©Marcelo Montecino

Issue #1 – Mercedes, Santiago, 69

Contributors: Marcelo Montecino, Stasha Bajac, Erik Borst, Andrej Filev, Karen Rudd, Michael Ronquillo, Tommy Forbes, Terttu Uibopuu, Rafael Alcacer, Wai Lin Tse, Eduardo & Matheus, Peter Baker, Raoul Gatepin, Bryan Schutmaat, Julien Boast, Chuck Patch,Kurt Manley, Todd Fisher, M.Newton, Francesca Nicolosi, Joni Karanka, Aleksey Myakishev, David Teter, Edwin Monney, Erica Joy, Pietro Castellucci, Mike Dennington, Krzysztof Rost, David Wilson, Yann Faucher, Milicia Amidzic, Marlon Kowalski

Edited by Bryan Formhals

photographsonthebrain.com

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photograph ©Laura Rodari

edited by James Hendrick

Contributors: Laura Rodari, Philip Koch, Joni Karanka, Naveen Jamal, Rafael Alcacer, Kramer O’Neil, Niels Plaumann, Andrej Filev, Raoul Gatepin, David Solomons, Alastair Thompson, Z. Radford, Robert McPeak, Nicola Mazzuia

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photograph ©Michela Heim

forgive us o life
the sin of death
oh baby
you know that dying is fine but maybe
I wouldn’t like death if death were good
not even if death were good

Ra Ra Riot / E. E. Cummings

edited by Ariane Schrack

Contributors: sylvain-emmanuel prieur, Rafael Alcacer, Cristobal Emilio Marquez Martinez (Tobalo), Martin Nicholls, Pauline Magnenat-Fuchs, Xavier Encinas, Michela Heim, Innis McAllister, Julien, Daniele Argentiero, Nastya Tailakova, Ben Anderson, Joni Karanka Luca Romano

For this show, we experimented a bit. Instead of selecting one editor, we allowed anyone to make an edit from the pool by using the Flickr Galleries feature.  Anyone who created an edit was allowed to vote on which edit they thought was the best.  Ariane received the most votes and for good reason, so here edit will be the official show for this month. If you’d like to view some of the other interpretations, you can view them HERE. (Thanks Tiffany!)

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I’ve known Dr. Karanka for a few years now after meeting him through HCSP.  In addition to editing the regular feature Children of Weegee Fortnight, he’s the mastermind behind Dr. Karanka’s Print Stravaganza and a founding member of Mindfist. We had a conversation about his work as well as his various photogrpahy activities.

Where does the name Dr. Karanka come from? Is it true that you have a PHD? Are you a Dr. of photography?

Well, back in the day I had been travelling with Julian, a Scottish mate of mien after a conference. I was going to stick the pictures somewhere, so I needed a name for my account on flickr (don’t remember where I heard about it), so that was it. Many of the people I knew where Dr’s, and I was going to be one, so I stack with the Mr till I eventually got my degree towards the end of last year. So, I was Mr Karanka for years on flickr, but I always knew it would one day change. And I’m not a doctor in Photography, but on Psychology. All my research is on visual perception, so I guess that it does relate in a way…

What came first, the interest in visual perception or the interest in photography? And how do the two relate to each other?

Well, they were very different things for a long time. I used to photograph with my father when I was a kid, but back then I wanted to be a scientist when I grew up. Then I grew up, quitted photography in my teens and became a scientist. During that time I rediscovered photography in a more personal way. When I was a kid most of what I shot were assignments for a magazine, so I had to stick to topic. When you grow up like a precocious editorial photographer you sort of don’t see it having any other purpose. But once I was on my tracks as a researcher, I could sort of see how you could do the same in photography. You explore visual areas… like when you get a flash for the first time and shoot the heck out of it… it opens a unique visual landscape with it’s unique aesthetics… and when you produce/find something interesting you try to further your knowledge of it by testing ideas. For example, you might have this crazy idea that what makes a photograph interesting is the inclusion of biologically meaningful things in unexpected parts of the frame, like eyes, faces, hands, then you shoot a group of photographs that are driven by that idea, and you might be right or wrong. I think that being trained as a researcher makes you methodical. Doesn’t mean that you can’t be mad or produce stuff that you have no control over, but you approach the work in a way in which there is always a way to further the work and keep it coherent.

Continue reading…

©Joni Karanka

Edited by Bryan Formhals and Anne Johnstone

Contributors: Alex Cretey, Kate Kirkwood, Cristian Ordonez, Todd Fisher, Andrew James, Anna Kharina, N. Shrestha, kwybo, Martin Nicholls, Joni Karanka, Greg Flanders, Jack Simon, Marlon Kowalski, Luke Byrne

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