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Another November

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Laura Stevens writes: “Following the ending of a significant relationship in my life, an undoing began. Whilst adjusting to being a single woman, I started to create a photographic narrative based on the experience of losing love—directing other women to portray the gradual emotional and circumstantial stages along the well-trodden track of the broken-hearted.

“By constructing images of the evolving chapters, I was allowed a vantage point from which to view the changes occurring in me, from feelings of pain, confusion, and loneliness towards the reconstruction of my identity as an individual.

“The series of staged performances by different women are enacted to show an intimate moment of adjustment. They are seen isolated, surrounded by textures, colour, and empty spaces in a room of their home in Paris.

“Another November is situated in a deliberately nostalgic present where memories are constructed and irrevocably discolor, looking back to a past not yet acquainted with loss. Yet, it is a reminder that time, the arranger of all things, moves only in one direction.”

Laura Stevens

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Laura Stevens Resume

Laura Stevens received her BA from Leeds Metropolitan University before furthering her studies at the University of Brighton where she received a Master’s in Photography in 2007.

Stevens’ series of narrative portraits often represent and fictionalize personal situations. The domestic landscape serves as a backdrop, as Stevens employs cinematic drama and painterly aesthetics to illustrate themes of intimacy, relationships, and loss.

Peter Berlin | “’70s Sex God Peter Berlin,” Out Magazine

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From Michael Musto’s interview with Peter Berlin for Out Magazine:

MM: Hi, Peter. So your photo show [at ClampArt] consists of all self portraits?

PB: I turned the camera on me because I thought, “My God, I look so good.” At that time, I was very sexually driven and I thought, “Why not take a picture of that?”

MM: What was the most unusual place you had sex in? A bed?

PB: Did I ever have sex in bed? No! A bed is where after sex you go to sleep because you’re so exhausted. But the sex was happening, my God, in the parks. One day I ended up in Central Park, and my God, what a place at night in the summertime, with the smell of blooming trees and flowers. I had a great time in there and in the dungeons. The Mine Shaft [a ‘70s sex club in the Meatpacking District], what a thing it was. I only had the unusual places, and I liked the outdoors—Fire Island, what a place that is.

Read the full interview

Browse the exhibition “WANTED” at ClampArt
Browse all of Peter Berlin’s work at ClampArt

Amy Touchette | “Awareness and Sensitivity on the Street,” tuts+

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From Amy Touchette’s article for tuts+:

Few things are more important as a street photographer than being clear on the context, or circumstances, in which you are photographing. You have decided to use reality as your canvas, and that’s a huge responsibility. Those are real, living and breathing people and places out there, and being sensitive to their perspective while you are pursuing your photography goals is paramount.

With this knowledge in hand, you’ll be clearer on the dynamic you have set up as a photographer, better able to have conversations with bystanders and subjects in terms they will understand, and much more likely to get the photographs you are after.

Here are some important things to keep in mind when you photograph the public.

View the original article

Browse all of Amy Touchette’s work at ClampArt