotozine.
PHOTO 011 in recognition of the photo that best captures the essence of
BLUR magazine. We hope to see you at the BLUR PHOTO 011 exhibition and we invite you to
join us at the opening night which will take place on 9th of June at 19:30.
PREFACE
Now in its fourth year of virtual existence, BLUR decided to give its current and, hopefully, future audiences a live photography experi-
ence. We bring you a selection of the best photographs presented in BLUR magazine during 2010.

The exhibition is guided by BLURs principles and its editorial policy. Therefore, the concept of the exhibition should not be sought in
a linear, logical sequence or a succession and combination of similar motives, but in the contrasts and richness of the world of photo-
graphy found in BLUR. Order and chaos, old and new, this exhibition represents a diverse collection of subjects and techniques, some of
which have begun to fade from memory while others reflect the latest in the world of photography. Besides the diversity of motifs and
techniques, there is a variety of cultures and societies from which the photographers begin another value that enriches BLUR. We invite
you to enjoy this rich diversity!

Tea Rihtar

BLUR MAGAZINE 22
BLUR
11

PHOTO
MANUEL JR. LIBRODO
The Philippines
Rosalinda
2005
digital photography
BLUR 18, cover page
http://www.pbase.com/manny_librodo

BLUR MAGAZINE 22
BLUR
11

PHOTO
KAREL VOJKOVSK
Czech Republic
No. 10
2008
digital photography
BLUR 19, cover page
http://www.vojkovsky.com/

BLUR MAGAZINE 22
BLUR
11

PHOTO
IGOR VASILIADIS
Russia
290708
2008
digital photography
BLUR 20, cover page
http://www.vasiliadis.ru/index.html

BLUR MAGAZINE 22
BLUR
11

PHOTO
WILLIAM CASTELLANA
USA
Glove Study #5
2009
digital photography
BLUR 17
http://www.williamcastellanaphoto.com

BLUR MAGAZINE 22
BLUR
11

PHOTO
VADIM STEIN
Russia
Untitled
2009
digital photography
BLUR 17
http://14991.portfolio.artlimited.net/

BLUR MAGAZINE 22
BLUR
11

PHOTO
PHILLIPPE MARCHAND
France
Menez Ham
2007
digital photography
BLUR 17
http://www.philmarch-images.fr/

BLUR MAGAZINE 22
BLUR
11

PHOTO
MARTIN STRANKA
Czech Republic
I was falling high
2009
digital photography
BLUR 17
http://www.martinstranka.com

BLUR MAGAZINE 22
BLUR
11

PHOTO
XAVIER REY
France
Double L
2009
digital photography
BLUR 17
http://xavierrey.com

BLUR MAGAZINE 22
BLUR
11

PHOTO
KARMEN ORLI
Croatia
Snow in Pore
2009
digital photography
BLUR 17
http://kaarmen.deviantart.com/gallery/

BLUR MAGAZINE 22
BLUR
11

PHOTO
OLIVIER DE RYCKE
France
Poppy Stars II
2007
analog photography
BLUR 17
http://www.therapyh.com

BLUR MAGAZINE 22
BLUR
11

PHOTO
DEYAN STEFANOV
Bulgaria
Spring Out
2010
digital photography
BLUR 18
http://deyanstefanov.blogspot.com/

BLUR MAGAZINE 22
BLUR
11

PHOTO
MANUEL JR. LIBRODO
The Philippines
He who smokes
2005
digital photography
BLUR 18
http://www.pbase.com/manny_librodo

BLUR MAGAZINE 22
BLUR
11

PHOTO
TOMISLAV MIDER
Croatia
River
2010
digital photography
BLUR 18
http://web.me.com/tomsmider

BLUR MAGAZINE 22
BLUR
11

PHOTO
MACIEJ LESZCZYSKI
Poland
Patiently Waiting
2009
digital photography
BLUR 18
http://maciej-leszczynski.pl

BLUR MAGAZINE 22
BLUR
11

PHOTO
JENNIFER HENRIKSEN
Canada
Chicago, Chicago
2006
analog photography
BLUR 18
http://holgajen.com

BLUR MAGAZINE 22
BLUR
11

PHOTO
MAX KATSEN
Israel
Untitled
2008
analog photography
BLUR 18
http://www.photodom.com/member/maxcoil

BLUR MAGAZINE 22
BLUR
11

PHOTO
DENIS GRETI
Croatia
On a tiny line
2009
digital photography
BLUR 18
http://490.portfolio.artlimited.net/?tabid=0

BLUR MAGAZINE 22
BLUR
11

PHOTO
SVEN FENNEMA
Germany
Walls of Wine
2009
digital photography
BLUR 19
http://www.boundlessmind.net

BLUR MAGAZINE 22
BLUR
11

PHOTO
KAREL VOJKOVSK
Czech Republic
No. 87
2008
digital photography
BLUR 19
http://www.vojkovsky.com/

BLUR MAGAZINE 22
BLUR
11

PHOTO
ALAIN ETCHEPARE
France
Cathares study 18
2008
digital photography
BLUR 19
http://www.alainetchepare.com

BLUR MAGAZINE 22
BLUR
11

PHOTO
GORAN POPOVI
Croatia
Pisa
2008
analog photography
BLUR 19
http://www.goranpopovic.com

BLUR MAGAZINE 22
BLUR
11

PHOTO
JAMES THORNE
England
Highland Cow
2006
digital photography
BLUR 20
http://www.dottygallery.com

BLUR MAGAZINE 22
BLUR
11

PHOTO
ULDIS KRUSTS
Latvia
Inspired by Salvador
2010
digital photography
BLUR 20
http://www.photodom.com/member/krusc

BLUR MAGAZINE 22
BLUR
11

PHOTO
PASCAL BAETENS
Belgium
Erzsi, Budapest
2001
digital photography
BLUR 20
http://www.pascalbaetens.com

BLUR MAGAZINE 22
BLUR
11

PHOTO
TAMARA DEAN
Australia
The Bride, from series Ritualism
2009
digital photography
BLUR 20
http://oculi.com.au/photographers/tamara-dean/

BLUR MAGAZINE 22
BLUR
11

PHOTO
IGOR VASILIADIS
Russia
211209
2009
analog photography
BLUR 20
http://www.vasiliadis.ru/index.html

BLUR MAGAZINE 22
BLUR
11

PHOTO
JOJI IWASAKI
Japan
Hana
2008
digital photography
BLUR 20
http://www.flickr.com/photos/joji40357817

BLUR MAGAZINE 22
BLUR
11

PHOTO
AKIHISA NAKAMURA
Japan
Briza minor (lat.)
2009
analog photography
BLUR 20
http://www.flickr.com/photos/scape

BLUR MAGAZINE 22
BLUR
11

PHOTO
HKAN STRAND
Sweden
The Peaks of Queensboro Bridge
2010
digital photography
BLUR 20
http://www.strand-photo.com/

BLUR MAGAZINE 22
BLUR
11

PHOTO
NOELLE SWAN GILBERT
USA
The Long Way Around
2005
analog photography
BLUR 20
http://www.noelleswangilbert.com

BLUR MAGAZINE 22
BLUR
11

PHOTO
ALEXEY KURBATOV
Russia
Untitled
2010
analog photography
BLUR 20
http://www.flickr.com/photos/_grizzly_

BLUR MAGAZINE 22
BLUR
11

PHOTO
MIKE HOBAN
USA
Florence
2009
analog photography
BLUR 19
http://www.mikehoban.com/

BLUR MAGAZINE 22
BLUR
11

PHOTO
ELLA SVERDLOV
Israel
The day after
2009
analog photography
BLUR 18
http://www.ellaksverdlov.com/

BLUR MAGAZINE 22
BLUR
11

PHOTO
ELLA SVERDLOV
Israel
Ill scream
2009
analog photography
BLUR 18
http://www.ellaksverdlov.com/

BLUR MAGAZINE 22
BLUR
11

PHOTO
ELLA SVERDLOV
Israel
The possible wind
2006
analog photography
BLUR special edition Polaroid, cover page
http://www.ellaksverdlov.com/

BLUR MAGAZINE 22
BLUR
11

PHOTO
ANTONIO BARROS
France
Untitled
2009
analog photography
BLUR special edition Polaroid
http://www.antoniobarros.fr/

BLUR MAGAZINE 22
BLUR
11

PHOTO
CARMEN DE VOS
Belgium
Read till you need no more...words
2009
analog photography
BLUR special edition Polaroid
http://www.carmendevos.com/

BLUR MAGAZINE 22
BLUR
11

PHOTO
DANIELE PEZZOLI
Italy
Polaromance
2008
analog photography
BLUR special edition Polaroid
http://www.danielepezzoli.it/danielepezzoli/index.html

BLUR MAGAZINE 22
BLUR
11

PHOTO
EVAN BREAREY
USA
Typewriter in Dunes
2010
analog photography
BLUR special edition Polaroid
http://www.flickr.com/photos/15023847@N06/

BLUR MAGAZINE 22
BLUR
11

PHOTO
JENNIFER RUMBACH
Germany
The burning lolipop
2010
analog photography
BLUR special edition Polaroid
http://blog.retina-reflections.de/

BLUR MAGAZINE 22
BLUR
11

PHOTO
JESSICA REINHARDT
USA
Timeless Journey
2010
analog photography
BLUR special edition Polaroid
http://www.dripbook.com/JReinhardtPhoto/splash/

BLUR MAGAZINE 22
BLUR
11

PHOTO
OSCAR HAGBARD
Sweden
The smell of flowers
2009
analog photography
BLUR special edition Polaroid
http://www.oscarhagbard.com/

BLUR MAGAZINE 22
BLUR
11

PHOTO
RICCARDO TESTOLIN
Italy
Magic bus
2010
analog photography
BLUR special edition Polaroid
http://www.flickr.com/photos/rigio/

BLUR MAGAZINE 22
BLUR
11

PHOTO
ZORA STRANGEFIELDS
Germany
But Im keeping the glasses
2008
analog photography
BLUR special edition Polaroid
http://www.zorastrangefields.com/

BLUR MAGAZINE 22
digitalfoto.mbi.hr
Be a better
WILDLIFE
PHOTOGRAPHER BLUR MAGAZINE 22
http://fotomag.net/

BLUR MAGAZINE 22
BLUR MAGAZINE 22
BLUR MAGAZINE 22
http://fotozine.org/

BLUR MAGAZINE 22
project submission

As we already explained in Gallery 24, the aim of this magazine is to provide space for all those amazing
and special photographs, without insisting on certain techniques, tools, instruments or topics. In case
you produced a thematically connected series of photographs, submit your whole photo project!

How? This is very simple:


1. Write some info about your project: where it was taken, what inspired you, what the idea behind was,
which message you are trying to get across and how many photographs there are in your project.
2. Send us your URL where the whole project can be seen.
3. If your project is selected, you will be contacted and asked to provide further detailed information
about the project and yourself (brief biography).

http://www.blur-magazine.com/submission/project-submission/

Which projects do we prefer?

A photo project can be submitted by an author who of our successful photographs suddenly seem as a work over, they have to be somehow connected, parts of a
plans and evolves; such approach is characteristicof of a bunch of different authors. In other words, this is meaningful whole. Although we always publish each
professionals. We are talking about a photographer when we notice lack of our individual signature. photo on a separate page in order to observe and admi
who is no longer an amateur, who no longer explores After this revealing moment of truth, we start to think re it easily, it is expected that all these photographs are
without control and who manages to crystallize his/her and photograph differently. Endless clicking stops and compatible either according to style, theme or a certain
ambitions. there are no more numerous photographs of every si story. Furthermore, we expect to find out something
ngle motive that seems nice and interesting. Hunting additional about the author himself/herself through
This probably happens in the moment when we criti- time starts. Goal - predefined theme. his/her work, something we cannot read in the biogra-
cally observe all of our photographs and find out that phy. When it comes to choosing a theme, we dont wish
our gallery isnt very homogeneous. We usually face this to set any limits. What we value most is a project some-
when creating our own web photo gallery and when we Therefore, a project you submit needs to have same how visualizing and communicating authors opinion
get stuck with how to divide links and themes. Dozens artistic values as those described in Gallery 24. More- on the chosen theme.

Robert, selector of Gallery 24

BLUR MAGAZINE 22
In the last issue of BLUR magazine we asked you in which year BLUR magazine was founded.
The correct answer is 2007.
The first one to answer this question correctly was Gordana Laki (Bosnia and Herzegovina) who wins a book about
advertising photography by a prominent Croatian photographer, eljko Koprolec whose interview you can read in this
issue of BLUR.

Congratulations to the winner!

BLUR MAGAZINE 22
BLURs
AMBASSADOR
FOUND!
In the last issue of BLUR magazine we
challenged you to become the BLURs
ambassador and win a valuable
photography course Basics of Digital
Photography, organized by photo
association Omnibus from Zagreb.

After more than 2 months of


search, we found our ambassador.
It is LANA VIDMAR who promoted
BLUR magazine to 80 of her
friends. Thank you, Lana!

We will contact our ambassador


to explain how to claim her
prize.

Thank you all for participating


and supporting
BLUR magazine!
BLUR MAGAZINE 22
Lets keep
in touch

www.blur.magazine

BLUR MAGAZINE 22