Lens Magazine. Issue 110 (November 2023)

Теги: magazine lens magazine

Год: 2023

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Текст

Fine Art Photography Magazine
NOVEMBER 2023

#110

Founder & Editor: Dafna Navarro

102

lensmagazine.net

132

30
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Copyright to The International Lens Magazine
© Dafna Navarro, 2023. All rights reserved.
Art Market - Global Media Company
No part of this magazine may be re-used without
the written permission of the publisher.
This magazine's content is for informational
purposes only and is, to the best of knowledge,
correct at the time of publication.

/LensMag
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@lens_magazine

lensmagazine.net

FOUNDER & EDITOR-IN-CHIEF: DAFNA NAVARRO
CONTENT EDITOR: JASMIN SUKARY
GRAPHIC DESIGN: ZIV KAY
MARKETING DIRECTOR: ROMAN GUTMAN

ON THE COVER
Dahlias & Figs, 2021
Paulette Tavormina © All rights
reserved. See the exclusive
interview on page 10

In a dark room
Mariya Andriichuk ©
All rights reserved.
See the article on page 50

102

86
70

50
10
30

CONTENTS
10/ AN EXCLUSIVE INTERVIEW WITH
PAULETTE TAVORMINA

BY ARIEL SU
2 PROJECTS:
FLOWERS FROM THE GARDEN
| VANITAS

30/ TING TING CHEN

A PLACE CALLED HOME
NEWFOUNDLAND & ROBERT
| A NEW LOVE STORY

30
116

50/ MARIYA ANDRIICHUK
'1+1'

70/ MARK EDWARD HARRIS

CHILE: A PHOTOGRAPHIC PARADISE
FOR NATURE, CULTURE, AND WINE
LOVERS

10
50

86/ ELENA PROLA
FILLING THE GAP

102/ SHIRA GOLD

IF MEMORY WAS A LAYER

116/ JAINA CIPRIANO

WITHOUT A MIRROR, HOW CAN WE
KNOW OURSELVES?

132/ JASON FENMORE
FOAMIES, FLARES, AND MORE...

132

Fine Art Photography Magazine
JUNE 2023

#105

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Lens Magazine

2Projects:
| Flowers from the
Garden | Vanitas
Lemons and Pomegranates,
After JVH, 2009
Paulette Tavormina ©
All rights reserved.

Fiori del
Giardino
Flowers from the Garden

An Exclusive Interview
With

Paulette
Tavormina
By Ariel SU

avormina's still lifes are
inspired by the Dutch, Spanish,
and Italian still lifes of the
Golden Age. But what the
prototypes meant in the past remains in
the past. We see the past only with eyes on
the present.
As T.S. Eliot said, "The

past should be
altered by the present as much as the
present is directed by the past."

The past cannot be relived but can be
converted into meaning for the present.
The human condition is incessantly
evolving, trapped in the gravitation pull
of the future. Tavormina's still lifes are her
poetic way of expressing respect for the
human condition.
- Wayne V. Andersen

Paulette Tavormina's
Portrait ©
All rights reserved.

aulette Tavormina is an
internationally awarded
photographer and recipient
of the Pollock-Krasner
Foundation Grant.
Tavormina lives and works in New York
City and Connecticut. Amidst the bustle
that defines the city and the tranquility
of the country orchards, she can often be
found searching for the perfectly imperfect
flora that characterizes her photographs.
Her arrangements often recall the
sumptuous detail of seventeenth-century
Old Master still-life painters and serve
as intensely personal interpretations of
timeless, universal stories. With a painterly
perspective reminiscent of Francisco de
Zurbarán, Adriaen Coorte, Juan Sánchez
Cotán, and Giovanna Garzoni, Tavormina
creates worldly still lives.
Tavormina also has a successful career
as a commercial photographer, recently
shooting Gucci's The Alchemist's Garden

perfume campaign. She has photographed
works of art for Sotheby's, fragrances
for GOOP, and recipes for The Del Posto
Cookbook (Hachette) with chef Mark
Ladner. She has been commissioned by
National Geographic Magazine and The
New York Times, among others. Previously,
Tavormina was a prop and food stylist in
Hollywood, her work seen on the silver
screen in seven films such as Nixon, The
Astronaut's Wife, A Little Princess, and The
Perfect Storm.
Tavormina's photographs are held
in museum, corporate, and private
collections and exhibited in Paris, London,
Moscow, Lugano, Madrid, New York, Los
Angeles, Miami, Palm Beach, Boston, Palm
Desert, and San Francisco.
Tavormina's work has been published in
international magazines and
The New York Times and Architectural
Digest reviewed her monograph, Paulette
Tavormina: Seizing Beauty (Monacelli
Press, 2016).
lensmagazine.net

Flowers, Fish and
Fantasies, III, 2012
Paulette Tavormina ©
All rights reserved.

Lens Magazine

Concert of Birds, 2018
Paulette Tavormina ©
All rights reserved.

An Exclusive Interview With
LENS MAGAZINE:

Thank you for this interview,
Paulette. We were highly impressed
by your artistic style. In this
interview, we will focus on two of
your fabulous series, "Vanitas" and
"Flowers from the Garden," or Fiori
del Giardino, both excellent
expressions of your unique style
influenced by the Golden Age of the
17th Century and the Old Masters.
But first, let's start with your
background and passion for
photography. What drew you to the
fine art photography field in the first

place? Were you influenced by a
surrounding artistic atmosphere
since childhood? Where did you gain
and develop your technique?
PAULETTE TAVORMINA:

Thank you, Ariel; it's a pleasure
having this interview.
My first love was antiques. My
grandmother used to take me to an
antique store near her home;
I remember it was very cluttered.
She purchased a miniature wooden
table for me, similar to the ones I use
today as the surface for all the other

elements in my photographs.
Then, I began collecting things—
shells, old keys, dice, lobster claws,
ephemera, and tiny ceramic dishes.
There is magic about objects that
evoke memories and connections.
Both my grandparents were avid
gardeners, winning blue ribbons for
their Dahlias and Roses… so as a
youngster, it was a special
environment for me.
I lived in New York City and started
working at the Sotheby's auction
house. It was the perfect
environment for me, surrounded by
lensmagazine.net

Vanitas, Journeys,
After EC, 2015
Paulette Tavormina ©
All rights reserved.

beautiful works of art and working for the legendary
chairman and chief auctioneer, John L. Marion.
My interest in photography began in 1990 when I took a
black-and-white photography class and darkroom
technique while living in Santa Fe, New Mexico.
I was immediately transfixed when my images appeared
on paper bathed in chemicals.
During this time, my dear friend, Sarah McCarty, an
extraordinary still-life egg-tempera painter, introduced
Lens Magazine

me to the works of seventeenth-century painters,
particularly Giovanna Garzoni and Maria Sibylla Merian,
whose palettes and compositions inspired me.
I was gobsmacked and decided then, to create my own
"natura morta" still lifes photographically.
It wasn't until I moved back to New York City seventeen
years later that I began my fine art photography, where I
concentrated on my dream of creating still life-inspired
images.

Merlin, 2019
Paulette Tavormina ©
All rights reserved.

Butterflies
symbolize
metamorphosis,
wine – the love of
earthly pleasures.
The rose and tulip –
love. I have begun a
new series involving
my Ragdoll cats…
they are very much
alive and love being
on the set.
- Paulette Tavormina

Your artistic style is influenced by previous
centuries and actually gives us a scent of the past from
the Old Masters in the 17th and 18th centuries.
Considering that you live and work in modern New
York, there is an extreme dissonance between the big
city lifestyle and the artistic outcome. How would you
explain your passion for this artistic style?
L. M:

PAULETTE TAVORMINA: When I first became aware of

Natura Morta still life painters of the 17th Century and

viewed their paintings in museums, they instantly
touched and fascinated me. Their stories and the
beauty of their subjects became a part of me. It took
me years to finally feel comfortable creating my own
imagery inspired by them. As a photographer, I can be
the director, set designer, researcher, and composer to
create my own vignettes. My images encompass
everything I love – antiques, beautiful flora,
butterflies, animals, art history, and romance, for
personal expression.
lensmagazine.net

Anthony and Cleopatra, 2017
Paulette Tavormina ©
All rights reserved.

Standing in front of these paintings
at The Metropolitan Art Museum in
New York or The Rijksmuseum in
Amsterdam, I am struck by their
strong emotional resonance and
ability to transcend time and place.
I imagine Coorte, Zurbarán,
Garzoni, and their contemporaries
as they gathered worldly treasures
and quotidian objects to tell of
Lens Magazine

newfound wealth, passion, and the
inevitable passage of time. The
essence of these paintings lingers
with me as I gather my own flora,
fauna, butterflies, and treasured
antiques to create the romantic
vignettes within my photographs.
The Natura Morta images I have
made in response to the Old
Masters are intensely personal

interpretations of timeless,
universal stories. Years from now, I
hope the photographs I create will
affect someone as profoundly as
the Old Masters' paintings have
affected me. In one of these
paintings, the artist included the
words "Eram Qvod Es." The
translation resonates within me:
"Once I was where you are now."

L. M: Where does the inspiration come from? More than
Giovanna Garzoni and Maria Sibylla Merian, are you
influenced by any specific artists or photographers?
PAULETTE TAVORMINA: I was very inspired by the 17th

Century still life artists such as Pieter Claesz, Balthasar
van der Ast, Georg Flegel, Jacob van Hulsdonck, Juan
Sanchez Cotan – there are many. The photographers I
love are Irving Penn, Edward Steichen, and Josef Sudak,
just to name a few.
L. M: In your work, we are witnessing the use of many live

elements, including snails, birds, owls, and butterflies.
What is the philosophy behind each element and motif?
Where did these animals come from? I'm sure our

readers would like to know that they are alive...
PAULETTE TAVORMINA: I have used live birds…Zebra

Finches and a yellow canary for two of my photographs.
The Zebra Finches flew the coop and slept on my
bookcases at night…I captured and photographed them
but decided to use taxidermy birds and owls going
forward! I have used real fish in several photographs…
had to buy a 10-gallon fish tank. They all lived happily
after they were featured. My vignettes have used many
fruits, animals, butterflies, bees, dragonflies, turtles,
insects, crabs, shells, and flowers. Pomegranates
symbolize prosperity, peaches – truth and trinity, quince
– a symbol of love, figs – a fruit of knowledge, and
sweetness of virtue. Butterflies symbolize
lensmagazine.net

metamorphosis, wine – the love of earthly
pleasures. The rose and tulip – love.
I have begun a new series involving my Ragdoll
cats…they are very much alive and love being
on the set. It has been interesting, to say the
least.
Left Page:
Orchard Pears, 2016
Paulette Tavormina ©
All rights reserved.

Lens Magazine

Top: Zebra Finches
and Tulips, 2027
Paulette Tavormina ©
All rights reserved.

L. M: In your series Vanitas, you create a more profound,

even a bit dark atmosphere, which almost looks like it
was taken from the alchemist's desk/ lab in the 17
century. What is the philosophical idea behind this
project?
PAULETTE TAVORMINA: The Vanitas paintings created in

the 16th and 17th centuries depicted the transience of
life, and the message is that we cannot take our worldly

possessions with us. This was an important genre of
painting at the time. I knew that I would need many
artifacts to create the images, and luckily, I was awarded
the Pollack - Krasner Foundation grant which allowed
me to purchase many props for the series.
I bought an hourglass, tiny scales, and tiny taxidermy
birds from the Paris flea markets, clay pipes and Dutch
glass roomers from Amsterdam, antiques and vellum
books in London, and butterflies and dragonflies from
lensmagazine.net

Can you describe your workflow,
step by step, from the stage of the idea to
the final outcome? Do you make sketches
and plans before arranging the still life at
the studio?
L. M:

PAULETTE TAVORMINA: I can spend

Exhibition View: Solo show
Winston Wächter Fine Art, New
York City Fiori del Giardino
Paulette Tavormina © All rights
reserved.

Deyrolle in Paris. For the purchase of the skull,
I needed a medical letter. I named it Merlin as I
knew I would live with it for some time.
The dark, mysterious atmosphere illuminates the
serious subject. Life and death are a part of the
human condition.
Left Page: DutchTulips
and Goldfish, 2021
Paulette Tavormina ©
All rights reserved.

Lens Magazine

Top: Botanical VII,
Tulips, 2013
Paulette Tavormina ©
All rights reserved.

months imagining my next image or
series; I do, at times, make a sketch of the
image. I then search for the antiques to
create the scene. Once I have a multitude
of props, flowers, animals, etc., I can
begin. It takes a long time to set up the
table, background, lighting, table set, and
camera, which is tethered to the
computer. If I am working with flowers,
either from my garden or the flower
market in New York, I place them in the
refrigerator until I am ready for them on
the set. Getting the composition and
lighting just right can take a day or two.
Flowers are the most challenging element
to work with. They are already dying when
they come out of the water and balancing
them all together is difficult. I usually take
hundreds of images – it is finished when I
fall in love with it. I then take out all my
boxes of butterflies and insects and
experiment with different shapes and
colors until I find the perfect ones to go in
the composition. I then edit all the images
and select the ones to send to my lab in
New York (LTI Lightside). When it is
printed, I work with them on color
correction, etc., using Adobe Photoshop.
After it is perfected, I then use Adobe
Photoshop to highlight areas in the image.

Years from now, I hope
the photographs I create
will affect someone
as profoundly as the
Old Masters' paintings have
affected me.
- Paulette Tavormina

Gucci's The
Alchemist's Garden
Paulette Tavormina ©
All rights reserved.

L. M: What can you tell us about your

studio? Do you have a permanent
team working with you?
PAULETTE TAVORMINA: I lived in

a studio apartment when I began
photographing in NYC in 2007. I had
my equipment, lights, props, and all
my gear in a small space. My tripod
was set up at the foot of my bed,
with my set six feet away. It was
there that I produced many intricate
photographs for years. I bought
fig trees and morning glory plants

that were placed on my western
windowsill so that I could harvest
the leaves and flowers for my
images. It all seemed to work.
I married five years ago and moved
into a home in the Connecticut
countryside three years ago. I now
have a large studio with closets and
shelves to place my many boxes of
props…owls, birds, shells, artifacts,
insects, butterflies, old coins, etc.
Now having a garden, I planted many
flowers: Dahlias, Dutch Tulips, Lily of
the Valley, roses, daffodils, peonies,

morning glories, and fritillaria to
grace my images.
When I photograph my fine art,
I work alone. It takes days and
extreme concentration. I have
recently started a new series with
my Ragdoll cats…my husband has
helped me as the cat wrangler!
L. M: What kind of editing/post-

processing do you use? What gear
do you use, and is there any favorite
software?

lensmagazine.net

Gucci's The
Alchemist's Garden
Paulette Tavormina ©
All rights reserved.

PAULETTE TAVORMINA:

L. M: You've gained great success in

For Editing, I have worked with
LTI Lightside NYC for all the postprocessing since 2007. They are
incredibly professional - their
expertise and dedication to
excellence are paramount to my
work. Once the images are color
corrected, I then work using Adobe
Photoshop on the highlights.
My gear is a Hasselblad XID 11 50
camera, 120 Macro lens, Broncolor
strobe lights, and Broncolor soft
boxes; I use Phocus software from
Hasselblad.

recent years through solo exhibitions
and commercial projects for known
brands, such as the Ricci Jewelry
rings collection, Sotheby's wine
auction, and the latest Gucci's
The Alchemist's Garden perfume
campaign. How did you receive this
exciting opportunity with Gucci,
and what can you tell us about the
process of this project? Were there
any particular challenges in creating
the concept?
PAULETTE TAVORMINA:

I was contacted by The Style
Council, an advertising agency in
Lens Magazine

Paris for the Gucci project. They
were looking for a photographer
with my Old Master inspired images.
Gucci then wrote and asked if I could
come to Europe to photograph their
perfume campaign. I worked with
The Style Council on the imagery,
the prop person, the flower person
and the production team, etc., for
months in preparation for the photo
shoot.
The challenge was working with
such a prestigious company and not
knowing what to expect – it turned
out far more wonderful than I could
have imagined.

Dahlias & Figs, 2021
Paulette Tavormina ©
All rights reserved.

Peaches and Morning
Glories. 2010
Paulette Tavormina ©
All rights reserved.

I brought along my own small props to add to the
tableau. I also went to the prop house, picking out
taxidermy birds and butterflies in London. On the
first shoot with them, they had a videographer. After
I created an image and it was approved by Gucci,
the table was wheeled into the video studio, where
real birds and butterflies were carefully added to the
opulent set by the handlers. It was quite a magical,
fantastic photoshoot! The whole production team,
Gucci and Coty were wonderful to work with.

The Vanitas paintings
created in the 16th and
17th centuries depicted
the transience of life,
and the message is that we
cannot take our worldly
possessions with us.
- Paulette Tavormina

This year, they asked me to
photograph new fragrances for
"The Alchemist Garden" perfume
campaign, which was quite an honor.
I worked with the same creative
team, and it was another fantastic
experience. I love their perfume!

The print sizes are 16x20, 22x30,
24x24, 36x36, and 52x52 inches.
What advice can you give the
young photographer trying to make
his way in the field?

L. M:

PAULETTE TAVORMINA:

Congratulations, Paulette.
Your solo show will be exhibiting the
series "Fiori de Giardino” at the NYCbased gallery Winston Wächter Fine
Art, on view from 16 Nov 2023 to 6
Jan 2024. 530 West 25th Street, NYC.
What size of prints will you be
exhibiting? Will it be lithographs
signed and numbered?

L. M:

My advice to young photographers
would be to have a passion for your
vision and to be persistent. It is
essential to research, visit museums,
libraries, and galleries, and allow
yourself to take risks. There will be
failures along the way, but it is the
process, those failures can take you
to places you never thought you
would be, which can be invaluable.

PAULETTE TAVORMINA:

The photographic prints are archival
digital prints that are all editioned
and signed.

Top: Blue Hydrangeas &
Yellow Canaries. 2022
Paulette Tavormina ©
All rights reserved.

Right: Vanitas VI.
Reliquary, 2015
Paulette Tavormina ©
All rights reserved.

It is essential to research, visit
museums, libraries, and galleries, and
allow yourself to take risks. There will
be failures along the way, but it is the
process, and the failures will take you
to places you never thought you would
be, which can be invaluable.
- Paulette Tavormina

Gucci's The
Alchemist's Garden
Paulette Tavormina ©
All rights reserved.

Website: paulettetavormina.com
Instagram: @paulettetavormina
Facebook: /paulettetavormina2

The Duke
A portrait of Robert Tilley, the best friend I've
made since I came to Canada in 2018 as an
international student. I took this portrait one
day before Robert turned seventy-three years
old. Robert's grandfather, born in 1882 and living
a legendary life in the US and Canada, had the
nickname "Duke," an abbreviation of his full
name, William Marmaduke Tilley. The name Duke
is perfect for this portrait. Robert made the vest
he wears in the portrait more than forty years
ago when he worked in the cold of northern
British Colombia.
Ting Ting Chen © All rights reserved.

A Place Called

Newfoundland & Robert | A New Love Story

The Milkmaid in Ferryland
This photo of Lori Pittman is inspired by and
pays tribute to Johannes Vermeer's painting
The Milkmaid (1658), a masterpiece of the Dutch
Golden Age. Lady Sara Kirke owned and operated
a dairy at the Colony of Avalon in the 1630 and
the 1640s. Archaeologists have recovered many
ceramic milk pans and butter pots in the Colony
of Avalon, now known as Ferryland.
Ting Ting Chen © All rights reserved.

y journey as an artist has been greatly influenced by my
move from Asia to Newfoundland in 2018. With its unique
blend of rugged beauty and resilient spirit, Newfoundland
has become my muse and a place I now proudly call home.
Amidst this newfound landscape, I encountered Robert Tilley, a 75-year-old true-born
Newfoundlander whose friendship has become a cherished and enduring source of
inspiration. Robert and I have traversed Newfoundland's diverse terrains, capturing
this land's essence through my lens.

hrough the synergy of landscape and
portrait photography, I aim to reveal the
hidden harmonies that exist within the
Newfoundland landscape, the human spirit,
and the bond that ties them together.

The Maid and her Bellarmine Jar
I took this portrait when my friend Lori
Pittman worked as a heritage interpreter
in her seventeenth-century-style kitchen
in the Colony of Avalon. This portrait is
inspired by Pieter Bruegel the Elder's
painting The Peasant Wedding (1567).
Ting Ting Chen © All rights reserved.

Bubbled Blue Eye
Some bubbles were flying across Robert's
face, and I captured this moment when
one flew right in front of his baby-blue eye.
Because I didn't have an assistant, I needed
to set the camera on a timer and blow the
bubbles myself. A few soap bubbles flew
into Robert's eyes while we were shooting.
I appreciate his patience!
Ting Ting Chen © All rights reserved.

s a Newfoundlandbased fine art
photographer, I embark
on a visual journey that
explores the intricate relationship between the
natural world and the human experience. My
work encompasses two distinct yet interwoven
facets: fine art landscape photography and
fine art portrait photography. These two
realms allow me to capture the essence of
Newfoundland, my newfound home and

endless source of inspiration while delving into
the depths of human connection, identity, and
the profound impact of our surroundings.
In my fine art landscape photography, I seek
to unveil the hidden rhythms and moods in
the natural landscapes surrounding me. I view
these sceneries not merely as physical settings
but as living, breathing entities that possess
their own unique personalities.
lensmagazine.net

The Hooded Man
This artwork is
inspired by the
portrait of Girolamo
Savonarola by Fra
Bartolomeo (c. 1498).
Ting Ting Chen ©
All rights reserved.

My friend Robert Tilley
took this photo in
Bowring Park when I
was shooting landscape
photos. I was carrying my
camera bag.
Ting Ting Chen © All
rights reserved.

hrough my lens, I aim to
personify these landscapes
and convey the emotions they
evoke within me as an artist.
With its rugged coastlines, pristine forests,
and ever-changing weather, Newfoundland
provides me with an ever-evolving canvas
to explore and interpret.
In the realm of fine art portrait
photography, my focus shifts to the
intricate web of connections that bind
individuals to their environment, life
experiences, and identities. I consider
my portraits to be not only artistic
representations but also periscopes
through which viewers can peer into the
depths of a person's soul. Every face tells
a story, and my goal is to capture the
myriad facets of human existence, from
vulnerability to strength and from solitude
to togetherness.
My journey as an artist has been greatly
influenced by my move from Asia to
Newfoundland in 2018. With its unique
blend of rugged beauty and resilient spirit,
Newfoundland has become my muse and a
place I now proudly call home.

Amidst this newfound landscape,
I encountered Robert Tilley, a 75-yearold true-born Newfoundlander whose
friendship has become a cherished and
enduring source of inspiration. Robert and
I have traversed Newfoundland's diverse
terrains, capturing this land's essence
through my lens. He has not only been my
steadfast friend but also a central figure in
many of my photographs, serving as both
a muse and a symbol of our extraordinary
bond.
Top: Temptations
Temptations are various. Which one do you pick?
Robert is modeling for this portrait. Except for
the fruit and Robert's skin, the other parts of the
image, including his hair, are absolutely grey, just
in different shades. Their saturation is 0, and the R:
G: B = 1:1:1. That is to say, except for the fruit and
Robert's skin, this is actually a black-and-white
image. Interesting, isn't it? I would like you to feel
the beauty of the grey.
Ting Ting Chen © All rights reserved.

lensmagazine.net

Segments of a Saint
Not everyone can be a saint, but we
have elements of saintliness within
us. This image is inspired by goldground Renaissance paintings.
Ting Ting Chen © All rights reserved.

This Page: Skin to Skin
In this photo, I explore the bonds between people
and places. I focus on Robert and his home as a
specific case and present my works in a conceptual
way. We all have skin, and objects have their skin
too. The wallpaper is the skin of the wall. When the
skin of the wall touches Robert's skin, the bond
is revealed. The wallpaper in this photo is from
Robert's family home, Tilley House. The wallpaper
is a century old.
Ting Ting Chen © All rights reserved.
Right Page: Mr. Sweet
Robert has liked eating sweets since he was little.
One story was that little Robert walked to Bowring
Park from Cashin Avenue with his friends one day.
They kept eating Hershey Bells on their way to the
park. You could track them from Cashin all the way
to Bowring Park by the chocolate wrappers they
left behind. They ate so many Hershey Bells that
they began to feel sick as soon as they arrived in
the park, and they had to walk back home: no park
visit on that day.
Ting Ting Chen © All rights reserved.

y portraits of
Robert are a
testament to
the enduring
power of friendship and the
profound connection that can
be forged between individuals
from different worlds.
Through the synergy of
landscape and portrait
photography, I aim to reveal
the hidden harmonies that
exist within the Newfoundland
landscape, the human spirit,
and the bond that ties them
together.
In my work, I invite viewers to
join me on this multifaceted
journey, where art, nature, and
human connection converge to
create a tapestry of emotions,
experiences, and the everpresent beauty surrounding
us. Newfoundland has given
me a home and a deep well of
creativity, and it is my honor to
share this experience with the
world through my art.

I and Myself in Me
Human beings are complicated
creatures with many layers in their
personality. Everyone has an I
and myself in me. Robert's two
overlapping faces are actually two
different sides of his face. This
overlapping/parallel profile portrait
is inspired by Jan de Bray's Portrait
of the Artist's Parents, Salomon de
Bray and Anna Westerbaen (1664),
and Peter Paul Rubens' Agrippina and
Germanicus (c. 1614).
Ting Ting Chen © All rights reserved.

y portraits of Robert are a testament
to the enduring power of friendship
and the profound connection that can
be forged between individuals from
different worlds.

Right: Sorrow
Sorrow is soft. Sorrow is tender.
Sorrow is like a veil. It gently shrouds
your changing face and eyes, which
once had a soft look and deep
shadows.
Ting Ting Chen © All rights reserved.

Left Page Top:
An Empty Coat Check
A coat check with no
coats: only Robert
and a mirror.
Ting Ting Chen ©
All rights reserved.
Left Page Bottom:
My Invisible Self
My better half is my
invisible self.
Ting Ting Chen ©
All rights reserved.
Left:
Facing Yourself
Sometimes, it is
difficult to face
yourself, which is why
many of us choose
not to. An interesting
detail: Robert's face
and shadow in the
mirror differ from
those in front of the
mirror.
Ting Ting Chen ©
All rights reserved.

Lens Magazine

Veiled
Robert under a flying veil.
The behind-the-scenes story
is that I set the timer on my
camera when I took this photo
and waved the veil in the air.
I tried nearly a hundred times
before I got a satisfactory
result. Thanks to Robert for
his patience.
Ting Ting Chen ©
All rights reserved.

lensmagazine.net

Hushed
Robert under a flying veil.
The behind-the-scenes story
is that I set the timer on my
camera when I took this photo
and waved the veil in the air.
I tried nearly a hundred times
before I got a satisfactory
result. Thanks to Robert for
his patience.
Ting Ting Chen ©
All rights reserved.

Lens Magazine

Vessel for Time: A self
Portrait
This is my conceptual
self-portrait. I trimmed
my body to the shape
of a vessel or a bottle.
Our bodies are vessels
for time. All the time
that we spend fills our
bodies. We are the result
and embodiment of the
time we have lived and
experienced. In this
portrait, my hair, which
has been cut for less than
ten years, is the result and
the embodiment of the
past decade.
Ting Ting Chen ©
All rights reserved.

n my work, I invite viewers to join me on this
multifaceted journey, where art, nature,
and human connection converge to create
a tapestry of emotions, experiences, and the
ever-present beauty surrounding us.

A Place Called

Home

Surrealness in Bowring Park
My friend Robert Tilley and I like
visiting the century-old Bowring Park
in St. John's. I took this photo when
Robert was standing beside the trees
in autumn colors. Time seems to
freeze in this photo, and the picture
is shrouded in a surreal aura.
Ting Ting Chen © All rights reserved.

Website: www.tingtingchen.net
Instagram: @chan _ clarice
Facebook: @TingtingChenPhotography

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Fire & Water
Mariya Andriichuk ©
All rights reserved.

MARIYA
ANDRIICHUK
Supernatural
Mariya Andriichuk ©
All rights reserved.

his captivating
series of photos'
1+1' showcases
the extraordinary
Love story of Anastasiia Krutikova and
Artem Panasuk, a remarkable and
famous Ukrainian acrobatic duo. They
are a tremendously talented couple
of professionals who really deserve
attention. Initially collaborating
when they were newlyweds, their
performances exuded a profound spark
and passion. Now, as a married couple
with two beautiful children, their story
has evolved into a powerful narrative
that extends beyond mere acrobatics.
This project captures not just poses but
the enduring Love and energy that has
withstood the test of time, adding a
significant and timeless Love Dimension
to the project.
Each piece is a visual poetry of
emotions, a testament to the
transformative power of Love.

In a dark room
Mariya Andriichuk ©
All rights reserved.

he deliberate interplay of
bodies, curves, delicate
drapes, and the fluidity of
water not only speaks to
the authenticity and vulnerability that
Love inspires but hints at a spiritual
connection.
Beyond the visible, the collection
delves into parallel dimensions,
inviting viewers to feel the unseen
currents of Love that bind us together
in a spiritual journey through the
artistry of connection.
The story behind this shooting is that
inspired by the mesmerizing show
tricks I witnessed on YouTube,
I embarked on capturing the essence
of Anastasiia Krutikova and Artem
Panasuk's artistry. Their intelligent
faces, delicate spiritual traits, and
impeccably sculpted bodies drew
me in. The desire to immortalize
their unique Cross trickles led to an
ambitious studio shoot, sans clothes,
with intricate lighting. Introducing
water added a challenge, testing their
abilities beyond the stage. Despite
the complexity, their hard work and
dedication shone through, resulting
in a perfect fusion of artistry and
aquatic prowess. I'm deeply grateful
for their commitment to making this
vision a reality.
This beautiful project has gained a
lot of success in the past years, and
part of it has been presented at many
world exhibitions, including at the
NYC Gallery in 2019, at the Loosenart
Gallery in 2020 in Roma, Italy, and in
Macedonia, Ukraine, and Kyiv.

X-Factor
Mariya Andriichuk ©
All rights reserved.

MARIYA
ANDRIICHUK

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56

Top Left:
Artist portrait
Mariya Andriichuk ©
All rights reserved.
Top Right:
Man Power
Mariya Andriichuk ©
All rights reserved.
Left:
Mariya Andriichuk
Portrait © All rights
reserved.
Right Page:
Synergy
Mariya Andriichuk
Portrait © All rights
reserved.

lensmagazine.net

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Birth of Love
Mariya Andriichuk
Portrait © All rights
reserved.

Why Blue or
Indigo Colour is
predominating
It is not not by chance.

The absence of clothing
symbolizes an unguarded
openness, inviting viewers
to connect with the subjects
on a profound, heartfelt
level. This deliberate choice
fosters an exploration of Love
in its purest form, where
honesty and vulnerability
converge, creating a visual
narrative that transcends
the boundaries of traditional
representation and embraces
the powerful synergy
between Love and the
unadorned human form.

Age of Aquarius
Mariya Andriichuk
Portrait © All rights
reserved.

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59

Why
water
Water is often associated
with cleansing and renewal.
In the context of Love, it
can symbolize the ability to
wash away past grievances
or start afresh, fostering
growth and rejuvenation in
relationships.
Water is constantly changing
state, from liquid to vapor
to ice. This can symbolize
the transformative nature of
Love as relationships evolve,
and individuals grow within
them.

Passion for Life
Mariya Andriichuk
Portrait © All rights
reserved.

Why do I use Light rays
in the artwork
Love is often described as a light that
illuminates the darkness. It brings
clarity and understanding to one's
life, helping individuals see and
appreciate the positive aspects of
themselves and their relationships.
This artwork is a testament to the
transformative power of Love, serving
as a catalyst for Enlightenment.
The synchronized posture reflects

One Plus One
Mariya Andriichuk
Portrait © All rights
reserved.

the importance of mutual support,
emphasizing that, in life's journey,
looking in the same direction fosters
unity and shared growth. As the
drops of water symbolize fluidity,
the positive spiritual aura emanating
from the piece invites viewers to
contemplate the profound connection
between Love, support, and the
pursuit of Enlightenment.

Enlightenment
Mariya Andriichuk
Portrait © All rights
reserved.

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We don't know,
but we feel…

Parallel Dimensions
Mariya Andriichuk
Portrait © All rights
reserved.

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lensmagazine.net

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Wings of Love
Mariya Andriichuk
Portrait © All rights
reserved.

his project has found its niche in the wild
variations of nude photographs because, in
addition to nude content, it has an interesting
spiritual message and a story.
I believe we are multidimensional, limitless creatures,
and our souls usually struggle for freedom from our
bodies because they feel and know our unlimited
potential and abundance of the existing world.
Being an artist means to prove and create this reality to
and for me.

Top Left:
Tree of Love
Mariya Andriichuk
Portrait © All rights
reserved.

Top Right:
Sandglass
Mariya Andriichuk
Portrait © All rights
reserved.

Left:
Pyramid
Mariya Andriichuk
Portrait © All rights
reserved.

Right Page:
Dance of Love
Mariya Andriichuk
Portrait © All rights
reserved.

lensmagazine.net

Why
Nudity
The absence of clothing symbolizes an
unguarded openness, inviting viewers
to connect with the subjects on a
profound, heartfelt level. This deliberate
choice fosters an exploration of Love
in its purest form, where honesty and
vulnerability converge, creating a visual
narrative that transcends the boundaries
of traditional representation and
embraces the powerful synergy between
Love and the unadorned human form.

Birth of Love
(Detail)
Mariya Andriichuk
Portrait © All rights
reserved.

MFÕi,Õyb?ØÕ
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MARIYA
ANDRIICHUK
Website: cargocollective.com/ladymartist
Instagram: @mariya.andriichuk _ artist
Facebook: @Mariya Andriichuk
Email: mariya.andriichuk@gmail.com

Chile:

A Photographic Paradise for Nature,
Culture, and Wine Lovers

Chile spans nearly 40 degrees of latitude,
giving the South American country straddling
the Pacific Ocean and the Andes some of the
planet's most diverse climates and landscapes.
This offers an incredible variety of photographic
opportunities.

Tatio Geysers.
Mark Edward Harris ©
All rights reserved.

hile I have been
fortunate enough
to visit Chilean
Patagonia several times, the far
north, Atacama, had avoided me
until I had the opportunity to team
up with SA Expeditions to explore
camera-in-hand this fascinating
section of the country.

SA Expeditions co-founder
Nick Stanziano considers the
town of San Pedro de Atacama
in the Atacama Desert "Arizona
on steroids," with some weather
stations there having never
recorded precipitation. The snowcapped volcanoes, high-altitude
geysers, unusual rock formations,
clear skies for stargazing, and
wildlife - both on the ground and
in the air, make the Atacama a
fantastic place for photography.
This distinct environment is
home to a unique ecosystem that
includes black-winged flamingos,
vicunas, wild donkeys, foxes, and
Andean condors.

Left: Sunset from the deck
of the Tierra Chiloe
Mark Edward Harris ©
All rights reserved.
Right: A dramatic sky
above the Licancabur
stratovolcano.
Mark Edward Harris ©
All rights reserved.

ecause of all the
photography
I have done
over the years for the
three editions of my
book "The Way of the
Japanese Bath" about
hot springs on the
island nation, I was
particularly excited
about the opportunity
to photograph the
breathtaking Tatio
Geysers. This does,
however, entail setting
the alarm for a 4am
wake up in order to be
driven from San Pedro
de Atacama, located
at 7,900 feet to above
14,000 feet, to visit this
geothermal field created
by nearby volcanoes.
Early morning is best
for photography there
because it's a time when
the cool morning air
connects with the hot
water to create huge
steam columns.

A guanaco in Torres del
Paine National Park.
Mark Edward Harris ©
All rights reserved.

A vicuna near Tatio Geysers.
Mark Edward Harris ©
All rights reserved.

aimed my
Nikon Z8 with
a Z 14mm f/2.8
into the sun with
these columns
backlit to create
a more dramatic
and surrealistic
feel. Despite
advances in digital
technology, the
historic approach
to landscape
photography shooting at the
edges of the day,
still yields the most
powerful imagery.

The snow-capped
volcanoes, highaltitude geysers,
unusual rock
formations, clear
skies for stargazing,
and wildlife - both on
the ground and in the
air, make the Atacama
a fantastic place for

photography.

One of many unusual
formations in the
Atacama Desert.
Mark Edward Harris ©
All rights reserved.

fter exploring the
geyser field, SA
Expeditions set
up a breakfast al fresco in
nearby a river/watering
hole, allowing me to
photograph vicunas and
vizcachas with my Nikkor
Z 70-200mm f/2.8. On the
way back to our worldclass lodging, the Tierra
Atacama, we stopped at
a high-altitude lake to
photograph a variety of
birds, including flamingos.
These fascinating birds
with the collective noun
"flamboyance" are best
photographed at the
Salar de Atacama, the
largest salt field in Chile,
where they feed on
shrimp, algae, and insects
on top of an enormous
underground lake.
There are three types
of flamingos here - the
James, the Andean, and
the Chilean. I turned to
the Nikkor Z 400mm f/2.8
for almost all my work
with the flamingos and
often utilized the built-in
teleconverter and shot in
the 3D tracking mode with
animal subject detection.
Shooting in RAW, I got 20
frames per second.

We base
ourselves at the
Noi Blend Hotel
in the Colchagua
Valley and visit
the Montes and
Lapostolle
wineries as well
as participate
in a "Boutique
Distillery
Experience,"
where we learn
how to blend
our own gins.

mong the many other
places to photograph
in the Atacama region
in the early morning or late in
the day is Moon Valley, named
for its lunar-like landscape.
After days and nights in the
desert, we travel down to
the fertile Central Valley to
enjoy O'Higgins, one of Chile's
most famous wine regions.
We base ourselves at the Noi
Blend Hotel in the Colchagua
Valley and visit the Montes and
Lapostolle wineries as well as
participate in a
"Boutique Distillery
Experience," where we learn
how to blend our own gins.

I used my Stella CLx10 for some
winemaker and gin distiller
portraits. This powerful, selfcontained continuous unit
allows me to see the light in
real-time rather than having to
set up and test strobes.
Continuing south, Chilean
Patagonia is a must for wildlife
and landscape photographers
as well as hikers or anyone
else who enjoys time in the
magnificent outdoors. While
the whole region is photogenic,
Torres del Paine National
Park has ethereal peaks and
abundant wildlife, including
pumas and guanacos.

Lens Magazine

While Chile offers
some of the best
landscape and
wildlife photographic
opportunities on
the planet, urban
exploration is
fascinating throughout
the country, including
in the capital of
Santiago and the muralfilled coastal city of
Valparaiso.

Lens Magazine

In what could be referred
to as the entrance to or exit
from Patagonia, depending
on one's perspective and
itinerary, is the island of
Chiloe. Based at Tierra
Chiloe, a world-class
boutique spa and lodge
ideally situated to explore
both the area's unique
culture and Chiloe National
Park. The area is home to
a great diversity of marine
life, including blue and sei
whales, sea lions, Magellanic
and Humboldt penguins, and
Chilean and Peale's dolphins.
While Chile offers some
of the best landscape
and wildlife photographic
opportunities on the
planet, urban exploration
is fascinating throughout
the country, including in the
capital of Santiago and the
mural-filled coastal city of
Valparaiso. For this type of
exploration, I usually attach
a Z 24-70mm f/2.8 to my
Nikon Z8 or Z9.
Top: A part-time resident of
Torres del Paine National Park.
Mark Edward Harris ©
All rights reserved.

lensmagazine.net

s an important maritime
city in the north of
Chile, Valparaiso is
recognized for its dramatically
colored buildings and murals and
its stunning views of the Pacific
Ocean. Because of its long history
of cultural exchange, creativity,
and innovation, it was granted
membership in the Creative
Cities Network by the United
Nations Educational, Scientific,
and Cultural Organization. The
organization contributes to
peace and security by promoting
international cooperation in
education, sciences, culture,
communication, and information.
UNESCO's programs help promote
the Sustainable Development
Goals defined in the 2030 Agenda,
adopted by the UN General
Assembly in 2015. While my focus
is on photography, it's important
to also highlight what brings us
together and take care of this
shared planet we call home.

VISIT
SA EXPEDITIONS: saexpeditions.com

lensmagazine.net

Los Angeles and Tokyo-based Mark Edward
Harris is an award-winning photographer
with more than three decades of experience.
He has traveled to over 100 countries and
authored 10 award-winning books focused
on daily cultural life in Southeast Asia,
China, North Korea, Japan, Iraq, and Iran.
In addition, his photography work is being
exhibited in private collections, museums,
and galleries around the globe.
Mark's editorial work has appeared in the
most important publications worldwide,
including the Newsweek, Time, The New York
Times, The London Times Travel Magazine,
National Geographic Traveler, Forbes, LIFE,
Vanity Fair, GEO, The Los Angeles Times
Sunday Magazine, Wallpaper, and many
others. Among his numerous accolades are
CLIO, ACE, Impact DOCS Award of Excellence,
Aurora Gold, and International Photography
of the Year awards. Mark's latest book, The
People of the Forest, is about orangutans.

Instagram: @MarkEdwardHarrisPhoto
Website: www.MarkEdwardHarris.com
Lens Magazine

FILLING THE GAP
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FILLING THE GAP
ELENA PROLA

In %/??/F&Õi,Õ&[, I wanted
to visually represent a stop in
that gap to tell what it means to
open up to the vertigo of sinking,
of taking root, of shaping oneself
in the discomfort of the rock - a
metaphor for our shadow areas to trace its forms, in a continuous
tension between open and closed
spaces.
The cave becomes the womb,
origin, matrix, source, and
mother. In that place, I've
discovered that darkness doesn't
only mean the absence of light
but also the possibility of training
Lens Magazine

my gaze to become a pioneer
of the dark. In this newfound
connection with my hidden parts,
I gave myself a chance to discover
that vertigo is not flying but
rather sinking, rooting, keeping
myself straight, standing, still,
and stable.

FILLING THE GAP
In %/??/F&Õi,Õ&[, the body becomes a dividing line
between light and darkness, a visual representation of those
submerged worlds capable of revealing themselves only through
a geography of shadows. Staying there, being part of the dark,
I've filled the gap, recognizing and honoring the unnameable,
the inappropriate, the fearful, the disorder, the truth.
That the truth dwells within everything.

["Filling the gap" was created in September 2023 in the Eolo
Cave on the island of Stromboli, thanks to the collaboration with
the community of "Spazio Gentile," an incubator of personal
flourishing and creative re-design]
© 2023 QUIETSHADESOFBROWN.COM
Lens Magazine

ELENA PROLA

lena Prola (b. 1970) is an Italian
Photographer and Visual Storyteller
Elena graduated in Law, obtained a
Master's degree in Digital Marketing,
and at the same time nourished her interest
in photography, starting from the darkroom
and then arriving at digital photography.
Prola's education is interdisciplinary: she
attended photographic technique courses
and workshops on self-portraiture with
Simona Ghizzoni, and her gaze is strongly
influenced by poetry, psychology, and the
vipassana meditation she practices daily.

lena Prola
is attracted
by intimate
relationships,
the vulnerability of the
female universe, and
its complexity, a field of
investigation in which
she brings to light the
transformative force of
contradiction, restlessness,
and the mystery that
exists but has not yet been
revealed. In her visual
narration, the self-portrait
becomes a means of radical
communication which,
from an autobiographical
story, acts as a means to
talk about the "other" that
goes "beyond" the self to
become a poetic, universal
language in which every
woman can be recognized.
Elena is known online by
the nickname
"Quiet Shades of brown,"
and on Instagram
@quietshadesofbrown,
she shares a daily journal
focused on her themes of
interest around the female
world.

lensmagazine.net

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i,Õi^bn^ÕMnÕ^Õ?MM=F&Õ%M^×ýÕ
ÕèÕ?FÕ[^M?

lensmagazine.net

Lens Magazine

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Elena Prola.
QUIETSHADESOFBROWN
© All rights reserved.

ELENA PROLA
E?ÙÕ?F×[^M?ā&E?×ME
zbiÙÕ]nib,bM%^MzF×ME
/Fbi&^EÙÕā]nib,bM%^MzFÕČÕ?Õ;Mn^F?

Shira Gold

s a fine art
photographer, I am
inspired by how even
the most ordinary
scenes tell us something extraordinary
about people and their natural
environments. I create emotive portraits
celebrating moments saturated by our
struggles and triumphs. Through image-

making, I explore how the most common
experiences connect everyone, even when
they relate to the most unique or personal
incidents. From the intimate study of a
human subject to the wide lens of a natural
vignette, my work embraces the beauty
beneath the seemingly mundane."
- Shira Gold

Shira Gold
hotography
has always
been the
antidote
for Shira Gold's
unquiet mind - a visual
expression of subjects
that often defy verbal
articulation and a lens
through which she can
see the world through
new eyes. Her sizeable
bodies of work are
steeped in personal
visual narratives and
observations, exploring
subjects of identity,
change, and wonder.
Shira utilizes still life
and landscape as
metaphors for themes

common to us all and
often left unspoken.
Stillness, negative
space, and minimalism
are consistent
characteristics that have
become hallmarks in
Shira's work, providing
visual respite and a
means to focus on
intention and simplicity.
"My art is an alert to
the discomfort we all
face in our daily lives,"
she explains, "and I
want to turn pain and
angst on its side to
discover the beauty
that accompanies our
struggles."

105

106

lensmagazine.net

hira's work has garnered
her recognition through
various international awards,
including The Fine Art Photo
Awards, Lens Culture Art Photography
Awards, and International Photo
Awards, among others.
She has been published
internationally in noted publications,
Lens Magazine

including The Guardian and The Times
newspapers, The British Journal of
Photography/1854, Dodho, and more.
Shira's art has been exhibited in public
spaces and galleries throughout
North America as well as Europe.
She currently lives and works in
Vancouver, Canada.

107

The play between
expectation and
self-determination,
between experience
and transformation,
is reflected in my
pieces: Each tiny
branch, leaf, and
piece of bark has
been honed through
digital painting and
collage layers.
-Shira Gold

We can release our past and
emerge as our most authentic
selves with tranquility and
confidence.
-Shira Gold

The artwork in "If Memory Was a Layer" recalls
the cougar's realization of his self-worth and
Hopkins's late emergence as a celebrated artist.
Their experiences – animal and artist – remind us of our
struggles to be freed from expectations.
-Shira Gold

112

lensmagazine.net

Website: www.shiragold.com
Instagram: @shiragoldphotography
Facebook: @shiragoldphotography
Email: shira@shiragold.com

WITHOUT A MIRROR, HOW CAN
WE KNOW OURSELVES?

hese photographs are of handcrafted worlds, built from
the ground up with my own
hands. Being inside of these sets is an evolving
playground. The concept of how space affects
internal life is central to my process. Fabricated
spaces or events have a theatricality that thrills
me. There is no greater truth than when a
fabricated image is more accurate than reality - as
if we're looking through someone into their own
emotional landscape.

This work connects us and reminds us we are
never alone in the intensity of our emotions.
Creating these worlds is a way of changing my
internal narrative.
When things are not going how I want them to,
I can use photography as a little psychomagic.
It is a safe space to open up, be present, and trust
the process. It is practicing a life philosophy on a
macro level, almost a trial run if I feel too frozen
to apply it to my real life.

hen I am doing
a self-portrait, I
follow my instincts,
often ending up messy and
exhausted. But that is where the
transformation happens I feel different than I did when
I started. It does not end there;
the image must be shared.
The audience is essential;
once I am witnessed, the
transformation is solidified.
Even if just in a tiny way, I am
changed.
I grew up in a fundamentalist
Christian cult and was kept
separate from the world,
physically and emotionally.
Looking through the viewfinder
was a way to embrace that
separation and make it work for
me rather than against me.
The camera gave me purpose,
a reason to be somewhere and to
talk to people.
Through the lens, I was able to
begin reintegrating myself into
the world. There is a moment
I think of a lot. You are feeling
broken; something is terrible and
wrong. You are afraid to even
speak it out loud. But then your
friend is there, on the ground
with you, telling you she sees and
understands your unique, secret
pain. And suddenly, it all feels
lighter. That moment is what I
create for.

Lens Magazine

121

put a piece of myself into these
photos so those who need a
mirror to their darkness feel less
alone.
If we can't see ourselves reflected
back in the world around us, how
can we figure out who we are?
Creating these works put me
in new pockets of my mind,
connecting me to who I am without
the heavy influence of my past.
I am mapping the darkness of my
psyche, illuminating new areas,
and eliminating fear.
The cult kept me in a vacuum, and
without human interaction, all I
had was the space around me.
I played pretend a lot as a child.
Now, I build my own spaces, ones
that reflect my inner state and
make me feel safe.

122

lensmagazine.net

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i,bÕzM^=bÕ
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Jaina Cipriano is an experiential designer and
filmmaker exploring the emotional toll of religious and
romantic entrapment. Her worlds communicate with
our neglected inner child and are informed by explosive
colors, elements of elevated play, and the push/pull of
light and dark.
Jaina is a self-taught artist with a deep love for creative
problem-solving. She writes and directs award-winning
short films that wrestle with the complicated path of
healing.
In 2020, she released 'You Don't Have to Take Orders
from the Moon,' a surrealist horror film wrestling with
the gravity of deep codependency. Her second short,
'Trauma Bond,' is a dreamy, coming-of-age thriller that
explores what happens when we attempt to heal deep
wounds with quick fixes.
Lens Magazine

aina's photographic works
forgo digital manipulation;
everything is created for
the camera. She takes
an immersive approach
to working with models,
approaching a shoot like a
documentary photographer
as her subject is let loose in a
strangely designed space. Working
with Jaina is often described as
cathartic and playful.
Jaina founded Finding Bright
Studios - a design company in
Lowell specializing in set design
for music videos and immersive
spaces. She has collaborated
with GRRL HAUS and Boston Art
Review, was a Boston Fellow for
the Mass Art Creative Business
Incubator, and was a finalist in
EforAll Merrimack Valley.
Her photographic work has been
shown internationally.

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126

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Let Me Out. 2022
Photograph in a built
environment utilizing
wood. 20x24
Jaina Cipriano ©
All rights reserved.

128

Website: Jainaphoto.com | Instagram: @jainastudio | Facebook: @jainaphoto

FOAMIES, FLARES,
AND MORE...
JASON
FENMORE

THE WEDGE

At the south end of the peninsula, a wave located
in Newport Beach, CA, is one of Southern
California's most sought-after waves.
The physics behind this wave creates a monster
peak combined with an incoming wave mutating
with a wave that has already passed and
bounced off the jetty alongside. This wave breaks
dangerously close to shore and in very shallow
water because of how steep the beach is and,
in turn, becomes very powerful and potentially
deadly for the average beachgoer. Not to mention
the strength of the rip currents created by these
waves can make it very difficult for inexperienced
swimmers. While The Wedge holds such a
fearsome reputation, that only created more of an
obsession for Jason to photograph it.
"I've definitely had my scars and pretty violent
beatings at The Wedge, but that's expected, and
all I can do is try to remain calm and retain my
energy. Not a day goes by when I don't feel some
sort of hesitation when getting in the water at The
Wedge; it doesn't matter if the waves are 4ft or
20ft; it's such a powerful wave that if you end up
in the wrong place you can definitely be injured or
worse." - Jason Fenmore
Over time Jason learned that sometimes the
greatest photos were created from the most
dangerous angles, and this plays a significant role
in how he captures his photos.

FOAMIES, FLARES,
AND MORE...
JASON
FENMORE

FOAMIES, FLARES,
AND MORE...

JASON FENMORE

ason Fenmore, AKA Oh Dag Yo, grew up in southern
California and spent most of his life around
the ocean. Jason has been a professional DJ
photographer since 2012, but for those that found
him on Instagram, he's better known as "The Wave Guy."
Fenmore's work quickly spread among many large feature
accounts on Instagram, and shortly after he posted his image
"Slicky," it was featured on a Reddit page called "Oddly
Satisfying" and made its way into Reddit's Top Posts. Jason's
work has always been heavily influenced by colors; even before
he understood how to properly photograph waves, his priorities
were to photograph every sunrise and sunset. Every day
consisted of waking up before dawn and driving up and down
the Pacific Coast Highway, looking for the perfect waves with
the ideal angle for sunrise. Jason often found himself back in
Newport Beach at the infamous Wedge, where much of his work
was created.

137

MINIS

s most avid beachgoers in
Southern California know,
waves aren't always big; in
fact, they rarely get bigger
than 4-5ft unless there is a very large swell.
With so many days in between big swells,
it was hard for Jason to fulfill his passion
for photographing waves, especially while
seeing photographs on Instagram of big
beautiful waves in other countries. Jason
discovered his love for photographing
perfection in much smaller waves,
sometimes only as tall as 6 inches to fill
the void.
"Something is fascinating about standing
in ankle-deep water, hunched over with a
longer lens, trying to capture a wave that
breaks so quickly the average passerby
wouldn't even notice."
Lens Magazine

The magical thing Jason realized when
shooting these "minis," as he refers to
them, is without the context of someone
riding the wave, it's near impossible to tell
if the wave is 15 feet or a mere 6 inches.
So photographing minis opened up an
entirely new direction for Jason and his
wave photography.
"I started to realize I was more fascinated
with capturing the details and shapes
of moving water rather than just the
typical wave photo we are so accustomed
to seeing. I wanted so badly to capture
photos that made people go 'WOW' I had
no idea water could do that or look like
that!"
- Jason Fenmore

139

Photographing
waves has taught
me a lot about
myself and, more
importantly, about the
ocean and how many
different ways we can
look at it, and I've found
a drive I'd never had for
anything else before.
The kind of motivation
that allowed me to work
tirelessly through long
nights of photographing
music festivals only to
run home to pack up my
gear and head straight
to the beach on no sleep
in hopes of capturing
waves in a brilliant
display of sunrise colors."

140

- Jason Fenmore

lensmagazine.net

FOAMIES, FLARES,
AND MORE
hroughout Jason's
journey of discovering
what he enjoyed most
about photographing
waves, his focus began to capture
the abstractions of moving water.
Between 'Foamies', flares, panning
shutter drags, and water texture
shots, Jason began to explore new
perspectives in which he could
create fine art with the abstract
waves he'd found. "Foamies," as
Jason calls them, is the foam from
a breaking wave that eventually
makes its way up the beach and
hits a berm causing the foam to
fly up and create wildly different
formations each time.
"I love photographing 'Foamies'
so much, it's all a crapshoot, you
never know what you're going to
get. You'll always get something
different, and no foamies will
ever look the same. But what
I enjoy most is my audience's
interpretations of what they see in
them." - Jason Fenmore

142

lensmagazine.net

Lens Magazine

143

ason has spent years
trying to perfect the way
he captures foamies,
experimenting with
different lighting and even bringing
in his own artificial lights. Another
major focus in Jason's work is
" flares " resulting from a wave
breaking, hitting a wall, jetty, or
steep shoreline, and then returning
back out to the ocean where it
collides with an oncoming wave.
"Flares hold a very special place
in my heart; they're often hard to
find because they require just the
right tide, swell, and sandbar. So
many times, I've gone to a location
expecting to capture them, and to
my dismay, the tide isn't high/low
enough, or the sand hasn't built up
correctly, or the swell just doesn't
arrive as expected. It can be very
frustrating returning over and over
again or spending an entire day
waiting in hopes of capturing the
perfect flares and never seeing
them.

144

All this makes capturing these types
of photos so much more rewarding
when you finally arrive, cameraready, and the flares are finally
happening." - Jason Fenmore
Even with all these kinds of
waves, Jason still yearned for
more, whether it was capturing
the perfect sunset on silky glass
ocean surfaces or playful dolphins
enjoying a morning swim as the
sun came up. Over the years, Jason
has tried to cover every aspect of
wave photography and continues
to push to find something new, but
not a day goes by where he doesn't
find himself back in the water in
his hometown of Newport Beach in
search of the perfect wave, with the
most vibrant sunrise.

FOAMIES, FLARES,
AND MORE...

JASON FENMORE
Website: www.ohdagyophoto.com
Instagram: @ohdagyo

Copyright to The International Lens Magazine © Dafna Navarro, 2023.
All rights reserved. No part of this magazine may be re-used without the written permission of the publisher.
The content of this magazine is for informational purposes only and is, to the best of knowledge, correct at the time of publication.