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LETTER FROM THE PUBLISHER Julio Hirsch-Hardy
EMILY NEVILLE FISHER Timeless Portraits Highlighting the Relationship Between Humans and Nature
DAVID KATZENSTEIN Distant Journeys
ELIZABETH SIEGFRIED Life After Life
FELICE BOUCHER The Bedroom Wall
LOUIS SAUTER Black and White Nude Photography in Stunning Landscapes
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NATALIE MORAWSKY Flora Transfigured
SALEM MCBUNNY Photography as an Emotional Therapy
LISA MAZZEI Everyday Mystery, Incommunicability, and Loneliness Through Cinematic Photography
LISE JOHANSSON Identity, Place, and Belonging
REBECCA MOSEMAN Photographing People With Compelling Stories to Tell
MARCO CHELI Fortza Paris
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CONTENT
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LETTER FROM THE PUBLISHER Julio Hirsch-Hardy
EMILY NEVILLE FISHER Timeless Portraits Highlighting the Relationship Between Humans and Nature
DAVID KATZENSTEIN Distant Journeys
ELIZABETH SIEGFRIED Life After Life
FELICE BOUCHER The Bedroom Wall
LOUIS SAUTER Black and White Nude Photography in Stunning Landscapes
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120
92 80 92 104 120 136 156
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NATALIE MORAWSKY Flora Transfigured
SALEM MCBUNNY Photography as an Emotional Therapy
LISA MAZZEI Everyday Mystery, Incommunicability, and Loneliness Through Cinematic Photography
LISE JOHANSSON Identity, Place, and Belonging
REBECCA MOSEMAN Photographing People With Compelling Stories to Tell
MARCO CHELI Fortza Paris
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Dear Readers, Places shape the stories of our lives. Individual and collective memories are intrinsically linked to the concept of space. Photography has the capacity of capturing the essence of a place, its ambiance, and of documenting an environment in both a subjective and objective way. As such, it is the perfect tool for studying the concepts of “sense of place” and “place attachment”, and the relationship between people and spatial settings. Elizabeth Siegfried’s project Life After Life herein is about her profound attachment to her ancestral summer home, the sense of Nature, the sadness of impermanence, and the passage of time. These concepts are also studied by Lisa Mazzei and her work on the many possibilities of portraying a place that is well-known to her rather than its objective documentation, developing the themes of everyday mystery, incommunicability, and loneliness. Also studying the bonds between people and places and their impact on the private and public spheres, Lise Johansson’s distorted realities are constructed from physical miniatures of landscapes and architectural spaces combined with textures and objects. Furthermore, Emily Neville Fisher’s portraits and landscapes are intended to reflect a sense of timelessness, representing only the essential to highlight the relationship between people and place, whereas Louis Sauter’s combination of landscape and nude photography puts emphasis on the relationship between the models and the location. Photography also allows the artist to show a different side of the subject photographed, such as Natalie Morawsky’s Flora Transfigured that aims to exhibit the familiar in an unfamiliar way, David Katzenstein’s Distant 4
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Journeys, a collection of work spanning decades, offering the viewer “the experience of being part of a moment”, Rebecca Moseman’s search for the inner soul of her subjects through timeless black and white portraits, or Marco Cheli’s documentation of ancestral traditions such as the Palio di Siena. In other cases, art can be a cathartic and liberating form of expression. Felice Boucher stated herein: “My camera is the vehicle that allows the interaction to feel normal and safe”. Her dark portraits reveal to the viewer both a hidden side of her subject and a part of herself. Salem McBunny also uses photography, and specifically self-portraits, as emotional therapy, creating stunning images that have taught him to appreciate the physical changes occurring to him and the passage of time. Regardless of the motivations and intents behind each of these talented artists’ work, one thing remains clear: photography has the power to tell stories and of creating as well as documenting memories.
Julio Hirsch-Hardy Publisher
Maureen Mathiot Editor
Laura Perera Art Director
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Dear Readers, Places shape the stories of our lives. Individual and collective memories are intrinsically linked to the concept of space. Photography has the capacity of capturing the essence of a place, its ambiance, and of documenting an environment in both a subjective and objective way. As such, it is the perfect tool for studying the concepts of “sense of place” and “place attachment”, and the relationship between people and spatial settings. Elizabeth Siegfried’s project Life After Life herein is about her profound attachment to her ancestral summer home, the sense of Nature, the sadness of impermanence, and the passage of time. These concepts are also studied by Lisa Mazzei and her work on the many possibilities of portraying a place that is well-known to her rather than its objective documentation, developing the themes of everyday mystery, incommunicability, and loneliness. Also studying the bonds between people and places and their impact on the private and public spheres, Lise Johansson’s distorted realities are constructed from physical miniatures of landscapes and architectural spaces combined with textures and objects. Furthermore, Emily Neville Fisher’s portraits and landscapes are intended to reflect a sense of timelessness, representing only the essential to highlight the relationship between people and place, whereas Louis Sauter’s combination of landscape and nude photography puts emphasis on the relationship between the models and the location. Photography also allows the artist to show a different side of the subject photographed, such as Natalie Morawsky’s Flora Transfigured that aims to exhibit the familiar in an unfamiliar way, David Katzenstein’s Distant 4
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Journeys, a collection of work spanning decades, offering the viewer “the experience of being part of a moment”, Rebecca Moseman’s search for the inner soul of her subjects through timeless black and white portraits, or Marco Cheli’s documentation of ancestral traditions such as the Palio di Siena. In other cases, art can be a cathartic and liberating form of expression. Felice Boucher stated herein: “My camera is the vehicle that allows the interaction to feel normal and safe”. Her dark portraits reveal to the viewer both a hidden side of her subject and a part of herself. Salem McBunny also uses photography, and specifically self-portraits, as emotional therapy, creating stunning images that have taught him to appreciate the physical changes occurring to him and the passage of time. Regardless of the motivations and intents behind each of these talented artists’ work, one thing remains clear: photography has the power to tell stories and of creating as well as documenting memories.
Julio Hirsch-Hardy Publisher
Maureen Mathiot Editor
Laura Perera Art Director
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David Katzenstein Distant Journeys
N © David Katzenstein by Sherrie Nickol
ew York fine arts photographer David Katzenstein has travelled throughout the world on his lifelong artistic journey as a visual chronicler of humanity. Using subject, light, and composition to create visual dynamism, he sets the stage for the viewer to be in the moment with him. His goal is to allow viewers to experience a scene through his eyes—as if they were standing there beside him. Steeped in the tradition of documentary photography, Katzenstein imbues his work with immediacy, emotional engagement, and a deep respect for his subjects. Out of his fascination with ritual, over the years Katzenstein has photographed pilgrimage as practiced in different cultures. While visiting Memphis in the spring of 2017, he was inspired to expand on this theme by embarking on the project OUTSIDE THE LORRAINE MOTEL: Journey to a Sacred Place. The artist was introduced to the Mid-South region in the late 1980s while on assignment for Rolling Stone, documenting the roots of the blues in rural communities of Mississippi and Arkansas. An archive of online exhibitions and projects can be viewed at www.davidkatzenstein.com. In 2018, Katzenstein formed a non-profit organization whose mission is to create and mount exhibitions of photographs depicting the human experience. (www.thehumanexperienceproject.net)
All images © David Katzenstein, from the series Distant Journeys
Right page, top: Road to Market - Senegal, from the series Distant Journeys, 1987 Right page, bottom: Train Station - Touba, Senegal, from the series Islam in Africa, 2004 Following spread: Sacred Tree - Touba, Senegal, from the series Islam in Africa, 2004
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David Katzenstein Distant Journeys
N © David Katzenstein by Sherrie Nickol
ew York fine arts photographer David Katzenstein has travelled throughout the world on his lifelong artistic journey as a visual chronicler of humanity. Using subject, light, and composition to create visual dynamism, he sets the stage for the viewer to be in the moment with him. His goal is to allow viewers to experience a scene through his eyes—as if they were standing there beside him. Steeped in the tradition of documentary photography, Katzenstein imbues his work with immediacy, emotional engagement, and a deep respect for his subjects. Out of his fascination with ritual, over the years Katzenstein has photographed pilgrimage as practiced in different cultures. While visiting Memphis in the spring of 2017, he was inspired to expand on this theme by embarking on the project OUTSIDE THE LORRAINE MOTEL: Journey to a Sacred Place. The artist was introduced to the Mid-South region in the late 1980s while on assignment for Rolling Stone, documenting the roots of the blues in rural communities of Mississippi and Arkansas. An archive of online exhibitions and projects can be viewed at www.davidkatzenstein.com. In 2018, Katzenstein formed a non-profit organization whose mission is to create and mount exhibitions of photographs depicting the human experience. (www.thehumanexperienceproject.net)
All images © David Katzenstein, from the series Distant Journeys
Right page, top: Road to Market - Senegal, from the series Distant Journeys, 1987 Right page, bottom: Train Station - Touba, Senegal, from the series Islam in Africa, 2004 Following spread: Sacred Tree - Touba, Senegal, from the series Islam in Africa, 2004
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Left page, top: The Greeting - Touba, Senegal, from the series Islam in Africa, 1987 Left page, bottom: Sheppard - Morocco, from the series Distant Journeys, 1988 Above: Ribbon Cutting - Imilchil, Morocco, from the series Distant Journeys, 1983
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Left page, top: The Greeting - Touba, Senegal, from the series Islam in Africa, 1987 Left page, bottom: Sheppard - Morocco, from the series Distant Journeys, 1988 Above: Ribbon Cutting - Imilchil, Morocco, from the series Distant Journeys, 1983
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It is difficult for me to remember when the passion of discovery first entered my consciousness. It might have been the distant memory of gripping my father’s back at the age of three as we shared the saddle of a frisky grey mare on a beach in Cuba. Or it could have been the excitement and fear of peering over a precipice in Norway at the age of seven, watching a roaring waterfall crash into the sea 500 meters below. If there was a single event that sparked a life of exploration it is probably now mixed together with countless experiences from travels far and wide.
Above: Tentpyramid - Giza, Egypt, from the series Egypt People and Places, 1985 Right page, top: Young Farmers - Garagos, Qus, Egypt, from the series Egypt People and Places, 1985 Right page, bottom: Bathers - Dakhla Oasis, Egypt, from the series Egypt People and Places, 1985 Following spread, left page top: Street Crossing - Varanasi, UP, India, from the series A Passage to India, 1995 Following spread, left page bottom: Henna Hands - Udaipur, Rajasthan, India, from the series A Passage to India, 1995 Following spread, right page: Taxi - Gujarat, India, from the series A Passage to India, 1997
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It is difficult for me to remember when the passion of discovery first entered my consciousness. It might have been the distant memory of gripping my father’s back at the age of three as we shared the saddle of a frisky grey mare on a beach in Cuba. Or it could have been the excitement and fear of peering over a precipice in Norway at the age of seven, watching a roaring waterfall crash into the sea 500 meters below. If there was a single event that sparked a life of exploration it is probably now mixed together with countless experiences from travels far and wide.
Above: Tentpyramid - Giza, Egypt, from the series Egypt People and Places, 1985 Right page, top: Young Farmers - Garagos, Qus, Egypt, from the series Egypt People and Places, 1985 Right page, bottom: Bathers - Dakhla Oasis, Egypt, from the series Egypt People and Places, 1985 Following spread, left page top: Street Crossing - Varanasi, UP, India, from the series A Passage to India, 1995 Following spread, left page bottom: Henna Hands - Udaipur, Rajasthan, India, from the series A Passage to India, 1995 Following spread, right page: Taxi - Gujarat, India, from the series A Passage to India, 1997
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Distant Journeys represents many collections of work spanning decades. Early in my career, I became enthralled with exploring new places, and as a young photographer, I was able to combine my two passions, photography and travel. As a people person, I enjoy the challenge of placing myself in physical situations often foreign and remote. From the beginning, I followed in the footsteps of Henri CartierBresson and his disciples and photographed only with a Leica Rangefinder and 35mm lens. Composing in-camera was very important to my development as an artist—to work within the limitations of the 35mm format actually freed me up to concentrate in real-time on what should and should not be captured within the frame in a split second. While studying studio art and history at university, I found influences from both artists
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and writers. The novels of Vladimir Nabokov, with their intense attention to visual detail in each sentence, taught me the significance of succinct visual composition. I also studied photography independently with the artist Barkley L. Hendricks, who stressed the importance of using the entire frame to both guide the viewer and to create visual tension. Early on, I realized that using a 35mm wideangle lens to photograph scenes with people meant that I needed to actually enter the scene, to get close to my subjects. I never wanted to be an observer from afar. Over time, I found ways to be in the middle of the moment and yet not draw attention to myself. My goal is to offer my viewers the experience of being part of a moment—not just a distant witness to it. I want to create a journey through journeys for the viewer.
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Distant Journeys represents many collections of work spanning decades. Early in my career, I became enthralled with exploring new places, and as a young photographer, I was able to combine my two passions, photography and travel. As a people person, I enjoy the challenge of placing myself in physical situations often foreign and remote. From the beginning, I followed in the footsteps of Henri CartierBresson and his disciples and photographed only with a Leica Rangefinder and 35mm lens. Composing in-camera was very important to my development as an artist—to work within the limitations of the 35mm format actually freed me up to concentrate in real-time on what should and should not be captured within the frame in a split second. While studying studio art and history at university, I found influences from both artists
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and writers. The novels of Vladimir Nabokov, with their intense attention to visual detail in each sentence, taught me the significance of succinct visual composition. I also studied photography independently with the artist Barkley L. Hendricks, who stressed the importance of using the entire frame to both guide the viewer and to create visual tension. Early on, I realized that using a 35mm wideangle lens to photograph scenes with people meant that I needed to actually enter the scene, to get close to my subjects. I never wanted to be an observer from afar. Over time, I found ways to be in the middle of the moment and yet not draw attention to myself. My goal is to offer my viewers the experience of being part of a moment—not just a distant witness to it. I want to create a journey through journeys for the viewer.
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To give me greater access and independence in my projects, I decided early on to study both Spanish and Arabic. My hope was to be proficient enough in both languages to be able to have simple discourse within rural communities, which in turn opened up actual doors throughout my years of working around the globe. I chose those two languages because they could be used in more than 40 countries. When travelling somewhere I do not know the language, I carry dictionaries with me, try to learn beforehand a set of greetings and common phrases, and when needed, hire a local translator to accompany me to make sure that my intent is clear and to show respect for the culture and society.
I was a latecomer to digital photography, and it wasn’t until 2008 that I shifted from using my Leica M series cameras and film to digital. Currently, I shoot with the Canon 5D Mark IV and have transitioned over to using Sigma art lenses. I use Adobe Lightroom to manage all of my work: organization, archiving, management of digital assets, and printing for exhibitions. For my fine art projects, I only use natural light, and in commissioned work where artificial lighting is necessary, my goal is usually to replicate or enhance the experience of natural lighting. My equipment choices allow me to continue documenting the world in my own way, without drawing attention to the gear itself.
“My goal is to offer my viewers the experience of being part of a moment.”
Previous spread: Krishna Widows - Vrindavan, UP, India, from the series Ritual, 1995 Right page, top: Vaporetto - Venice, Italy, from the series Distant Journeys, 1989 Right page, center: Young Bathers, Brittany, France, from the series Etés français, 1999 Right page, bottom: Baths - Budapest, Hungary, from the series Distant Journeys, 2004 Following spread: Hatsoldiers - Cusco, Perú, from the series Distant Journeys, 1984
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To give me greater access and independence in my projects, I decided early on to study both Spanish and Arabic. My hope was to be proficient enough in both languages to be able to have simple discourse within rural communities, which in turn opened up actual doors throughout my years of working around the globe. I chose those two languages because they could be used in more than 40 countries. When travelling somewhere I do not know the language, I carry dictionaries with me, try to learn beforehand a set of greetings and common phrases, and when needed, hire a local translator to accompany me to make sure that my intent is clear and to show respect for the culture and society.
I was a latecomer to digital photography, and it wasn’t until 2008 that I shifted from using my Leica M series cameras and film to digital. Currently, I shoot with the Canon 5D Mark IV and have transitioned over to using Sigma art lenses. I use Adobe Lightroom to manage all of my work: organization, archiving, management of digital assets, and printing for exhibitions. For my fine art projects, I only use natural light, and in commissioned work where artificial lighting is necessary, my goal is usually to replicate or enhance the experience of natural lighting. My equipment choices allow me to continue documenting the world in my own way, without drawing attention to the gear itself.
“My goal is to offer my viewers the experience of being part of a moment.”
Previous spread: Krishna Widows - Vrindavan, UP, India, from the series Ritual, 1995 Right page, top: Vaporetto - Venice, Italy, from the series Distant Journeys, 1989 Right page, center: Young Bathers, Brittany, France, from the series Etés français, 1999 Right page, bottom: Baths - Budapest, Hungary, from the series Distant Journeys, 2004 Following spread: Hatsoldiers - Cusco, Perú, from the series Distant Journeys, 1984
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Some of my recent work has taken me to India, and in 2019, I photographed at the Kumbh Mela, a Hindu pilgrimage to bathe in the sacred waters of the Ganges River. Over a five-week period that year, about 150 million people made the journey to Allahabad (officially known as Prayagraj) in the state of Uttar Pradesh, which turned out to be the largest gathering of humanity in history. I was there for the last week of the festival, and on the final day it was estimated that 20 million people bathed in the river—not a place for someone who does not enjoy crowds. I spent countless hours walking with the throngs, and at one point was even in danger of being trampled had my guide not pulled
me away from an impending stampede; but the feeling of participating in this gathering was an experience of pure joy and human positivity. My current exhibition, OUTSIDE THE LORRAINE: A Photographic Journey to a Sacred Place, opened in April 2021 at the National Civil Rights Museum in Memphis, Tennessee. It is part of “The Human Experience Project”, a non-profit that I co-founded to support lifelong learning, advance knowledge, and strengthen our communities. Like my photographs in Distant Journeys, this body of work documents people’s stories, inviting viewers to explore their own connection with the broader human narrative.
Above: Hooligans - Urubamba Valley, Peru, from the series Distant Journeys, 1984 Right page, top: Branch Carrier - Urubamba Valley, Peru, from the series Distant Journeys, 1983 Right page, bottom: Dock - Lake Atitlán, Guatemala, from the series Distant Journeys, 1988 Following spread: Students - Bhutan, from the series Distant Journeys, 1999
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Some of my recent work has taken me to India, and in 2019, I photographed at the Kumbh Mela, a Hindu pilgrimage to bathe in the sacred waters of the Ganges River. Over a five-week period that year, about 150 million people made the journey to Allahabad (officially known as Prayagraj) in the state of Uttar Pradesh, which turned out to be the largest gathering of humanity in history. I was there for the last week of the festival, and on the final day it was estimated that 20 million people bathed in the river—not a place for someone who does not enjoy crowds. I spent countless hours walking with the throngs, and at one point was even in danger of being trampled had my guide not pulled
me away from an impending stampede; but the feeling of participating in this gathering was an experience of pure joy and human positivity. My current exhibition, OUTSIDE THE LORRAINE: A Photographic Journey to a Sacred Place, opened in April 2021 at the National Civil Rights Museum in Memphis, Tennessee. It is part of “The Human Experience Project”, a non-profit that I co-founded to support lifelong learning, advance knowledge, and strengthen our communities. Like my photographs in Distant Journeys, this body of work documents people’s stories, inviting viewers to explore their own connection with the broader human narrative.
Above: Hooligans - Urubamba Valley, Peru, from the series Distant Journeys, 1984 Right page, top: Branch Carrier - Urubamba Valley, Peru, from the series Distant Journeys, 1983 Right page, bottom: Dock - Lake Atitlán, Guatemala, from the series Distant Journeys, 1988 Following spread: Students - Bhutan, from the series Distant Journeys, 1999
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