Innholdsfortegnelse for #3 2020 i Artdoc Photography Magazine

“Photography is the language of the world. And we love to speak it, just like you.– The Artdoc Team Dear Reader, We have the honour to bring in Issue #3 of Artdoc Photo Magazine three protagonists in modern photography: Stephen Shore, John Riddy and Roger Ballen. Stephen shore was the forerunner of the movement that changed landscape photography’s history, the New Topographics. No longer did photographers look to the sublime in nature, as did Ansel Adams. Instead, they directed their big field cameras to the vernacular world, including billboards and lampposts. British photographer John Riddy took a step further. He photographs buildings, but his central theme is the abstract quality of the place and space. His photographs have archetypical qualities. He states in the interview: “I hope my photographs resonate…

“The images of my series Beth - Poetic Explorations are digitally merged in several layers. In this process, surreal colouring and double exposures are essential techniques to address the world’s simultaneity and interpretation. The images tell a story about Beth as an identity who personifies a poetic utopia of the sensual world experience. Beth is not a portrait of a single woman but is an emerging lyrical archetype guiding my exploration into the aesthetic echoes of female poetry and strength in the context of art photography. My quest is for an expression of emancipated femininity, with an independent vibrancy and the courage to be vulnerable and emotional. Beth moves through my surreal imagery landscapes, which tells of vitality, longings, magic, and fantasies. She is daring, almost always successful in her…

The scent of the past and abandonment reassure me. The noise of today’s life awakens in me a deep desire to return to the natural life. Using metaphorical objects that evoke an active melancholy, you see a twilight that wanders in the silence of the parks, between statues and the scent of the rain. My images are permeated with my memories and emotions. I would describe my photography as “emotional photography”. When I photograph an object, a garden or a statue, I never try to show it directly. I want to show the viewer the feeling that I get from a specific object. I took this series of photographs with various analogue cameras and mounted the images on yellowed pages of old books. The texture suggests the concept of old…

Although the French subtitle of Camera Lucida is ‘note sur la photographie’, the book can be better considered a mystical search for the deceased mother of the author, in which photography serves as a medium: the via fotografica. Although the photograph of Barthes’ mother, on which he murmurously meditated, becomes a topic only in the second part, in the first part one can already feel the tension of a longing for a mystical union with the object of the photograph. It sounds more like an excuse when, at the end of part one, Barthes says that he still hasn’t found the essence of photography and therefore uses photographs of his recently deceased mother as a new guideline. He doesn’t ‘really’ meet her in any of these photographs until he discovers…

“The earth is not only beautiful from the sky – it also has many paradoxes and hidden meanings that only become visual from above. I observed secured, poorly, and geometrically formed prison courtyards of Lithuanian prisons from above with a drone. What has been hidden for many years by fences and high walls can now freely be viewed by drone flights. From above, I studied various details of prisons and the life of prisoners. Inmates can only see the sky: they have no windows and do not have access to view the horizon line. In my series, the world of unlimited freedom of drones meets the captivity of prisoners. I indulge in prison yards’ daily life and empathize with the rituals of people trapped in the circle of eternal repeat.…

Rabichon’s works look like Dadaistic collages in which newspaper clippings have been replaced by photographic excerpts from his daily life have replaced newspaper clippings. His photographs bring the viewer back to a time where subjectivity was more important than objectivity. Rabichon plays with many different techniques. His photos are composed of multiple layers. He uses primitive but also advanced technologies, like an airport security scanner. By having X-rays reflect on objects, he creates abstract translucent still lifes that serve as a photographic “cut-out” in collages. During the production process in the darkroom pixels and chemistry are merged into one image, with which Rabichon is able to develop hybrid photos. “Taking photos with a normal camera is less interesting for me than making prints on light-sensitive paper. To obtain authentic images…