Loves Category

“I often feel the portrayal of women is a battleground,” Vicki King, a 24 year-old photographer tells us of the politics that surround her representations of strong, calm and occasionally nude female subjects. ”An image of the female body can be so loaded—I never want my work to be paralyzed by that.”

Currently in her final year of a photography degree at London College of Communication, King cites photographers Francesca Woodman and Anne Brigman, as well as writer Anaïs Nin, as the women who have most inspired her aesthetic style and creative process. “[They are] women who aren’t afraid to express female desire and sexuality in a free and unburdened manner.”

Vicki’s images are surreal, otherworldly and fantastical, while still remaining firmly grounded in reality, and she “always find[s herself] most drawn to people who can emulate that”. The subjects she chooses—her favorite, of which, is her sister (“For a long time when I first started out she was the only person I would take pictures of”)—may look as though they’re on the verge of being swept away or luring us into an unseen rabbit hole, but they’re doing so in familiar, actual locations like parks, bedrooms and theme parks.

Studying in a city like London, she tells us, has a lot of benefits—namely for the fact that it allows her to be exposed to so many like-minded creatives.

“I think in the UK at the moment a lot of young artists are working in a staged and fictitious manner, playing with ideas of altered realism, perhaps this comes from a dissatisfaction with what is going on around them, but its definitely something I find to be relatable with my own work.”

You could be mistaken for thinking you were looking at stills from films—shot either from before 1980 or in the hazy, nostalgic style used by the likes of Sofia Coppola—when scrolling through the work of Norwegian art and photography student Michela Heim. The 28 year-old’s work is filled with shots of quiet streets and moments of solitary introspection, and benefits from her patience and trust that the moments worth capturing will show themselves at the right moments.

“Even though I love staged photography, I haven’t done much of it. Yet,” Michela told us of her affinity with spontaneous moments. “So most of my photographs are results of a moment of honesty. Sometimes I ask the person to freeze or turn their head a little to get a better composition.”

“I see many people using turned-away or hidden faces as an expression in their photography. There’s something haunting about it and it also invites the viewer to see themselves in the photograph, in a way,” Michela, who says she is “very inspired by Anni Leppälä”—a photographer who rarely reveals her subjects’ identities—explained. Indeed, in her pictures we are able to glean and imagine more about the lives of the people within the frame than, perhaps, we would be able to were we able to see their faces. They are the people we already know, and we are left walking behind them, waiting for them to turn around and remember we’re there.

You can see more of Michela’s work on her Flickr stream.

Beneath the dewy, muted tones of his pictures, lies an intention Jesse Hlebo has to make his subjects as awkward as possible. Whether the Brooklyn-based photographer is shooting bands he loves or taking portraits of his nearest and dearest, Jesse looks for “people challenged by physical and psychological endurance induced by tension. I’m interested in the ensuing uncomfortability that occurs.”

The Parsons graduate’s portfolio is filled with images of his subjects shrinking into themselves, avoiding being touched by disembodied hands and on the verge of tears. In his shots of bands like The Hundred in the Hands, Zs, Boredoms, Battles and Okie Dokie you’ll encounter bleeding gashes, people unable to remove themselves from folding chairs and anonymous, nude models crouching alongside the musicians.

“In general I prefer to work with people I know,” Jesse told us when we asked how he selects the artists he shoots. “That way I already sort of know enough about them to know what makes them uncomfortable. I like using photographic sessions to see how far I can push them. At the same time, I really enjoy applying that approach to people I don’t know. There is typically an expected disconnect that is then pushed further or brought closer by the compromising positions I implement.”

In 21 year-old photographer Maya Fiala Grau‘s pictures, we are exposed to a view of Spain so rarely seen in any other forms of art. There are no flamenco dancers, running bulls or siestas here, but rather a crisp and contemporary portrait of what it means to be a young person in such a picturesque pocket of the world.

Maya’s hometown of Cadaqués is the place she returns to (from Barcelona, where she is in her third year studying photography) when she needs inspiration, just as visionaries of the past did.

“It is a really beautiful place,” Maya tells us. “Growing up in it has made me appreciate beauty when I see it. Other notable artists like Mai Fren, Salvador Dalí, Pablo Picasso, Marcel Duchamp, Henri-François Rey, Melina Mercouri and Mourice Boitel spent time there and their work was inspired by the beauty of the town.”

“I can’t describe the feeling I have while I take a picture,” Maya explained when we ask about the effect her practice has on her. “I lose awareness of everything but the present moment. I forget who I am. I lose all sense of time. When I have my camera with me and something catches my attention (a person or landscape) I have to photograph it. I usually see the picture before I take it.”

When we first discovered the work of New York-based Parsons graduate Joe Amella Jr., we were struck by the contrast that we weren’t aware could exist within a single portfolio. The 22-year-old’s catalogue of work ranges from intimate and candid images of weekend getaways to grand, high-concept shots of people indulging in sinful pleasures. Eager to learn more about his process, we asked Joe about where it all began.

On his first photographic pursuits:

I started taking pictures when I was around seven years old. I had a Mickey Mouse point and shoot as well as other cheap 35mm ones. Whenever my parents would take us on vacation, [they] would typically lounge around the resort all day leaving me to run around causing mischief with my camera. I’d also have a little water-proof case for one of them so when I’d snorkel I’d shoot all the tropical fish.

On shooting in the city:

Honestly I can’t stand photographing throughout New York City. Shooting is a therapeutic process for me and with the amount of distractions there are on the streets, I can’t relax and things are rushed. Yet I’m intrigued with the city in the early morning (3- 5am) completely void of people. For the city that never sleeps, it’s great to see all these quiet spot lit locations and imagine a noir death scene.

My favorite spots are those I can escape to, so in the small town of New Paltz and various spots in Long Island where I’m from. When I’m not shooting people I love to capture the textures and patterns of my surroundings. Filling my frame with a lush of detail and color and allowing the eye to travel throughout the composition is a form of abstraction I’ve come to practice regularly.

On his series “Indulgence” and “What’s Your Fantasy?”:

As my academic career came to a close I looked back on the work I created and only then was I able to assess that my work revolved around desiring. Growing up I never had been comfortable with my body image and sexuality and constantly been reminded of it by others—I wished to escape it all, I’d constantly fantasize and isolate myself, wishing for a better future. Man’s downfall if you will, the conscious decision to want—to strive and dream of all the possibilities to the point where it becomes fetishization. “Indulgence” came about when my freshman seminar professor Carrie Levy responded to my pessimism by saying “Joe, name five things that you DO like”.

1. Food

I think photography was second…It’s hard to remember back to a time where I felt unadulterated joy as a kid but it was probably while eating.

I had a hard time in school trying to hang onto a project but what Carrie said stuck with me. I wanted something exciting, something loud, something fun. Which got me thinking: If you had the possibility to gorge yourself in copious amounts of your favorite food in one sitting would you do it? It was thrilling to watch and participate in (I was pizza). You lose yourself in some moments, and a few of my select favorite shots were close-ups of faces so covered that it began to abstract and become another entity. I’ve never been happier to be a voyeur than behind the lens during this. Seeing the inner glutton come out in people made me a happy Italian as well.

“What’s Your Fantasy” is an ongoing series in which quite literally serves to make the dreams of my subjects into a reality. After “Indulgence” I wanted something that would get people excited again while still holding true to what I honestly enjoy. I spent a lot of time thinking alone about what or who I could become and I still do, and I think it’s something that haunts many of us but to have a chance to act it out was something I wanted my subjects to experience. The question can be interpreted in different ways as well, it doesn’t just imply a career but a lifestyle or changing aspects of oneself can be examples, even an absurd fantasy like becoming a Unicorn.

My father is a hardcore New York Yankees fan and breathes baseball. Growing up he played quite often until an accident with his shoulder disabled him from pursuing it too seriously so his desire was lost. His image stands for itself in my opinion, the man already owned the entire Yankees outfit, finding all we needed was easy. It’s still a work-in-progress and I plan to add to it in the future.

On the differences between these high-concept pieces and his more personal work:

Working conceptually I strategize with my subject for a particular mood or theme prior to shooting by giving insight of the constructed image in my head. I tend to be on the shy side and a perfectionist at that, so creating a harmony with someone I don’t know is a bit difficult, especially in the studio…What usually lasts a few hours is an intimate journey with me and by the end of it I bet you’ll be convinced there’s some screw loose and the more one knows me already, the more outlandish I’ll be.

Now candid is a whole other realm. Straight photography is more about encompassing what the model brings to the lens to be successful. Whether it’s the subject’s interaction with their environment and the composition observed, or their physical attributes that draw one in, the eye has to be decisive. I love shooting candidly, It’s like a game of cat and mouse and I tend to become more aggressive in getting that perfect shot.

I like individuals that exude a ‘pressure’ in a sense. Those who put themselves out there, know what they want, and can perform for me. I connect best with those that want to be photographed by me.

For 25 year-old Bratislavan photographer Zuzana Mitošinkovie, the path into photography was a surprisingly instant and instinctual one.

“I was studying in Brno, Czech Republic [in 2008] and somehow I found out I wanted to be a photographer. Maybe the change of climate or different people I met had awoken it in me, or maybe it was because I watched a lot of films and the idea of capturing  enchanted me. So I started photographing. I think it is one of the best ways of expressing yourself.”

Zuzana’s approach to her craft is very subtle and spontaneous, intent on capturing delicate moments of unassuming women sleeping, exploring and interacting with animals or their surroundings.

“Girls and women always have been, and will be muses to me,” Zuzana told us when we asked why she preferred having the fairer sex in front of her camera. “A woman’s body is much more aesthetic [than a man's] and a girl’s personality is connected with gentleness, love, secrecy and that is exactly what I want to have in my photographs. Also, women and girls love being photographed.”

The wildlife element to her images transports them from impromptu snapshots to ethereal portraits. In them, girls balance owls on their forearms, cuddle rabbits (and each other) gently mount horses and wade into vast lakes (her favorite places to shoot in her hometown include Lake Cunovo and the river Danube). For Zuzana, the experiences her heroines have in nature is inherent to their humanity.

“I think that something within that relationship [between human and animal] is magical. Any animal represents a piece of nature to me and therefore I connect nature with people, as I think people should live in a harmony with nature and not damage it (like they do now).”

If there’s anything more powerful and evocative than a strong woman staring into a camera’s lens, it’s an image of four women, linked at their arms and daring the camera to come closer. Twenty-one year old Bratislavan photographer Michal Pudelka channels the idea of tribes of women in his high-concept fashion editorials, which feature explorative young women navigating theme parks, regal penthouse suites and expanses of nature.

“I like to camouflage my opinions into the metaphors, so not everything is so obvious,” Michal told us of his approach to photography as a form of communicating. “In my recent fashion editorials I’m focusing on a concept of similarities with a differences, there are many social groups where everyone look the same or at least try to look the same, but is it really good to hide our real insides? Is it really that necessary to go with the flow?”

Amongst his portfolio of images that often border on silly or surreal are a collection of images Michal calls his “Family Photo Album“, which features shots of his best friend (and shoot producer) Katarina Gyu, and his fiancé David. “The emotions that I try to translate into my Family Photo Album are so personal that only [the] two of them can really perform it.” The work in this series allows Michal freedom he rarely indulges in otherwise, as there is no analysis of form.

In his teenage years, Michal dreamed of being a fashion designer. After picking up a camera less than two years ago, his newfound passion merged with the existing one and he began to focus on new ways of showcasing style through photography and his own personal dreams and desires.

“I’m amazed by old movies from 1920s until 1980s, the vibe of electronic sounds [in music] and poetry from young poets…My work is very reflective to me; there are no concrete extents or limits.”

Petra Collins is a stalwart for girls. The 18 year old photographer from Toronto first picked up a camera at age 15 and since then has dedicated herself to capturing intimate images of blossoming adolescence and explorative young women with skill and maturity beyond her years. She’s also the founder of The Ardorous, a web space that showcases the works of other young, female artists as a cohesive collective.

“I started the site about a year ago,” Petra told us of its beginnings. “I wanted to create a platform for talented female artists to get their work seen—which I felt our world was lacking…I look for girls/women with work that is not only beautiful but is inspiring and has a message, also someone who is doing something new, something that catches my eye.”

While her exploration into femininity has earned her many fans—among them Richard Kern and Rookie editor Tavi Gevinson, who enlisted Petra to create a series of themed shoots each month—it’s not been without controversy. In a recent MTV news piece, Petra discusses the irony of shooting provocative and assertive images for stylized erotic photography publication Jacques. At the time she was just 17 and therefore not legally permitted to purchase the magazine that featured her images.

“I think people aren’t comfortable with feminine sexuality,” Petra explained to us when we asked about the oft-used “controversial” description attached to her work. “I find people get uncomfortable when a women is expressing her sexuality instead of repressing it or conforming to the male gaze (objectification). In our society, I think nude or sexually suggestive images of women are automatically seen as negative and objectifying. We need to make room for the female view of sex and accept it. Until then we are going to be uncomfortable with photos like mine.”

While sexuality plays such an important role in her work, what Petra is really focussed on is using her camera to represent something within all teenage girls.

“They are so interesting and at the peak of discovery,” she told us of her preferred, adolescent subjects. “They are so beautifully awkward. I like to shoot girls that can tell a story instead of just look pretty.”

Travis Summer Deuel is a 28-year-old photographer from California whose work is entirely representative of his middle name. According to his photos, the sun perpetually shines and carefree 20-somethings do nothing but hike, skinny-dip and visit Burning Man. It’s a perception we can wholly get behind.

“My birthday falls on July 3rd and my first dog was a golden retriever named Summer, so I’d have to say I am quite partial towards it,” Travis told us when we asked what role the warm weather plays in his direction. “I’m not sure if it’s because of my middle name or just because I find myself much more carefree in the summer due to nostalgic reasons or what have you. Either way, I love shooting when it’s warm and people are comfortable and having fun. So I think it just naturally lends itself to my lifestyle and where I live and when I have free time what I choose to fill it with.”

Before the weather turned crisp, Travis spent that free time exploring as much of the west coast as he could.

“Some friends and I recently purchased 30 acres in a small town outside of Yosemite in the Sierra foothills, so we went on quite a few trips up there to do some exploring and recreating. We found amazing waterfalls to slide down, huge lakes to sail/swim in, awesome bridges to jump off, and many many other natural treasures. Some of my favorite memories from this summer are of late night surfing sessions when not a lot of people are out and the sun is tipping below the horizon and I’m out sitting in the pacific ocean waiting watching the birds dive into the water and the dolphins arch out of it. At that point I don’t even care about the waves, I just like being out there.”

In the work of photographer Thomas van der Zaag, we’re given an insight into what happens when the dreamy, languid girls who populate Flickr grow up. Gone are the wistful sidelong glances and carefree days spent wading in shallow lakes; these women are more hesitant, ponderous and adult. They bite their nails and appear resigned and tentative, but just as beautiful.

Van der Zaag doesn’t make a lot of demands of his subjects—”As long as the person isn’t self-conscious in front of the camera I am happy,” he says. “There is nothing worse then a lame pose and fake smile.”

His focus on spontaneity is what makes van der Zaag’s work so evocative; with each image, the 27-year old psychology graduate invites us to observe and reflect on private, candid moments to which we wouldn’t otherwise be privy. Despite his vast catalog of captured moments (“I never stop taking pictures,” he told us), there are still ones that were left behind.

“Every single photo shoot there is a moment I wish I had captured. I also wish I had taken more pictures of my dad before he died.”