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SPRING 2010

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TSOANYUISSUENO3SPRING2010

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6ISO

OPENING

Phoographers oen phoograph o undersand In our

invesigaions we capure memories o see where wersquove

come rom and o undersand where wersquore going As we

grow up jus like anyone we ry on differen has And

as we pu on differen has we see hrough differen

lenses Te phoographerrsquos unique perspecive is wha

guides he creaive hear o he medium I is wha

separaes he ciizen rom he proessional journalis

he aris rom he commercial phoographer and he

suden rom he amaeur

When raveling we see hrough a oreign lens oen

oggy and inriguing in is salience When we are

children we live in he momen our memories are

marked wih he value o a disposable camera As we

reach adulhood we begin o lose our sense o sel as we

ener he ldquoreal worldrdquo and are no longer powered solely by dreams and ambiions We begin o sruggle wih he

perspecives o our ldquopersonalrdquo and ldquocommercialrdquo work

For his reason we begin our Fall 2009 issue wih a

simulaing conversaion wih Emily Shur a working

proessional who graduaed rom NYU and ound

success as a celebriy porrai phoographer Her

insighs begin our exploraory journey ha presens he

world hrough cheap vinage and oreign lenses Nex

you will experience he joys o handing your camera

o someone else Tere are wonderul surprises in he

projecs showcased hroughou he issue Many o hese

phoographers search or an undersanding o home and

place wheher ha is ound in Tis Promised Land or in

amily members who were once los

Here a ISO we are launching a plan o expansion We

are no longer solely a prin publicaion We hope you

will visi our websie and subscribe o our blog or

consisen updaes rom he ISO eam In he uure

we hope o inerac wih our readers hrough evens in

he communiy Your involvemen wih ISO broadensour perspecive o he ever-changing phoographic

communiy and we are hankul or your willingness o

share in his experience

MICHAEL GEORGE EDITOR-IN-CHIEF

EDITORrsquoS LETTER

EDITOR-IN-CHIEFMichael George

DEPUTY EDITORCorinne Rapone

WRITERSPeer CurisMichael GeorgeDeirdre Hering Aaron Krol Julia Pugachevsky Jenna SpizPey Chuan an Alison Wynn

COPY EDITORS Alex BrownFrancis PoonLaura Sephenson

BLOG MANAGER Alex Brown

BLOG WRITERSHannah Holzwarh Julia Pugachevsky Avanika ShankarKaie Vogel

ART DIRECTOR ampSENIOR DESIGNER

Danlly Domingo

DESIGN ASSISTANTNina Culota

PHOTO EDITORSSasha Aruyunova Jenna Spiz

PHOTOGRAPHERS Alex Arbuckle

Sasha AruyunovaBeryl BevilacqueShraddha BorawakePeer CurisKaie Frank Ben FrankeMichael George Arieru IwahoriDaniel JaffeMelodie JengRuoyi Jiang Jennifer Kinney Kaie KlineKrisina Knipe

David MacedoDennis Nazarov Maggie Owsley Tomas PriorMeredih RomCalie SchiemanEmily ShurErin WahedMichelle Wat Alison WynnPey Chuan anCeacutesar Vega

FINANCIAL SUPERVISORMia orres

COMMUNICATIONS TEAM Jenny EomMelodie JengFrancis PoonLaura Sephenson

FACULTY ADVISOREdiha Mesina

SPECIAL THANKSIrene Cho Yolanda CuomoDeparmen of Phoography amp Imaging

Danny DomingoTomas DrysdaleMichael MessinaNew York Universiy Tomas PriorEmily Shurisch School of he Arsisch Undergraduae Suden CouncilDeborah Willis

ISO STAFF AND CONTRIBUTORS

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COVER Untitled (Alamogordo) Ceacutesar Vega

INSIDE FRONT COVER Untitled Dennis Nazarov

INSIDE BACK COVER Untitled Dennis Nazarov

BACK COVER Train to LrsquoViv Peter Curtis

7CONTEN

IS

EDITORrsquoS LETTER

06

08

12

14

16

18

26

32

38

06

44

70

72

73

CONTENTS

CONTRIBUTORS

FOR (EMILY) SHUR BY PETER CURTIS

VIEWER EXPECTATIONS BY AARON KROL

THE NEW FABRIC OF ABSTRACTION BY ALISON WYNN

IT TAKES PICTURES BY PEY CHUAN TAN

KATIE KLINE DIPTYCHS BY JENNA SPITZ

PETER CURTIS MYTHOLOGIES REAL AND IMAGINED BY DEIRDRE HERING

CEacuteSAR VEGA THIS PROMISED LAND BY JULIA PUGACHEVSKY

THOMAS PRIOR BLACKROCK TOWER + THE LONG COURSE BY MICHAEL GEORGE

THE GALLERY INTRODUCTION BY SASHA AURTYUNOVA amp JENNA SPITZ

PHOTOFLO

DIRECTORY

HOW TO SUBMIT

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FALL 2009

Glancing a Emily Shurrsquos porolio

can be dauning Her phoography

encompasses a mulipliciy o pracices

rom commercial porraiure o

personal landscapes Tere is a wide breadh o work o ake in However

his deph is rereshing and oen

inspiring Shurrsquos lie and work inerac

complexly in differen ways a differen

imes Tis muli-layered noion o

arisic pracice has allowed her o work

beween genres and o invesigae a

wide range o phoography

PC Your work varies rom personallandscapes o celebriy porrais Wha

role does phoography play in your lie

ES Phoography plays many differenroles in my lie Irsquos how I make ar Irsquoshow I make a living I keeps me saneand makes me crazy all a he sameime Phoography is an escape Ialso makes me eel as hough I belongsomewhere

PC How does a commercial shoodiffer han a personal one (i a all)

ES I donrsquo hink he wo could bemore differen i hey ried For me acommercial shoo is an arul blendo people skil ls diplomacy creaiviyand echnical know-how Commercialshoos are no all abou me or myopinion Te goal is o make everyonehappy including mysel and ha has alo o do wih he phoographerrsquos abiliyo quell anxieies and problem-solve onse Te clien is always in he back omy mind on a commercial shoo I needo make sure ha I come away rom anyand all jobs wih a usable and hopeullygrea image (or images) or he clienrsquospurposes Ta is he ask a handand i I can do ha I have a beter

chance a geting hired again Mucho commercial work is abou repea business and building a good workingrelaionship wih cliens

On he oher hand my personal workis all abou me and my opinion Irsquomno rying o please anyone bu mysel

which is why he work is so graiying Ipu similar pressures on mysel in bohmy commercial and personal work sohere is a level o sress I associae wih

boh ypes o shooing Bu he ac oshooing is very differen as well as hesubjec mater Tere are virually nopeople in my personal work ye I makea living as a porrai phoographerSo a big difference beween he woypes o work is also he ac ha inone I have o deal wih oher peopleand heir personaliies hang-ups likesand dislikes In he oher I am usually

wandering around wih a camera on myshoulder or in he back sea o my carsomeimes no speaking o anyone allday I quiely search or picures o akeand ha process is very relaxing or meIrsquom always spending ime by mysel

PC Despie heir differen origins your personal phoographs describea similar space Wha do you look or

when phoographing

ES echnically I usually look or agraphic composiion and one ha ishopeully no oo clutered ndash somehingpleasing o he eye Te qualiy oligh mus be phoogenic and addo he image On an emoional orinellecual level irsquos hard or me o

FOR (EMILY) SHUR by Peter Curtis

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9ISSUE NO

IS

describe specifically wha I look or when phoographing I oen graviaeowards siuaions ha evoke someorm o sadness wihin me hough Idonrsquo hink o my images as melancholy

or depressing I hink ha sadness when illusraed well can be very beauiul as well as ruhul PC How did you sar as a commercialphoographer

ES While I was a NYU I inernedor a couple years a a music magazineand upon graduaing in 1998 I go a

job a a differen music magazine I wasoo nervous and scared o atemp a

career as a phoographer a ha poinI worked a ha magazine or abou a

year and le aer deciding ha I shoulda leas ry o pursue my lielong dreamo being a working phoographer

During my ime working a magazinesI learned a lo abou he indusry Ilooked a porolios and saw how hings

worked wihin he magazine world Ime some o he phoographers whosho or he magazine I worked or andI would oen ask i I could pick heir

brain abou all hings phoo I asked orheir opinion on my work I would alsoask my bosses o check ou my porolio

when hey had some ree ime A ha

poin I realized i would ake quie a bi o effor o elevae my work o helevel o ldquoproessional phoographerrdquoI worked hard o make my poroliomore commercial-riendly I played

around wih srobes and ook picureso riends and acquainances specifically wih he mindse o puting ogeher aporolio wih which I could ge work I

would ren a darkroom and prin or my book aer I go off work Evenually Ipu ogeher a porolio good enough o

begin showing o magazines I saredfirs wih he conacs I already hadrom my jobs in phoo deparmensa differen magazines I also droppedoff my porolio o prety much every

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FALL 2009

magazine in New York on heir

designaed ldquodrop-off daysrdquo Aermuch rejecion and coninual porolioimprovemen I finally booked a shooTen one more Ten anoher Andso on I worked or very litle moneysomeimes or ree I ook any shooha anyone was willing o give meI sho people resaurans objecs

whaever I was no picky

Meanwhile I coninued o work as aphoo edior par-ime a numerousmagazines I filled in or people

a couple weeks here and here Ievenually scored a wo-day-a-week

job a Newsweek where I worked or acouple years unil I le in he summero 2001 Ta was my las office joband I have been shooing ull-ime eversince

PC Wha are your influencesphoographic and oherwise

ES Te person who go me inophoography iniially is undoubedly

Irving Penn One o he firs phoo books I ever purchased was Passage I bough i when I was in high schooland I can saely say looking a ha

book changed he course o my liePenn did everyhing well He masered

virually every ace o phoographyrom connecing wih his subjecso becoming a maser priner Mypersonal work which is largelylandscape based is also influenced byhe work and shooing philosophies o

William Eggleson Sephen Shore andRichard Misrach

Oher influences would probably behings I see in movies while driving oron my daily dog walks Reading booksis good oo

PC I read abou your ldquoake plasic

reesrdquo projec on your blog and was very excied as here are a ew o hoseowers near where I live in New Jersey

Where did he idea o documen hemoriginae and how did i develop

ES I have been working on anongoing body o work in Japan or hepas five years or so and I ound I wasinspired o shoo my personal workonly when I was here or ravellingouside o Los Angeles I waned ochallenge mysel and sar a projec

here in LA In he pas I have never been a projec-oriened phoographerI usually shoo wha ineress me andedi he work ino groups laer on Iel I needed o push mysel and makea body o work ha had a commonheme oher han place I was in a bio a phoographic ru a he ime and

waned o ge excied abou my imagesso I wen on a litle hun or an ideaha would allow me o shoo in he

way ha I am comorable ye wouldsill be differen enough o challenge

me My husband came up wih a bunch o poenial ideas and he oneI responded o he mos was shooinghese cell phone owers ha aredisguised as rees Tey are everywherehere in Souhern Caliornia and Ihough ha phoographing hem

would be a grea way or me o sayrue o my way o shooing and sill

work on an ongoing projec I sared wih one near our house ha I seeeveryday and moved on rom hereIn he beginning I wasnrsquo aking anypicures ha I liked Bu I kep a iand have now sho over hiry owersTis projec has goten more and moreineresing o me as Irsquove coninued o

work on i Wha sared as somehingI was kind o orcing mysel o do has

become a projec I really care abou

and am excied o finish and show opeople Having spen a decen amouno ime on i a his poin Irsquom saringo hink o he images as ldquouurelandscapesrdquo and how specifically mygeneraionrsquos overuse o echnologyhas physically alered our currenlandscape

I needed o give mysel an assignmena deadline and a goal I had been a

very long ime since I did anyhing likeha and Irsquom glad I did

Opening Michael Cera (left) and Amanda

Seyfried (right) Previous Rikugien Garden

(Tokyo Japan) Opposite Picnic Table

(Queenstown New Zealand)

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FALL 2009

In 1909 he phoographer SergeiMikhailovich Prokudin-Gorskii se ou

o documen he daily lives o ordinary

Russians across he vas expanse o

he sarrsquos dominion Te expediion

conduced under he auspices o

Nicholas II who provided passes o

resriced regions o he Empire and

a specially-convered railroad car o

house Prokudin-Gorskiirsquos darkroom

coninued on and off unil 1915 and

yielded housands o phoographs over

wo housand o which have survived o

he presen day

Tese phoographs were aken in ull

color

I never really hough abou he hisory

o color phoography beore I saw he

Prokudin-Gorskii porrais I pressed

I would have admited ha color film

mus have been possible by 1939 a

he laes jus in ime o produceTe Wizard of Oz Neverheless my

impression o he world beore 1960

was ha i was inhabied largely by

mopey beige figures huddled agains

sepia backgrounds

On he superficial level I knew ha

we always exised in ull color bu

here is a proound difference beween

knowing somehing and acually seeing

i physically represened I ound hese

early color phoographs ascinaing andunsetling all a once Irsquos difficul o

pinpoin wha is so jarring abou he

Prokudin-Gorskii images Te daed

clohing is a par o i orcing he

viewer o realize ha ashion in he age

o he Homburg was no monochrome

ndash and more imporanly ha a man in

a sack coa could sill sand agains a

VIEWEREXPECTATIONS

by Aaron Krol

Overnight Camp by a Rock on the Bank of the Chusovaia River Sergei Prokudin-Gorskii (1912)

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13ISSUE NO

IS

blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

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FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

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17IS

ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

7232019 Revista ISO

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18ISO

FEATURED ARTIST

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19IS

KATIE KLIN

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20ISO

FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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22ISO

JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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24ISO

JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

7232019 Revista ISO

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38ISO

BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

7232019 Revista ISO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

7232019 Revista ISO

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40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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httpslidepdfcomreaderfullrevista-iso 4176

41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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httpslidepdfcomreaderfullrevista-iso 4276

42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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httpslidepdfcomreaderfullrevista-iso 4576

45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

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48ISO

THE GALLERY

7232019 Revista ISO

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49I

THE GALL

7232019 Revista ISO

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

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51THE GALL

I

7232019 Revista ISO

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

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59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

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61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

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TSOANYUISSUENO3SPRING2010

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6ISO

OPENING

Phoographers oen phoograph o undersand In our

invesigaions we capure memories o see where wersquove

come rom and o undersand where wersquore going As we

grow up jus like anyone we ry on differen has And

as we pu on differen has we see hrough differen

lenses Te phoographerrsquos unique perspecive is wha

guides he creaive hear o he medium I is wha

separaes he ciizen rom he proessional journalis

he aris rom he commercial phoographer and he

suden rom he amaeur

When raveling we see hrough a oreign lens oen

oggy and inriguing in is salience When we are

children we live in he momen our memories are

marked wih he value o a disposable camera As we

reach adulhood we begin o lose our sense o sel as we

ener he ldquoreal worldrdquo and are no longer powered solely by dreams and ambiions We begin o sruggle wih he

perspecives o our ldquopersonalrdquo and ldquocommercialrdquo work

For his reason we begin our Fall 2009 issue wih a

simulaing conversaion wih Emily Shur a working

proessional who graduaed rom NYU and ound

success as a celebriy porrai phoographer Her

insighs begin our exploraory journey ha presens he

world hrough cheap vinage and oreign lenses Nex

you will experience he joys o handing your camera

o someone else Tere are wonderul surprises in he

projecs showcased hroughou he issue Many o hese

phoographers search or an undersanding o home and

place wheher ha is ound in Tis Promised Land or in

amily members who were once los

Here a ISO we are launching a plan o expansion We

are no longer solely a prin publicaion We hope you

will visi our websie and subscribe o our blog or

consisen updaes rom he ISO eam In he uure

we hope o inerac wih our readers hrough evens in

he communiy Your involvemen wih ISO broadensour perspecive o he ever-changing phoographic

communiy and we are hankul or your willingness o

share in his experience

MICHAEL GEORGE EDITOR-IN-CHIEF

EDITORrsquoS LETTER

EDITOR-IN-CHIEFMichael George

DEPUTY EDITORCorinne Rapone

WRITERSPeer CurisMichael GeorgeDeirdre Hering Aaron Krol Julia Pugachevsky Jenna SpizPey Chuan an Alison Wynn

COPY EDITORS Alex BrownFrancis PoonLaura Sephenson

BLOG MANAGER Alex Brown

BLOG WRITERSHannah Holzwarh Julia Pugachevsky Avanika ShankarKaie Vogel

ART DIRECTOR ampSENIOR DESIGNER

Danlly Domingo

DESIGN ASSISTANTNina Culota

PHOTO EDITORSSasha Aruyunova Jenna Spiz

PHOTOGRAPHERS Alex Arbuckle

Sasha AruyunovaBeryl BevilacqueShraddha BorawakePeer CurisKaie Frank Ben FrankeMichael George Arieru IwahoriDaniel JaffeMelodie JengRuoyi Jiang Jennifer Kinney Kaie KlineKrisina Knipe

David MacedoDennis Nazarov Maggie Owsley Tomas PriorMeredih RomCalie SchiemanEmily ShurErin WahedMichelle Wat Alison WynnPey Chuan anCeacutesar Vega

FINANCIAL SUPERVISORMia orres

COMMUNICATIONS TEAM Jenny EomMelodie JengFrancis PoonLaura Sephenson

FACULTY ADVISOREdiha Mesina

SPECIAL THANKSIrene Cho Yolanda CuomoDeparmen of Phoography amp Imaging

Danny DomingoTomas DrysdaleMichael MessinaNew York Universiy Tomas PriorEmily Shurisch School of he Arsisch Undergraduae Suden CouncilDeborah Willis

ISO STAFF AND CONTRIBUTORS

7232019 Revista ISO

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COVER Untitled (Alamogordo) Ceacutesar Vega

INSIDE FRONT COVER Untitled Dennis Nazarov

INSIDE BACK COVER Untitled Dennis Nazarov

BACK COVER Train to LrsquoViv Peter Curtis

7CONTEN

IS

EDITORrsquoS LETTER

06

08

12

14

16

18

26

32

38

06

44

70

72

73

CONTENTS

CONTRIBUTORS

FOR (EMILY) SHUR BY PETER CURTIS

VIEWER EXPECTATIONS BY AARON KROL

THE NEW FABRIC OF ABSTRACTION BY ALISON WYNN

IT TAKES PICTURES BY PEY CHUAN TAN

KATIE KLINE DIPTYCHS BY JENNA SPITZ

PETER CURTIS MYTHOLOGIES REAL AND IMAGINED BY DEIRDRE HERING

CEacuteSAR VEGA THIS PROMISED LAND BY JULIA PUGACHEVSKY

THOMAS PRIOR BLACKROCK TOWER + THE LONG COURSE BY MICHAEL GEORGE

THE GALLERY INTRODUCTION BY SASHA AURTYUNOVA amp JENNA SPITZ

PHOTOFLO

DIRECTORY

HOW TO SUBMIT

7232019 Revista ISO

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8ISO

FALL 2009

Glancing a Emily Shurrsquos porolio

can be dauning Her phoography

encompasses a mulipliciy o pracices

rom commercial porraiure o

personal landscapes Tere is a wide breadh o work o ake in However

his deph is rereshing and oen

inspiring Shurrsquos lie and work inerac

complexly in differen ways a differen

imes Tis muli-layered noion o

arisic pracice has allowed her o work

beween genres and o invesigae a

wide range o phoography

PC Your work varies rom personallandscapes o celebriy porrais Wha

role does phoography play in your lie

ES Phoography plays many differenroles in my lie Irsquos how I make ar Irsquoshow I make a living I keeps me saneand makes me crazy all a he sameime Phoography is an escape Ialso makes me eel as hough I belongsomewhere

PC How does a commercial shoodiffer han a personal one (i a all)

ES I donrsquo hink he wo could bemore differen i hey ried For me acommercial shoo is an arul blendo people skil ls diplomacy creaiviyand echnical know-how Commercialshoos are no all abou me or myopinion Te goal is o make everyonehappy including mysel and ha has alo o do wih he phoographerrsquos abiliyo quell anxieies and problem-solve onse Te clien is always in he back omy mind on a commercial shoo I needo make sure ha I come away rom anyand all jobs wih a usable and hopeullygrea image (or images) or he clienrsquospurposes Ta is he ask a handand i I can do ha I have a beter

chance a geting hired again Mucho commercial work is abou repea business and building a good workingrelaionship wih cliens

On he oher hand my personal workis all abou me and my opinion Irsquomno rying o please anyone bu mysel

which is why he work is so graiying Ipu similar pressures on mysel in bohmy commercial and personal work sohere is a level o sress I associae wih

boh ypes o shooing Bu he ac oshooing is very differen as well as hesubjec mater Tere are virually nopeople in my personal work ye I makea living as a porrai phoographerSo a big difference beween he woypes o work is also he ac ha inone I have o deal wih oher peopleand heir personaliies hang-ups likesand dislikes In he oher I am usually

wandering around wih a camera on myshoulder or in he back sea o my carsomeimes no speaking o anyone allday I quiely search or picures o akeand ha process is very relaxing or meIrsquom always spending ime by mysel

PC Despie heir differen origins your personal phoographs describea similar space Wha do you look or

when phoographing

ES echnically I usually look or agraphic composiion and one ha ishopeully no oo clutered ndash somehingpleasing o he eye Te qualiy oligh mus be phoogenic and addo he image On an emoional orinellecual level irsquos hard or me o

FOR (EMILY) SHUR by Peter Curtis

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9ISSUE NO

IS

describe specifically wha I look or when phoographing I oen graviaeowards siuaions ha evoke someorm o sadness wihin me hough Idonrsquo hink o my images as melancholy

or depressing I hink ha sadness when illusraed well can be very beauiul as well as ruhul PC How did you sar as a commercialphoographer

ES While I was a NYU I inernedor a couple years a a music magazineand upon graduaing in 1998 I go a

job a a differen music magazine I wasoo nervous and scared o atemp a

career as a phoographer a ha poinI worked a ha magazine or abou a

year and le aer deciding ha I shoulda leas ry o pursue my lielong dreamo being a working phoographer

During my ime working a magazinesI learned a lo abou he indusry Ilooked a porolios and saw how hings

worked wihin he magazine world Ime some o he phoographers whosho or he magazine I worked or andI would oen ask i I could pick heir

brain abou all hings phoo I asked orheir opinion on my work I would alsoask my bosses o check ou my porolio

when hey had some ree ime A ha

poin I realized i would ake quie a bi o effor o elevae my work o helevel o ldquoproessional phoographerrdquoI worked hard o make my poroliomore commercial-riendly I played

around wih srobes and ook picureso riends and acquainances specifically wih he mindse o puting ogeher aporolio wih which I could ge work I

would ren a darkroom and prin or my book aer I go off work Evenually Ipu ogeher a porolio good enough o

begin showing o magazines I saredfirs wih he conacs I already hadrom my jobs in phoo deparmensa differen magazines I also droppedoff my porolio o prety much every

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10ISO

FALL 2009

magazine in New York on heir

designaed ldquodrop-off daysrdquo Aermuch rejecion and coninual porolioimprovemen I finally booked a shooTen one more Ten anoher Andso on I worked or very litle moneysomeimes or ree I ook any shooha anyone was willing o give meI sho people resaurans objecs

whaever I was no picky

Meanwhile I coninued o work as aphoo edior par-ime a numerousmagazines I filled in or people

a couple weeks here and here Ievenually scored a wo-day-a-week

job a Newsweek where I worked or acouple years unil I le in he summero 2001 Ta was my las office joband I have been shooing ull-ime eversince

PC Wha are your influencesphoographic and oherwise

ES Te person who go me inophoography iniially is undoubedly

Irving Penn One o he firs phoo books I ever purchased was Passage I bough i when I was in high schooland I can saely say looking a ha

book changed he course o my liePenn did everyhing well He masered

virually every ace o phoographyrom connecing wih his subjecso becoming a maser priner Mypersonal work which is largelylandscape based is also influenced byhe work and shooing philosophies o

William Eggleson Sephen Shore andRichard Misrach

Oher influences would probably behings I see in movies while driving oron my daily dog walks Reading booksis good oo

PC I read abou your ldquoake plasic

reesrdquo projec on your blog and was very excied as here are a ew o hoseowers near where I live in New Jersey

Where did he idea o documen hemoriginae and how did i develop

ES I have been working on anongoing body o work in Japan or hepas five years or so and I ound I wasinspired o shoo my personal workonly when I was here or ravellingouside o Los Angeles I waned ochallenge mysel and sar a projec

here in LA In he pas I have never been a projec-oriened phoographerI usually shoo wha ineress me andedi he work ino groups laer on Iel I needed o push mysel and makea body o work ha had a commonheme oher han place I was in a bio a phoographic ru a he ime and

waned o ge excied abou my imagesso I wen on a litle hun or an ideaha would allow me o shoo in he

way ha I am comorable ye wouldsill be differen enough o challenge

me My husband came up wih a bunch o poenial ideas and he oneI responded o he mos was shooinghese cell phone owers ha aredisguised as rees Tey are everywherehere in Souhern Caliornia and Ihough ha phoographing hem

would be a grea way or me o sayrue o my way o shooing and sill

work on an ongoing projec I sared wih one near our house ha I seeeveryday and moved on rom hereIn he beginning I wasnrsquo aking anypicures ha I liked Bu I kep a iand have now sho over hiry owersTis projec has goten more and moreineresing o me as Irsquove coninued o

work on i Wha sared as somehingI was kind o orcing mysel o do has

become a projec I really care abou

and am excied o finish and show opeople Having spen a decen amouno ime on i a his poin Irsquom saringo hink o he images as ldquouurelandscapesrdquo and how specifically mygeneraionrsquos overuse o echnologyhas physically alered our currenlandscape

I needed o give mysel an assignmena deadline and a goal I had been a

very long ime since I did anyhing likeha and Irsquom glad I did

Opening Michael Cera (left) and Amanda

Seyfried (right) Previous Rikugien Garden

(Tokyo Japan) Opposite Picnic Table

(Queenstown New Zealand)

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FALL 2009

In 1909 he phoographer SergeiMikhailovich Prokudin-Gorskii se ou

o documen he daily lives o ordinary

Russians across he vas expanse o

he sarrsquos dominion Te expediion

conduced under he auspices o

Nicholas II who provided passes o

resriced regions o he Empire and

a specially-convered railroad car o

house Prokudin-Gorskiirsquos darkroom

coninued on and off unil 1915 and

yielded housands o phoographs over

wo housand o which have survived o

he presen day

Tese phoographs were aken in ull

color

I never really hough abou he hisory

o color phoography beore I saw he

Prokudin-Gorskii porrais I pressed

I would have admited ha color film

mus have been possible by 1939 a

he laes jus in ime o produceTe Wizard of Oz Neverheless my

impression o he world beore 1960

was ha i was inhabied largely by

mopey beige figures huddled agains

sepia backgrounds

On he superficial level I knew ha

we always exised in ull color bu

here is a proound difference beween

knowing somehing and acually seeing

i physically represened I ound hese

early color phoographs ascinaing andunsetling all a once Irsquos difficul o

pinpoin wha is so jarring abou he

Prokudin-Gorskii images Te daed

clohing is a par o i orcing he

viewer o realize ha ashion in he age

o he Homburg was no monochrome

ndash and more imporanly ha a man in

a sack coa could sill sand agains a

VIEWEREXPECTATIONS

by Aaron Krol

Overnight Camp by a Rock on the Bank of the Chusovaia River Sergei Prokudin-Gorskii (1912)

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blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

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FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

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ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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FEATURED ARTIST

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19IS

KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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IS

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JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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24ISO

JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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25ISO

KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

7232019 Revista ISO

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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28ISO

FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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TSOANYUISSUENO3SPRING2010

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6ISO

OPENING

Phoographers oen phoograph o undersand In our

invesigaions we capure memories o see where wersquove

come rom and o undersand where wersquore going As we

grow up jus like anyone we ry on differen has And

as we pu on differen has we see hrough differen

lenses Te phoographerrsquos unique perspecive is wha

guides he creaive hear o he medium I is wha

separaes he ciizen rom he proessional journalis

he aris rom he commercial phoographer and he

suden rom he amaeur

When raveling we see hrough a oreign lens oen

oggy and inriguing in is salience When we are

children we live in he momen our memories are

marked wih he value o a disposable camera As we

reach adulhood we begin o lose our sense o sel as we

ener he ldquoreal worldrdquo and are no longer powered solely by dreams and ambiions We begin o sruggle wih he

perspecives o our ldquopersonalrdquo and ldquocommercialrdquo work

For his reason we begin our Fall 2009 issue wih a

simulaing conversaion wih Emily Shur a working

proessional who graduaed rom NYU and ound

success as a celebriy porrai phoographer Her

insighs begin our exploraory journey ha presens he

world hrough cheap vinage and oreign lenses Nex

you will experience he joys o handing your camera

o someone else Tere are wonderul surprises in he

projecs showcased hroughou he issue Many o hese

phoographers search or an undersanding o home and

place wheher ha is ound in Tis Promised Land or in

amily members who were once los

Here a ISO we are launching a plan o expansion We

are no longer solely a prin publicaion We hope you

will visi our websie and subscribe o our blog or

consisen updaes rom he ISO eam In he uure

we hope o inerac wih our readers hrough evens in

he communiy Your involvemen wih ISO broadensour perspecive o he ever-changing phoographic

communiy and we are hankul or your willingness o

share in his experience

MICHAEL GEORGE EDITOR-IN-CHIEF

EDITORrsquoS LETTER

EDITOR-IN-CHIEFMichael George

DEPUTY EDITORCorinne Rapone

WRITERSPeer CurisMichael GeorgeDeirdre Hering Aaron Krol Julia Pugachevsky Jenna SpizPey Chuan an Alison Wynn

COPY EDITORS Alex BrownFrancis PoonLaura Sephenson

BLOG MANAGER Alex Brown

BLOG WRITERSHannah Holzwarh Julia Pugachevsky Avanika ShankarKaie Vogel

ART DIRECTOR ampSENIOR DESIGNER

Danlly Domingo

DESIGN ASSISTANTNina Culota

PHOTO EDITORSSasha Aruyunova Jenna Spiz

PHOTOGRAPHERS Alex Arbuckle

Sasha AruyunovaBeryl BevilacqueShraddha BorawakePeer CurisKaie Frank Ben FrankeMichael George Arieru IwahoriDaniel JaffeMelodie JengRuoyi Jiang Jennifer Kinney Kaie KlineKrisina Knipe

David MacedoDennis Nazarov Maggie Owsley Tomas PriorMeredih RomCalie SchiemanEmily ShurErin WahedMichelle Wat Alison WynnPey Chuan anCeacutesar Vega

FINANCIAL SUPERVISORMia orres

COMMUNICATIONS TEAM Jenny EomMelodie JengFrancis PoonLaura Sephenson

FACULTY ADVISOREdiha Mesina

SPECIAL THANKSIrene Cho Yolanda CuomoDeparmen of Phoography amp Imaging

Danny DomingoTomas DrysdaleMichael MessinaNew York Universiy Tomas PriorEmily Shurisch School of he Arsisch Undergraduae Suden CouncilDeborah Willis

ISO STAFF AND CONTRIBUTORS

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COVER Untitled (Alamogordo) Ceacutesar Vega

INSIDE FRONT COVER Untitled Dennis Nazarov

INSIDE BACK COVER Untitled Dennis Nazarov

BACK COVER Train to LrsquoViv Peter Curtis

7CONTEN

IS

EDITORrsquoS LETTER

06

08

12

14

16

18

26

32

38

06

44

70

72

73

CONTENTS

CONTRIBUTORS

FOR (EMILY) SHUR BY PETER CURTIS

VIEWER EXPECTATIONS BY AARON KROL

THE NEW FABRIC OF ABSTRACTION BY ALISON WYNN

IT TAKES PICTURES BY PEY CHUAN TAN

KATIE KLINE DIPTYCHS BY JENNA SPITZ

PETER CURTIS MYTHOLOGIES REAL AND IMAGINED BY DEIRDRE HERING

CEacuteSAR VEGA THIS PROMISED LAND BY JULIA PUGACHEVSKY

THOMAS PRIOR BLACKROCK TOWER + THE LONG COURSE BY MICHAEL GEORGE

THE GALLERY INTRODUCTION BY SASHA AURTYUNOVA amp JENNA SPITZ

PHOTOFLO

DIRECTORY

HOW TO SUBMIT

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8ISO

FALL 2009

Glancing a Emily Shurrsquos porolio

can be dauning Her phoography

encompasses a mulipliciy o pracices

rom commercial porraiure o

personal landscapes Tere is a wide breadh o work o ake in However

his deph is rereshing and oen

inspiring Shurrsquos lie and work inerac

complexly in differen ways a differen

imes Tis muli-layered noion o

arisic pracice has allowed her o work

beween genres and o invesigae a

wide range o phoography

PC Your work varies rom personallandscapes o celebriy porrais Wha

role does phoography play in your lie

ES Phoography plays many differenroles in my lie Irsquos how I make ar Irsquoshow I make a living I keeps me saneand makes me crazy all a he sameime Phoography is an escape Ialso makes me eel as hough I belongsomewhere

PC How does a commercial shoodiffer han a personal one (i a all)

ES I donrsquo hink he wo could bemore differen i hey ried For me acommercial shoo is an arul blendo people skil ls diplomacy creaiviyand echnical know-how Commercialshoos are no all abou me or myopinion Te goal is o make everyonehappy including mysel and ha has alo o do wih he phoographerrsquos abiliyo quell anxieies and problem-solve onse Te clien is always in he back omy mind on a commercial shoo I needo make sure ha I come away rom anyand all jobs wih a usable and hopeullygrea image (or images) or he clienrsquospurposes Ta is he ask a handand i I can do ha I have a beter

chance a geting hired again Mucho commercial work is abou repea business and building a good workingrelaionship wih cliens

On he oher hand my personal workis all abou me and my opinion Irsquomno rying o please anyone bu mysel

which is why he work is so graiying Ipu similar pressures on mysel in bohmy commercial and personal work sohere is a level o sress I associae wih

boh ypes o shooing Bu he ac oshooing is very differen as well as hesubjec mater Tere are virually nopeople in my personal work ye I makea living as a porrai phoographerSo a big difference beween he woypes o work is also he ac ha inone I have o deal wih oher peopleand heir personaliies hang-ups likesand dislikes In he oher I am usually

wandering around wih a camera on myshoulder or in he back sea o my carsomeimes no speaking o anyone allday I quiely search or picures o akeand ha process is very relaxing or meIrsquom always spending ime by mysel

PC Despie heir differen origins your personal phoographs describea similar space Wha do you look or

when phoographing

ES echnically I usually look or agraphic composiion and one ha ishopeully no oo clutered ndash somehingpleasing o he eye Te qualiy oligh mus be phoogenic and addo he image On an emoional orinellecual level irsquos hard or me o

FOR (EMILY) SHUR by Peter Curtis

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9ISSUE NO

IS

describe specifically wha I look or when phoographing I oen graviaeowards siuaions ha evoke someorm o sadness wihin me hough Idonrsquo hink o my images as melancholy

or depressing I hink ha sadness when illusraed well can be very beauiul as well as ruhul PC How did you sar as a commercialphoographer

ES While I was a NYU I inernedor a couple years a a music magazineand upon graduaing in 1998 I go a

job a a differen music magazine I wasoo nervous and scared o atemp a

career as a phoographer a ha poinI worked a ha magazine or abou a

year and le aer deciding ha I shoulda leas ry o pursue my lielong dreamo being a working phoographer

During my ime working a magazinesI learned a lo abou he indusry Ilooked a porolios and saw how hings

worked wihin he magazine world Ime some o he phoographers whosho or he magazine I worked or andI would oen ask i I could pick heir

brain abou all hings phoo I asked orheir opinion on my work I would alsoask my bosses o check ou my porolio

when hey had some ree ime A ha

poin I realized i would ake quie a bi o effor o elevae my work o helevel o ldquoproessional phoographerrdquoI worked hard o make my poroliomore commercial-riendly I played

around wih srobes and ook picureso riends and acquainances specifically wih he mindse o puting ogeher aporolio wih which I could ge work I

would ren a darkroom and prin or my book aer I go off work Evenually Ipu ogeher a porolio good enough o

begin showing o magazines I saredfirs wih he conacs I already hadrom my jobs in phoo deparmensa differen magazines I also droppedoff my porolio o prety much every

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10ISO

FALL 2009

magazine in New York on heir

designaed ldquodrop-off daysrdquo Aermuch rejecion and coninual porolioimprovemen I finally booked a shooTen one more Ten anoher Andso on I worked or very litle moneysomeimes or ree I ook any shooha anyone was willing o give meI sho people resaurans objecs

whaever I was no picky

Meanwhile I coninued o work as aphoo edior par-ime a numerousmagazines I filled in or people

a couple weeks here and here Ievenually scored a wo-day-a-week

job a Newsweek where I worked or acouple years unil I le in he summero 2001 Ta was my las office joband I have been shooing ull-ime eversince

PC Wha are your influencesphoographic and oherwise

ES Te person who go me inophoography iniially is undoubedly

Irving Penn One o he firs phoo books I ever purchased was Passage I bough i when I was in high schooland I can saely say looking a ha

book changed he course o my liePenn did everyhing well He masered

virually every ace o phoographyrom connecing wih his subjecso becoming a maser priner Mypersonal work which is largelylandscape based is also influenced byhe work and shooing philosophies o

William Eggleson Sephen Shore andRichard Misrach

Oher influences would probably behings I see in movies while driving oron my daily dog walks Reading booksis good oo

PC I read abou your ldquoake plasic

reesrdquo projec on your blog and was very excied as here are a ew o hoseowers near where I live in New Jersey

Where did he idea o documen hemoriginae and how did i develop

ES I have been working on anongoing body o work in Japan or hepas five years or so and I ound I wasinspired o shoo my personal workonly when I was here or ravellingouside o Los Angeles I waned ochallenge mysel and sar a projec

here in LA In he pas I have never been a projec-oriened phoographerI usually shoo wha ineress me andedi he work ino groups laer on Iel I needed o push mysel and makea body o work ha had a commonheme oher han place I was in a bio a phoographic ru a he ime and

waned o ge excied abou my imagesso I wen on a litle hun or an ideaha would allow me o shoo in he

way ha I am comorable ye wouldsill be differen enough o challenge

me My husband came up wih a bunch o poenial ideas and he oneI responded o he mos was shooinghese cell phone owers ha aredisguised as rees Tey are everywherehere in Souhern Caliornia and Ihough ha phoographing hem

would be a grea way or me o sayrue o my way o shooing and sill

work on an ongoing projec I sared wih one near our house ha I seeeveryday and moved on rom hereIn he beginning I wasnrsquo aking anypicures ha I liked Bu I kep a iand have now sho over hiry owersTis projec has goten more and moreineresing o me as Irsquove coninued o

work on i Wha sared as somehingI was kind o orcing mysel o do has

become a projec I really care abou

and am excied o finish and show opeople Having spen a decen amouno ime on i a his poin Irsquom saringo hink o he images as ldquouurelandscapesrdquo and how specifically mygeneraionrsquos overuse o echnologyhas physically alered our currenlandscape

I needed o give mysel an assignmena deadline and a goal I had been a

very long ime since I did anyhing likeha and Irsquom glad I did

Opening Michael Cera (left) and Amanda

Seyfried (right) Previous Rikugien Garden

(Tokyo Japan) Opposite Picnic Table

(Queenstown New Zealand)

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11ISSUE NO

IS

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12ISO

FALL 2009

In 1909 he phoographer SergeiMikhailovich Prokudin-Gorskii se ou

o documen he daily lives o ordinary

Russians across he vas expanse o

he sarrsquos dominion Te expediion

conduced under he auspices o

Nicholas II who provided passes o

resriced regions o he Empire and

a specially-convered railroad car o

house Prokudin-Gorskiirsquos darkroom

coninued on and off unil 1915 and

yielded housands o phoographs over

wo housand o which have survived o

he presen day

Tese phoographs were aken in ull

color

I never really hough abou he hisory

o color phoography beore I saw he

Prokudin-Gorskii porrais I pressed

I would have admited ha color film

mus have been possible by 1939 a

he laes jus in ime o produceTe Wizard of Oz Neverheless my

impression o he world beore 1960

was ha i was inhabied largely by

mopey beige figures huddled agains

sepia backgrounds

On he superficial level I knew ha

we always exised in ull color bu

here is a proound difference beween

knowing somehing and acually seeing

i physically represened I ound hese

early color phoographs ascinaing andunsetling all a once Irsquos difficul o

pinpoin wha is so jarring abou he

Prokudin-Gorskii images Te daed

clohing is a par o i orcing he

viewer o realize ha ashion in he age

o he Homburg was no monochrome

ndash and more imporanly ha a man in

a sack coa could sill sand agains a

VIEWEREXPECTATIONS

by Aaron Krol

Overnight Camp by a Rock on the Bank of the Chusovaia River Sergei Prokudin-Gorskii (1912)

7232019 Revista ISO

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13ISSUE NO

IS

blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

7232019 Revista ISO

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14ISO

FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

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ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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FEATURED ARTIST

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19IS

KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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IS

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JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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32ISO

THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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36ISO

FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

7232019 Revista ISO

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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54ISO

THE GALLERY

7232019 Revista ISO

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55THE GALL

I

7232019 Revista ISO

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

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61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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TSOANYUISSUENO3SPRING2010

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6ISO

OPENING

Phoographers oen phoograph o undersand In our

invesigaions we capure memories o see where wersquove

come rom and o undersand where wersquore going As we

grow up jus like anyone we ry on differen has And

as we pu on differen has we see hrough differen

lenses Te phoographerrsquos unique perspecive is wha

guides he creaive hear o he medium I is wha

separaes he ciizen rom he proessional journalis

he aris rom he commercial phoographer and he

suden rom he amaeur

When raveling we see hrough a oreign lens oen

oggy and inriguing in is salience When we are

children we live in he momen our memories are

marked wih he value o a disposable camera As we

reach adulhood we begin o lose our sense o sel as we

ener he ldquoreal worldrdquo and are no longer powered solely by dreams and ambiions We begin o sruggle wih he

perspecives o our ldquopersonalrdquo and ldquocommercialrdquo work

For his reason we begin our Fall 2009 issue wih a

simulaing conversaion wih Emily Shur a working

proessional who graduaed rom NYU and ound

success as a celebriy porrai phoographer Her

insighs begin our exploraory journey ha presens he

world hrough cheap vinage and oreign lenses Nex

you will experience he joys o handing your camera

o someone else Tere are wonderul surprises in he

projecs showcased hroughou he issue Many o hese

phoographers search or an undersanding o home and

place wheher ha is ound in Tis Promised Land or in

amily members who were once los

Here a ISO we are launching a plan o expansion We

are no longer solely a prin publicaion We hope you

will visi our websie and subscribe o our blog or

consisen updaes rom he ISO eam In he uure

we hope o inerac wih our readers hrough evens in

he communiy Your involvemen wih ISO broadensour perspecive o he ever-changing phoographic

communiy and we are hankul or your willingness o

share in his experience

MICHAEL GEORGE EDITOR-IN-CHIEF

EDITORrsquoS LETTER

EDITOR-IN-CHIEFMichael George

DEPUTY EDITORCorinne Rapone

WRITERSPeer CurisMichael GeorgeDeirdre Hering Aaron Krol Julia Pugachevsky Jenna SpizPey Chuan an Alison Wynn

COPY EDITORS Alex BrownFrancis PoonLaura Sephenson

BLOG MANAGER Alex Brown

BLOG WRITERSHannah Holzwarh Julia Pugachevsky Avanika ShankarKaie Vogel

ART DIRECTOR ampSENIOR DESIGNER

Danlly Domingo

DESIGN ASSISTANTNina Culota

PHOTO EDITORSSasha Aruyunova Jenna Spiz

PHOTOGRAPHERS Alex Arbuckle

Sasha AruyunovaBeryl BevilacqueShraddha BorawakePeer CurisKaie Frank Ben FrankeMichael George Arieru IwahoriDaniel JaffeMelodie JengRuoyi Jiang Jennifer Kinney Kaie KlineKrisina Knipe

David MacedoDennis Nazarov Maggie Owsley Tomas PriorMeredih RomCalie SchiemanEmily ShurErin WahedMichelle Wat Alison WynnPey Chuan anCeacutesar Vega

FINANCIAL SUPERVISORMia orres

COMMUNICATIONS TEAM Jenny EomMelodie JengFrancis PoonLaura Sephenson

FACULTY ADVISOREdiha Mesina

SPECIAL THANKSIrene Cho Yolanda CuomoDeparmen of Phoography amp Imaging

Danny DomingoTomas DrysdaleMichael MessinaNew York Universiy Tomas PriorEmily Shurisch School of he Arsisch Undergraduae Suden CouncilDeborah Willis

ISO STAFF AND CONTRIBUTORS

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COVER Untitled (Alamogordo) Ceacutesar Vega

INSIDE FRONT COVER Untitled Dennis Nazarov

INSIDE BACK COVER Untitled Dennis Nazarov

BACK COVER Train to LrsquoViv Peter Curtis

7CONTEN

IS

EDITORrsquoS LETTER

06

08

12

14

16

18

26

32

38

06

44

70

72

73

CONTENTS

CONTRIBUTORS

FOR (EMILY) SHUR BY PETER CURTIS

VIEWER EXPECTATIONS BY AARON KROL

THE NEW FABRIC OF ABSTRACTION BY ALISON WYNN

IT TAKES PICTURES BY PEY CHUAN TAN

KATIE KLINE DIPTYCHS BY JENNA SPITZ

PETER CURTIS MYTHOLOGIES REAL AND IMAGINED BY DEIRDRE HERING

CEacuteSAR VEGA THIS PROMISED LAND BY JULIA PUGACHEVSKY

THOMAS PRIOR BLACKROCK TOWER + THE LONG COURSE BY MICHAEL GEORGE

THE GALLERY INTRODUCTION BY SASHA AURTYUNOVA amp JENNA SPITZ

PHOTOFLO

DIRECTORY

HOW TO SUBMIT

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FALL 2009

Glancing a Emily Shurrsquos porolio

can be dauning Her phoography

encompasses a mulipliciy o pracices

rom commercial porraiure o

personal landscapes Tere is a wide breadh o work o ake in However

his deph is rereshing and oen

inspiring Shurrsquos lie and work inerac

complexly in differen ways a differen

imes Tis muli-layered noion o

arisic pracice has allowed her o work

beween genres and o invesigae a

wide range o phoography

PC Your work varies rom personallandscapes o celebriy porrais Wha

role does phoography play in your lie

ES Phoography plays many differenroles in my lie Irsquos how I make ar Irsquoshow I make a living I keeps me saneand makes me crazy all a he sameime Phoography is an escape Ialso makes me eel as hough I belongsomewhere

PC How does a commercial shoodiffer han a personal one (i a all)

ES I donrsquo hink he wo could bemore differen i hey ried For me acommercial shoo is an arul blendo people skil ls diplomacy creaiviyand echnical know-how Commercialshoos are no all abou me or myopinion Te goal is o make everyonehappy including mysel and ha has alo o do wih he phoographerrsquos abiliyo quell anxieies and problem-solve onse Te clien is always in he back omy mind on a commercial shoo I needo make sure ha I come away rom anyand all jobs wih a usable and hopeullygrea image (or images) or he clienrsquospurposes Ta is he ask a handand i I can do ha I have a beter

chance a geting hired again Mucho commercial work is abou repea business and building a good workingrelaionship wih cliens

On he oher hand my personal workis all abou me and my opinion Irsquomno rying o please anyone bu mysel

which is why he work is so graiying Ipu similar pressures on mysel in bohmy commercial and personal work sohere is a level o sress I associae wih

boh ypes o shooing Bu he ac oshooing is very differen as well as hesubjec mater Tere are virually nopeople in my personal work ye I makea living as a porrai phoographerSo a big difference beween he woypes o work is also he ac ha inone I have o deal wih oher peopleand heir personaliies hang-ups likesand dislikes In he oher I am usually

wandering around wih a camera on myshoulder or in he back sea o my carsomeimes no speaking o anyone allday I quiely search or picures o akeand ha process is very relaxing or meIrsquom always spending ime by mysel

PC Despie heir differen origins your personal phoographs describea similar space Wha do you look or

when phoographing

ES echnically I usually look or agraphic composiion and one ha ishopeully no oo clutered ndash somehingpleasing o he eye Te qualiy oligh mus be phoogenic and addo he image On an emoional orinellecual level irsquos hard or me o

FOR (EMILY) SHUR by Peter Curtis

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describe specifically wha I look or when phoographing I oen graviaeowards siuaions ha evoke someorm o sadness wihin me hough Idonrsquo hink o my images as melancholy

or depressing I hink ha sadness when illusraed well can be very beauiul as well as ruhul PC How did you sar as a commercialphoographer

ES While I was a NYU I inernedor a couple years a a music magazineand upon graduaing in 1998 I go a

job a a differen music magazine I wasoo nervous and scared o atemp a

career as a phoographer a ha poinI worked a ha magazine or abou a

year and le aer deciding ha I shoulda leas ry o pursue my lielong dreamo being a working phoographer

During my ime working a magazinesI learned a lo abou he indusry Ilooked a porolios and saw how hings

worked wihin he magazine world Ime some o he phoographers whosho or he magazine I worked or andI would oen ask i I could pick heir

brain abou all hings phoo I asked orheir opinion on my work I would alsoask my bosses o check ou my porolio

when hey had some ree ime A ha

poin I realized i would ake quie a bi o effor o elevae my work o helevel o ldquoproessional phoographerrdquoI worked hard o make my poroliomore commercial-riendly I played

around wih srobes and ook picureso riends and acquainances specifically wih he mindse o puting ogeher aporolio wih which I could ge work I

would ren a darkroom and prin or my book aer I go off work Evenually Ipu ogeher a porolio good enough o

begin showing o magazines I saredfirs wih he conacs I already hadrom my jobs in phoo deparmensa differen magazines I also droppedoff my porolio o prety much every

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FALL 2009

magazine in New York on heir

designaed ldquodrop-off daysrdquo Aermuch rejecion and coninual porolioimprovemen I finally booked a shooTen one more Ten anoher Andso on I worked or very litle moneysomeimes or ree I ook any shooha anyone was willing o give meI sho people resaurans objecs

whaever I was no picky

Meanwhile I coninued o work as aphoo edior par-ime a numerousmagazines I filled in or people

a couple weeks here and here Ievenually scored a wo-day-a-week

job a Newsweek where I worked or acouple years unil I le in he summero 2001 Ta was my las office joband I have been shooing ull-ime eversince

PC Wha are your influencesphoographic and oherwise

ES Te person who go me inophoography iniially is undoubedly

Irving Penn One o he firs phoo books I ever purchased was Passage I bough i when I was in high schooland I can saely say looking a ha

book changed he course o my liePenn did everyhing well He masered

virually every ace o phoographyrom connecing wih his subjecso becoming a maser priner Mypersonal work which is largelylandscape based is also influenced byhe work and shooing philosophies o

William Eggleson Sephen Shore andRichard Misrach

Oher influences would probably behings I see in movies while driving oron my daily dog walks Reading booksis good oo

PC I read abou your ldquoake plasic

reesrdquo projec on your blog and was very excied as here are a ew o hoseowers near where I live in New Jersey

Where did he idea o documen hemoriginae and how did i develop

ES I have been working on anongoing body o work in Japan or hepas five years or so and I ound I wasinspired o shoo my personal workonly when I was here or ravellingouside o Los Angeles I waned ochallenge mysel and sar a projec

here in LA In he pas I have never been a projec-oriened phoographerI usually shoo wha ineress me andedi he work ino groups laer on Iel I needed o push mysel and makea body o work ha had a commonheme oher han place I was in a bio a phoographic ru a he ime and

waned o ge excied abou my imagesso I wen on a litle hun or an ideaha would allow me o shoo in he

way ha I am comorable ye wouldsill be differen enough o challenge

me My husband came up wih a bunch o poenial ideas and he oneI responded o he mos was shooinghese cell phone owers ha aredisguised as rees Tey are everywherehere in Souhern Caliornia and Ihough ha phoographing hem

would be a grea way or me o sayrue o my way o shooing and sill

work on an ongoing projec I sared wih one near our house ha I seeeveryday and moved on rom hereIn he beginning I wasnrsquo aking anypicures ha I liked Bu I kep a iand have now sho over hiry owersTis projec has goten more and moreineresing o me as Irsquove coninued o

work on i Wha sared as somehingI was kind o orcing mysel o do has

become a projec I really care abou

and am excied o finish and show opeople Having spen a decen amouno ime on i a his poin Irsquom saringo hink o he images as ldquouurelandscapesrdquo and how specifically mygeneraionrsquos overuse o echnologyhas physically alered our currenlandscape

I needed o give mysel an assignmena deadline and a goal I had been a

very long ime since I did anyhing likeha and Irsquom glad I did

Opening Michael Cera (left) and Amanda

Seyfried (right) Previous Rikugien Garden

(Tokyo Japan) Opposite Picnic Table

(Queenstown New Zealand)

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12ISO

FALL 2009

In 1909 he phoographer SergeiMikhailovich Prokudin-Gorskii se ou

o documen he daily lives o ordinary

Russians across he vas expanse o

he sarrsquos dominion Te expediion

conduced under he auspices o

Nicholas II who provided passes o

resriced regions o he Empire and

a specially-convered railroad car o

house Prokudin-Gorskiirsquos darkroom

coninued on and off unil 1915 and

yielded housands o phoographs over

wo housand o which have survived o

he presen day

Tese phoographs were aken in ull

color

I never really hough abou he hisory

o color phoography beore I saw he

Prokudin-Gorskii porrais I pressed

I would have admited ha color film

mus have been possible by 1939 a

he laes jus in ime o produceTe Wizard of Oz Neverheless my

impression o he world beore 1960

was ha i was inhabied largely by

mopey beige figures huddled agains

sepia backgrounds

On he superficial level I knew ha

we always exised in ull color bu

here is a proound difference beween

knowing somehing and acually seeing

i physically represened I ound hese

early color phoographs ascinaing andunsetling all a once Irsquos difficul o

pinpoin wha is so jarring abou he

Prokudin-Gorskii images Te daed

clohing is a par o i orcing he

viewer o realize ha ashion in he age

o he Homburg was no monochrome

ndash and more imporanly ha a man in

a sack coa could sill sand agains a

VIEWEREXPECTATIONS

by Aaron Krol

Overnight Camp by a Rock on the Bank of the Chusovaia River Sergei Prokudin-Gorskii (1912)

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blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

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FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

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17IS

ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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FEATURED ARTIST

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19IS

KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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28ISO

FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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TSOANYUISSUENO3SPRING2010

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6ISO

OPENING

Phoographers oen phoograph o undersand In our

invesigaions we capure memories o see where wersquove

come rom and o undersand where wersquore going As we

grow up jus like anyone we ry on differen has And

as we pu on differen has we see hrough differen

lenses Te phoographerrsquos unique perspecive is wha

guides he creaive hear o he medium I is wha

separaes he ciizen rom he proessional journalis

he aris rom he commercial phoographer and he

suden rom he amaeur

When raveling we see hrough a oreign lens oen

oggy and inriguing in is salience When we are

children we live in he momen our memories are

marked wih he value o a disposable camera As we

reach adulhood we begin o lose our sense o sel as we

ener he ldquoreal worldrdquo and are no longer powered solely by dreams and ambiions We begin o sruggle wih he

perspecives o our ldquopersonalrdquo and ldquocommercialrdquo work

For his reason we begin our Fall 2009 issue wih a

simulaing conversaion wih Emily Shur a working

proessional who graduaed rom NYU and ound

success as a celebriy porrai phoographer Her

insighs begin our exploraory journey ha presens he

world hrough cheap vinage and oreign lenses Nex

you will experience he joys o handing your camera

o someone else Tere are wonderul surprises in he

projecs showcased hroughou he issue Many o hese

phoographers search or an undersanding o home and

place wheher ha is ound in Tis Promised Land or in

amily members who were once los

Here a ISO we are launching a plan o expansion We

are no longer solely a prin publicaion We hope you

will visi our websie and subscribe o our blog or

consisen updaes rom he ISO eam In he uure

we hope o inerac wih our readers hrough evens in

he communiy Your involvemen wih ISO broadensour perspecive o he ever-changing phoographic

communiy and we are hankul or your willingness o

share in his experience

MICHAEL GEORGE EDITOR-IN-CHIEF

EDITORrsquoS LETTER

EDITOR-IN-CHIEFMichael George

DEPUTY EDITORCorinne Rapone

WRITERSPeer CurisMichael GeorgeDeirdre Hering Aaron Krol Julia Pugachevsky Jenna SpizPey Chuan an Alison Wynn

COPY EDITORS Alex BrownFrancis PoonLaura Sephenson

BLOG MANAGER Alex Brown

BLOG WRITERSHannah Holzwarh Julia Pugachevsky Avanika ShankarKaie Vogel

ART DIRECTOR ampSENIOR DESIGNER

Danlly Domingo

DESIGN ASSISTANTNina Culota

PHOTO EDITORSSasha Aruyunova Jenna Spiz

PHOTOGRAPHERS Alex Arbuckle

Sasha AruyunovaBeryl BevilacqueShraddha BorawakePeer CurisKaie Frank Ben FrankeMichael George Arieru IwahoriDaniel JaffeMelodie JengRuoyi Jiang Jennifer Kinney Kaie KlineKrisina Knipe

David MacedoDennis Nazarov Maggie Owsley Tomas PriorMeredih RomCalie SchiemanEmily ShurErin WahedMichelle Wat Alison WynnPey Chuan anCeacutesar Vega

FINANCIAL SUPERVISORMia orres

COMMUNICATIONS TEAM Jenny EomMelodie JengFrancis PoonLaura Sephenson

FACULTY ADVISOREdiha Mesina

SPECIAL THANKSIrene Cho Yolanda CuomoDeparmen of Phoography amp Imaging

Danny DomingoTomas DrysdaleMichael MessinaNew York Universiy Tomas PriorEmily Shurisch School of he Arsisch Undergraduae Suden CouncilDeborah Willis

ISO STAFF AND CONTRIBUTORS

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COVER Untitled (Alamogordo) Ceacutesar Vega

INSIDE FRONT COVER Untitled Dennis Nazarov

INSIDE BACK COVER Untitled Dennis Nazarov

BACK COVER Train to LrsquoViv Peter Curtis

7CONTEN

IS

EDITORrsquoS LETTER

06

08

12

14

16

18

26

32

38

06

44

70

72

73

CONTENTS

CONTRIBUTORS

FOR (EMILY) SHUR BY PETER CURTIS

VIEWER EXPECTATIONS BY AARON KROL

THE NEW FABRIC OF ABSTRACTION BY ALISON WYNN

IT TAKES PICTURES BY PEY CHUAN TAN

KATIE KLINE DIPTYCHS BY JENNA SPITZ

PETER CURTIS MYTHOLOGIES REAL AND IMAGINED BY DEIRDRE HERING

CEacuteSAR VEGA THIS PROMISED LAND BY JULIA PUGACHEVSKY

THOMAS PRIOR BLACKROCK TOWER + THE LONG COURSE BY MICHAEL GEORGE

THE GALLERY INTRODUCTION BY SASHA AURTYUNOVA amp JENNA SPITZ

PHOTOFLO

DIRECTORY

HOW TO SUBMIT

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8ISO

FALL 2009

Glancing a Emily Shurrsquos porolio

can be dauning Her phoography

encompasses a mulipliciy o pracices

rom commercial porraiure o

personal landscapes Tere is a wide breadh o work o ake in However

his deph is rereshing and oen

inspiring Shurrsquos lie and work inerac

complexly in differen ways a differen

imes Tis muli-layered noion o

arisic pracice has allowed her o work

beween genres and o invesigae a

wide range o phoography

PC Your work varies rom personallandscapes o celebriy porrais Wha

role does phoography play in your lie

ES Phoography plays many differenroles in my lie Irsquos how I make ar Irsquoshow I make a living I keeps me saneand makes me crazy all a he sameime Phoography is an escape Ialso makes me eel as hough I belongsomewhere

PC How does a commercial shoodiffer han a personal one (i a all)

ES I donrsquo hink he wo could bemore differen i hey ried For me acommercial shoo is an arul blendo people skil ls diplomacy creaiviyand echnical know-how Commercialshoos are no all abou me or myopinion Te goal is o make everyonehappy including mysel and ha has alo o do wih he phoographerrsquos abiliyo quell anxieies and problem-solve onse Te clien is always in he back omy mind on a commercial shoo I needo make sure ha I come away rom anyand all jobs wih a usable and hopeullygrea image (or images) or he clienrsquospurposes Ta is he ask a handand i I can do ha I have a beter

chance a geting hired again Mucho commercial work is abou repea business and building a good workingrelaionship wih cliens

On he oher hand my personal workis all abou me and my opinion Irsquomno rying o please anyone bu mysel

which is why he work is so graiying Ipu similar pressures on mysel in bohmy commercial and personal work sohere is a level o sress I associae wih

boh ypes o shooing Bu he ac oshooing is very differen as well as hesubjec mater Tere are virually nopeople in my personal work ye I makea living as a porrai phoographerSo a big difference beween he woypes o work is also he ac ha inone I have o deal wih oher peopleand heir personaliies hang-ups likesand dislikes In he oher I am usually

wandering around wih a camera on myshoulder or in he back sea o my carsomeimes no speaking o anyone allday I quiely search or picures o akeand ha process is very relaxing or meIrsquom always spending ime by mysel

PC Despie heir differen origins your personal phoographs describea similar space Wha do you look or

when phoographing

ES echnically I usually look or agraphic composiion and one ha ishopeully no oo clutered ndash somehingpleasing o he eye Te qualiy oligh mus be phoogenic and addo he image On an emoional orinellecual level irsquos hard or me o

FOR (EMILY) SHUR by Peter Curtis

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9ISSUE NO

IS

describe specifically wha I look or when phoographing I oen graviaeowards siuaions ha evoke someorm o sadness wihin me hough Idonrsquo hink o my images as melancholy

or depressing I hink ha sadness when illusraed well can be very beauiul as well as ruhul PC How did you sar as a commercialphoographer

ES While I was a NYU I inernedor a couple years a a music magazineand upon graduaing in 1998 I go a

job a a differen music magazine I wasoo nervous and scared o atemp a

career as a phoographer a ha poinI worked a ha magazine or abou a

year and le aer deciding ha I shoulda leas ry o pursue my lielong dreamo being a working phoographer

During my ime working a magazinesI learned a lo abou he indusry Ilooked a porolios and saw how hings

worked wihin he magazine world Ime some o he phoographers whosho or he magazine I worked or andI would oen ask i I could pick heir

brain abou all hings phoo I asked orheir opinion on my work I would alsoask my bosses o check ou my porolio

when hey had some ree ime A ha

poin I realized i would ake quie a bi o effor o elevae my work o helevel o ldquoproessional phoographerrdquoI worked hard o make my poroliomore commercial-riendly I played

around wih srobes and ook picureso riends and acquainances specifically wih he mindse o puting ogeher aporolio wih which I could ge work I

would ren a darkroom and prin or my book aer I go off work Evenually Ipu ogeher a porolio good enough o

begin showing o magazines I saredfirs wih he conacs I already hadrom my jobs in phoo deparmensa differen magazines I also droppedoff my porolio o prety much every

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10ISO

FALL 2009

magazine in New York on heir

designaed ldquodrop-off daysrdquo Aermuch rejecion and coninual porolioimprovemen I finally booked a shooTen one more Ten anoher Andso on I worked or very litle moneysomeimes or ree I ook any shooha anyone was willing o give meI sho people resaurans objecs

whaever I was no picky

Meanwhile I coninued o work as aphoo edior par-ime a numerousmagazines I filled in or people

a couple weeks here and here Ievenually scored a wo-day-a-week

job a Newsweek where I worked or acouple years unil I le in he summero 2001 Ta was my las office joband I have been shooing ull-ime eversince

PC Wha are your influencesphoographic and oherwise

ES Te person who go me inophoography iniially is undoubedly

Irving Penn One o he firs phoo books I ever purchased was Passage I bough i when I was in high schooland I can saely say looking a ha

book changed he course o my liePenn did everyhing well He masered

virually every ace o phoographyrom connecing wih his subjecso becoming a maser priner Mypersonal work which is largelylandscape based is also influenced byhe work and shooing philosophies o

William Eggleson Sephen Shore andRichard Misrach

Oher influences would probably behings I see in movies while driving oron my daily dog walks Reading booksis good oo

PC I read abou your ldquoake plasic

reesrdquo projec on your blog and was very excied as here are a ew o hoseowers near where I live in New Jersey

Where did he idea o documen hemoriginae and how did i develop

ES I have been working on anongoing body o work in Japan or hepas five years or so and I ound I wasinspired o shoo my personal workonly when I was here or ravellingouside o Los Angeles I waned ochallenge mysel and sar a projec

here in LA In he pas I have never been a projec-oriened phoographerI usually shoo wha ineress me andedi he work ino groups laer on Iel I needed o push mysel and makea body o work ha had a commonheme oher han place I was in a bio a phoographic ru a he ime and

waned o ge excied abou my imagesso I wen on a litle hun or an ideaha would allow me o shoo in he

way ha I am comorable ye wouldsill be differen enough o challenge

me My husband came up wih a bunch o poenial ideas and he oneI responded o he mos was shooinghese cell phone owers ha aredisguised as rees Tey are everywherehere in Souhern Caliornia and Ihough ha phoographing hem

would be a grea way or me o sayrue o my way o shooing and sill

work on an ongoing projec I sared wih one near our house ha I seeeveryday and moved on rom hereIn he beginning I wasnrsquo aking anypicures ha I liked Bu I kep a iand have now sho over hiry owersTis projec has goten more and moreineresing o me as Irsquove coninued o

work on i Wha sared as somehingI was kind o orcing mysel o do has

become a projec I really care abou

and am excied o finish and show opeople Having spen a decen amouno ime on i a his poin Irsquom saringo hink o he images as ldquouurelandscapesrdquo and how specifically mygeneraionrsquos overuse o echnologyhas physically alered our currenlandscape

I needed o give mysel an assignmena deadline and a goal I had been a

very long ime since I did anyhing likeha and Irsquom glad I did

Opening Michael Cera (left) and Amanda

Seyfried (right) Previous Rikugien Garden

(Tokyo Japan) Opposite Picnic Table

(Queenstown New Zealand)

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FALL 2009

In 1909 he phoographer SergeiMikhailovich Prokudin-Gorskii se ou

o documen he daily lives o ordinary

Russians across he vas expanse o

he sarrsquos dominion Te expediion

conduced under he auspices o

Nicholas II who provided passes o

resriced regions o he Empire and

a specially-convered railroad car o

house Prokudin-Gorskiirsquos darkroom

coninued on and off unil 1915 and

yielded housands o phoographs over

wo housand o which have survived o

he presen day

Tese phoographs were aken in ull

color

I never really hough abou he hisory

o color phoography beore I saw he

Prokudin-Gorskii porrais I pressed

I would have admited ha color film

mus have been possible by 1939 a

he laes jus in ime o produceTe Wizard of Oz Neverheless my

impression o he world beore 1960

was ha i was inhabied largely by

mopey beige figures huddled agains

sepia backgrounds

On he superficial level I knew ha

we always exised in ull color bu

here is a proound difference beween

knowing somehing and acually seeing

i physically represened I ound hese

early color phoographs ascinaing andunsetling all a once Irsquos difficul o

pinpoin wha is so jarring abou he

Prokudin-Gorskii images Te daed

clohing is a par o i orcing he

viewer o realize ha ashion in he age

o he Homburg was no monochrome

ndash and more imporanly ha a man in

a sack coa could sill sand agains a

VIEWEREXPECTATIONS

by Aaron Krol

Overnight Camp by a Rock on the Bank of the Chusovaia River Sergei Prokudin-Gorskii (1912)

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IS

blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

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FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

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ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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FEATURED ARTIST

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19IS

KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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IS

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JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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25ISO

KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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28ISO

FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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32ISO

THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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httpslidepdfcomreaderfullrevista-iso 7576

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6ISO

OPENING

Phoographers oen phoograph o undersand In our

invesigaions we capure memories o see where wersquove

come rom and o undersand where wersquore going As we

grow up jus like anyone we ry on differen has And

as we pu on differen has we see hrough differen

lenses Te phoographerrsquos unique perspecive is wha

guides he creaive hear o he medium I is wha

separaes he ciizen rom he proessional journalis

he aris rom he commercial phoographer and he

suden rom he amaeur

When raveling we see hrough a oreign lens oen

oggy and inriguing in is salience When we are

children we live in he momen our memories are

marked wih he value o a disposable camera As we

reach adulhood we begin o lose our sense o sel as we

ener he ldquoreal worldrdquo and are no longer powered solely by dreams and ambiions We begin o sruggle wih he

perspecives o our ldquopersonalrdquo and ldquocommercialrdquo work

For his reason we begin our Fall 2009 issue wih a

simulaing conversaion wih Emily Shur a working

proessional who graduaed rom NYU and ound

success as a celebriy porrai phoographer Her

insighs begin our exploraory journey ha presens he

world hrough cheap vinage and oreign lenses Nex

you will experience he joys o handing your camera

o someone else Tere are wonderul surprises in he

projecs showcased hroughou he issue Many o hese

phoographers search or an undersanding o home and

place wheher ha is ound in Tis Promised Land or in

amily members who were once los

Here a ISO we are launching a plan o expansion We

are no longer solely a prin publicaion We hope you

will visi our websie and subscribe o our blog or

consisen updaes rom he ISO eam In he uure

we hope o inerac wih our readers hrough evens in

he communiy Your involvemen wih ISO broadensour perspecive o he ever-changing phoographic

communiy and we are hankul or your willingness o

share in his experience

MICHAEL GEORGE EDITOR-IN-CHIEF

EDITORrsquoS LETTER

EDITOR-IN-CHIEFMichael George

DEPUTY EDITORCorinne Rapone

WRITERSPeer CurisMichael GeorgeDeirdre Hering Aaron Krol Julia Pugachevsky Jenna SpizPey Chuan an Alison Wynn

COPY EDITORS Alex BrownFrancis PoonLaura Sephenson

BLOG MANAGER Alex Brown

BLOG WRITERSHannah Holzwarh Julia Pugachevsky Avanika ShankarKaie Vogel

ART DIRECTOR ampSENIOR DESIGNER

Danlly Domingo

DESIGN ASSISTANTNina Culota

PHOTO EDITORSSasha Aruyunova Jenna Spiz

PHOTOGRAPHERS Alex Arbuckle

Sasha AruyunovaBeryl BevilacqueShraddha BorawakePeer CurisKaie Frank Ben FrankeMichael George Arieru IwahoriDaniel JaffeMelodie JengRuoyi Jiang Jennifer Kinney Kaie KlineKrisina Knipe

David MacedoDennis Nazarov Maggie Owsley Tomas PriorMeredih RomCalie SchiemanEmily ShurErin WahedMichelle Wat Alison WynnPey Chuan anCeacutesar Vega

FINANCIAL SUPERVISORMia orres

COMMUNICATIONS TEAM Jenny EomMelodie JengFrancis PoonLaura Sephenson

FACULTY ADVISOREdiha Mesina

SPECIAL THANKSIrene Cho Yolanda CuomoDeparmen of Phoography amp Imaging

Danny DomingoTomas DrysdaleMichael MessinaNew York Universiy Tomas PriorEmily Shurisch School of he Arsisch Undergraduae Suden CouncilDeborah Willis

ISO STAFF AND CONTRIBUTORS

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COVER Untitled (Alamogordo) Ceacutesar Vega

INSIDE FRONT COVER Untitled Dennis Nazarov

INSIDE BACK COVER Untitled Dennis Nazarov

BACK COVER Train to LrsquoViv Peter Curtis

7CONTEN

IS

EDITORrsquoS LETTER

06

08

12

14

16

18

26

32

38

06

44

70

72

73

CONTENTS

CONTRIBUTORS

FOR (EMILY) SHUR BY PETER CURTIS

VIEWER EXPECTATIONS BY AARON KROL

THE NEW FABRIC OF ABSTRACTION BY ALISON WYNN

IT TAKES PICTURES BY PEY CHUAN TAN

KATIE KLINE DIPTYCHS BY JENNA SPITZ

PETER CURTIS MYTHOLOGIES REAL AND IMAGINED BY DEIRDRE HERING

CEacuteSAR VEGA THIS PROMISED LAND BY JULIA PUGACHEVSKY

THOMAS PRIOR BLACKROCK TOWER + THE LONG COURSE BY MICHAEL GEORGE

THE GALLERY INTRODUCTION BY SASHA AURTYUNOVA amp JENNA SPITZ

PHOTOFLO

DIRECTORY

HOW TO SUBMIT

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8ISO

FALL 2009

Glancing a Emily Shurrsquos porolio

can be dauning Her phoography

encompasses a mulipliciy o pracices

rom commercial porraiure o

personal landscapes Tere is a wide breadh o work o ake in However

his deph is rereshing and oen

inspiring Shurrsquos lie and work inerac

complexly in differen ways a differen

imes Tis muli-layered noion o

arisic pracice has allowed her o work

beween genres and o invesigae a

wide range o phoography

PC Your work varies rom personallandscapes o celebriy porrais Wha

role does phoography play in your lie

ES Phoography plays many differenroles in my lie Irsquos how I make ar Irsquoshow I make a living I keeps me saneand makes me crazy all a he sameime Phoography is an escape Ialso makes me eel as hough I belongsomewhere

PC How does a commercial shoodiffer han a personal one (i a all)

ES I donrsquo hink he wo could bemore differen i hey ried For me acommercial shoo is an arul blendo people skil ls diplomacy creaiviyand echnical know-how Commercialshoos are no all abou me or myopinion Te goal is o make everyonehappy including mysel and ha has alo o do wih he phoographerrsquos abiliyo quell anxieies and problem-solve onse Te clien is always in he back omy mind on a commercial shoo I needo make sure ha I come away rom anyand all jobs wih a usable and hopeullygrea image (or images) or he clienrsquospurposes Ta is he ask a handand i I can do ha I have a beter

chance a geting hired again Mucho commercial work is abou repea business and building a good workingrelaionship wih cliens

On he oher hand my personal workis all abou me and my opinion Irsquomno rying o please anyone bu mysel

which is why he work is so graiying Ipu similar pressures on mysel in bohmy commercial and personal work sohere is a level o sress I associae wih

boh ypes o shooing Bu he ac oshooing is very differen as well as hesubjec mater Tere are virually nopeople in my personal work ye I makea living as a porrai phoographerSo a big difference beween he woypes o work is also he ac ha inone I have o deal wih oher peopleand heir personaliies hang-ups likesand dislikes In he oher I am usually

wandering around wih a camera on myshoulder or in he back sea o my carsomeimes no speaking o anyone allday I quiely search or picures o akeand ha process is very relaxing or meIrsquom always spending ime by mysel

PC Despie heir differen origins your personal phoographs describea similar space Wha do you look or

when phoographing

ES echnically I usually look or agraphic composiion and one ha ishopeully no oo clutered ndash somehingpleasing o he eye Te qualiy oligh mus be phoogenic and addo he image On an emoional orinellecual level irsquos hard or me o

FOR (EMILY) SHUR by Peter Curtis

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9ISSUE NO

IS

describe specifically wha I look or when phoographing I oen graviaeowards siuaions ha evoke someorm o sadness wihin me hough Idonrsquo hink o my images as melancholy

or depressing I hink ha sadness when illusraed well can be very beauiul as well as ruhul PC How did you sar as a commercialphoographer

ES While I was a NYU I inernedor a couple years a a music magazineand upon graduaing in 1998 I go a

job a a differen music magazine I wasoo nervous and scared o atemp a

career as a phoographer a ha poinI worked a ha magazine or abou a

year and le aer deciding ha I shoulda leas ry o pursue my lielong dreamo being a working phoographer

During my ime working a magazinesI learned a lo abou he indusry Ilooked a porolios and saw how hings

worked wihin he magazine world Ime some o he phoographers whosho or he magazine I worked or andI would oen ask i I could pick heir

brain abou all hings phoo I asked orheir opinion on my work I would alsoask my bosses o check ou my porolio

when hey had some ree ime A ha

poin I realized i would ake quie a bi o effor o elevae my work o helevel o ldquoproessional phoographerrdquoI worked hard o make my poroliomore commercial-riendly I played

around wih srobes and ook picureso riends and acquainances specifically wih he mindse o puting ogeher aporolio wih which I could ge work I

would ren a darkroom and prin or my book aer I go off work Evenually Ipu ogeher a porolio good enough o

begin showing o magazines I saredfirs wih he conacs I already hadrom my jobs in phoo deparmensa differen magazines I also droppedoff my porolio o prety much every

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10ISO

FALL 2009

magazine in New York on heir

designaed ldquodrop-off daysrdquo Aermuch rejecion and coninual porolioimprovemen I finally booked a shooTen one more Ten anoher Andso on I worked or very litle moneysomeimes or ree I ook any shooha anyone was willing o give meI sho people resaurans objecs

whaever I was no picky

Meanwhile I coninued o work as aphoo edior par-ime a numerousmagazines I filled in or people

a couple weeks here and here Ievenually scored a wo-day-a-week

job a Newsweek where I worked or acouple years unil I le in he summero 2001 Ta was my las office joband I have been shooing ull-ime eversince

PC Wha are your influencesphoographic and oherwise

ES Te person who go me inophoography iniially is undoubedly

Irving Penn One o he firs phoo books I ever purchased was Passage I bough i when I was in high schooland I can saely say looking a ha

book changed he course o my liePenn did everyhing well He masered

virually every ace o phoographyrom connecing wih his subjecso becoming a maser priner Mypersonal work which is largelylandscape based is also influenced byhe work and shooing philosophies o

William Eggleson Sephen Shore andRichard Misrach

Oher influences would probably behings I see in movies while driving oron my daily dog walks Reading booksis good oo

PC I read abou your ldquoake plasic

reesrdquo projec on your blog and was very excied as here are a ew o hoseowers near where I live in New Jersey

Where did he idea o documen hemoriginae and how did i develop

ES I have been working on anongoing body o work in Japan or hepas five years or so and I ound I wasinspired o shoo my personal workonly when I was here or ravellingouside o Los Angeles I waned ochallenge mysel and sar a projec

here in LA In he pas I have never been a projec-oriened phoographerI usually shoo wha ineress me andedi he work ino groups laer on Iel I needed o push mysel and makea body o work ha had a commonheme oher han place I was in a bio a phoographic ru a he ime and

waned o ge excied abou my imagesso I wen on a litle hun or an ideaha would allow me o shoo in he

way ha I am comorable ye wouldsill be differen enough o challenge

me My husband came up wih a bunch o poenial ideas and he oneI responded o he mos was shooinghese cell phone owers ha aredisguised as rees Tey are everywherehere in Souhern Caliornia and Ihough ha phoographing hem

would be a grea way or me o sayrue o my way o shooing and sill

work on an ongoing projec I sared wih one near our house ha I seeeveryday and moved on rom hereIn he beginning I wasnrsquo aking anypicures ha I liked Bu I kep a iand have now sho over hiry owersTis projec has goten more and moreineresing o me as Irsquove coninued o

work on i Wha sared as somehingI was kind o orcing mysel o do has

become a projec I really care abou

and am excied o finish and show opeople Having spen a decen amouno ime on i a his poin Irsquom saringo hink o he images as ldquouurelandscapesrdquo and how specifically mygeneraionrsquos overuse o echnologyhas physically alered our currenlandscape

I needed o give mysel an assignmena deadline and a goal I had been a

very long ime since I did anyhing likeha and Irsquom glad I did

Opening Michael Cera (left) and Amanda

Seyfried (right) Previous Rikugien Garden

(Tokyo Japan) Opposite Picnic Table

(Queenstown New Zealand)

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11ISSUE NO

IS

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12ISO

FALL 2009

In 1909 he phoographer SergeiMikhailovich Prokudin-Gorskii se ou

o documen he daily lives o ordinary

Russians across he vas expanse o

he sarrsquos dominion Te expediion

conduced under he auspices o

Nicholas II who provided passes o

resriced regions o he Empire and

a specially-convered railroad car o

house Prokudin-Gorskiirsquos darkroom

coninued on and off unil 1915 and

yielded housands o phoographs over

wo housand o which have survived o

he presen day

Tese phoographs were aken in ull

color

I never really hough abou he hisory

o color phoography beore I saw he

Prokudin-Gorskii porrais I pressed

I would have admited ha color film

mus have been possible by 1939 a

he laes jus in ime o produceTe Wizard of Oz Neverheless my

impression o he world beore 1960

was ha i was inhabied largely by

mopey beige figures huddled agains

sepia backgrounds

On he superficial level I knew ha

we always exised in ull color bu

here is a proound difference beween

knowing somehing and acually seeing

i physically represened I ound hese

early color phoographs ascinaing andunsetling all a once Irsquos difficul o

pinpoin wha is so jarring abou he

Prokudin-Gorskii images Te daed

clohing is a par o i orcing he

viewer o realize ha ashion in he age

o he Homburg was no monochrome

ndash and more imporanly ha a man in

a sack coa could sill sand agains a

VIEWEREXPECTATIONS

by Aaron Krol

Overnight Camp by a Rock on the Bank of the Chusovaia River Sergei Prokudin-Gorskii (1912)

7232019 Revista ISO

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13ISSUE NO

IS

blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

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14ISO

FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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15IS

ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

7232019 Revista ISO

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17IS

ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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FEATURED ARTIST

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19IS

KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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IS

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JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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54ISO

THE GALLERY

7232019 Revista ISO

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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COVER Untitled (Alamogordo) Ceacutesar Vega

INSIDE FRONT COVER Untitled Dennis Nazarov

INSIDE BACK COVER Untitled Dennis Nazarov

BACK COVER Train to LrsquoViv Peter Curtis

7CONTEN

IS

EDITORrsquoS LETTER

06

08

12

14

16

18

26

32

38

06

44

70

72

73

CONTENTS

CONTRIBUTORS

FOR (EMILY) SHUR BY PETER CURTIS

VIEWER EXPECTATIONS BY AARON KROL

THE NEW FABRIC OF ABSTRACTION BY ALISON WYNN

IT TAKES PICTURES BY PEY CHUAN TAN

KATIE KLINE DIPTYCHS BY JENNA SPITZ

PETER CURTIS MYTHOLOGIES REAL AND IMAGINED BY DEIRDRE HERING

CEacuteSAR VEGA THIS PROMISED LAND BY JULIA PUGACHEVSKY

THOMAS PRIOR BLACKROCK TOWER + THE LONG COURSE BY MICHAEL GEORGE

THE GALLERY INTRODUCTION BY SASHA AURTYUNOVA amp JENNA SPITZ

PHOTOFLO

DIRECTORY

HOW TO SUBMIT

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8ISO

FALL 2009

Glancing a Emily Shurrsquos porolio

can be dauning Her phoography

encompasses a mulipliciy o pracices

rom commercial porraiure o

personal landscapes Tere is a wide breadh o work o ake in However

his deph is rereshing and oen

inspiring Shurrsquos lie and work inerac

complexly in differen ways a differen

imes Tis muli-layered noion o

arisic pracice has allowed her o work

beween genres and o invesigae a

wide range o phoography

PC Your work varies rom personallandscapes o celebriy porrais Wha

role does phoography play in your lie

ES Phoography plays many differenroles in my lie Irsquos how I make ar Irsquoshow I make a living I keeps me saneand makes me crazy all a he sameime Phoography is an escape Ialso makes me eel as hough I belongsomewhere

PC How does a commercial shoodiffer han a personal one (i a all)

ES I donrsquo hink he wo could bemore differen i hey ried For me acommercial shoo is an arul blendo people skil ls diplomacy creaiviyand echnical know-how Commercialshoos are no all abou me or myopinion Te goal is o make everyonehappy including mysel and ha has alo o do wih he phoographerrsquos abiliyo quell anxieies and problem-solve onse Te clien is always in he back omy mind on a commercial shoo I needo make sure ha I come away rom anyand all jobs wih a usable and hopeullygrea image (or images) or he clienrsquospurposes Ta is he ask a handand i I can do ha I have a beter

chance a geting hired again Mucho commercial work is abou repea business and building a good workingrelaionship wih cliens

On he oher hand my personal workis all abou me and my opinion Irsquomno rying o please anyone bu mysel

which is why he work is so graiying Ipu similar pressures on mysel in bohmy commercial and personal work sohere is a level o sress I associae wih

boh ypes o shooing Bu he ac oshooing is very differen as well as hesubjec mater Tere are virually nopeople in my personal work ye I makea living as a porrai phoographerSo a big difference beween he woypes o work is also he ac ha inone I have o deal wih oher peopleand heir personaliies hang-ups likesand dislikes In he oher I am usually

wandering around wih a camera on myshoulder or in he back sea o my carsomeimes no speaking o anyone allday I quiely search or picures o akeand ha process is very relaxing or meIrsquom always spending ime by mysel

PC Despie heir differen origins your personal phoographs describea similar space Wha do you look or

when phoographing

ES echnically I usually look or agraphic composiion and one ha ishopeully no oo clutered ndash somehingpleasing o he eye Te qualiy oligh mus be phoogenic and addo he image On an emoional orinellecual level irsquos hard or me o

FOR (EMILY) SHUR by Peter Curtis

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9ISSUE NO

IS

describe specifically wha I look or when phoographing I oen graviaeowards siuaions ha evoke someorm o sadness wihin me hough Idonrsquo hink o my images as melancholy

or depressing I hink ha sadness when illusraed well can be very beauiul as well as ruhul PC How did you sar as a commercialphoographer

ES While I was a NYU I inernedor a couple years a a music magazineand upon graduaing in 1998 I go a

job a a differen music magazine I wasoo nervous and scared o atemp a

career as a phoographer a ha poinI worked a ha magazine or abou a

year and le aer deciding ha I shoulda leas ry o pursue my lielong dreamo being a working phoographer

During my ime working a magazinesI learned a lo abou he indusry Ilooked a porolios and saw how hings

worked wihin he magazine world Ime some o he phoographers whosho or he magazine I worked or andI would oen ask i I could pick heir

brain abou all hings phoo I asked orheir opinion on my work I would alsoask my bosses o check ou my porolio

when hey had some ree ime A ha

poin I realized i would ake quie a bi o effor o elevae my work o helevel o ldquoproessional phoographerrdquoI worked hard o make my poroliomore commercial-riendly I played

around wih srobes and ook picureso riends and acquainances specifically wih he mindse o puting ogeher aporolio wih which I could ge work I

would ren a darkroom and prin or my book aer I go off work Evenually Ipu ogeher a porolio good enough o

begin showing o magazines I saredfirs wih he conacs I already hadrom my jobs in phoo deparmensa differen magazines I also droppedoff my porolio o prety much every

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FALL 2009

magazine in New York on heir

designaed ldquodrop-off daysrdquo Aermuch rejecion and coninual porolioimprovemen I finally booked a shooTen one more Ten anoher Andso on I worked or very litle moneysomeimes or ree I ook any shooha anyone was willing o give meI sho people resaurans objecs

whaever I was no picky

Meanwhile I coninued o work as aphoo edior par-ime a numerousmagazines I filled in or people

a couple weeks here and here Ievenually scored a wo-day-a-week

job a Newsweek where I worked or acouple years unil I le in he summero 2001 Ta was my las office joband I have been shooing ull-ime eversince

PC Wha are your influencesphoographic and oherwise

ES Te person who go me inophoography iniially is undoubedly

Irving Penn One o he firs phoo books I ever purchased was Passage I bough i when I was in high schooland I can saely say looking a ha

book changed he course o my liePenn did everyhing well He masered

virually every ace o phoographyrom connecing wih his subjecso becoming a maser priner Mypersonal work which is largelylandscape based is also influenced byhe work and shooing philosophies o

William Eggleson Sephen Shore andRichard Misrach

Oher influences would probably behings I see in movies while driving oron my daily dog walks Reading booksis good oo

PC I read abou your ldquoake plasic

reesrdquo projec on your blog and was very excied as here are a ew o hoseowers near where I live in New Jersey

Where did he idea o documen hemoriginae and how did i develop

ES I have been working on anongoing body o work in Japan or hepas five years or so and I ound I wasinspired o shoo my personal workonly when I was here or ravellingouside o Los Angeles I waned ochallenge mysel and sar a projec

here in LA In he pas I have never been a projec-oriened phoographerI usually shoo wha ineress me andedi he work ino groups laer on Iel I needed o push mysel and makea body o work ha had a commonheme oher han place I was in a bio a phoographic ru a he ime and

waned o ge excied abou my imagesso I wen on a litle hun or an ideaha would allow me o shoo in he

way ha I am comorable ye wouldsill be differen enough o challenge

me My husband came up wih a bunch o poenial ideas and he oneI responded o he mos was shooinghese cell phone owers ha aredisguised as rees Tey are everywherehere in Souhern Caliornia and Ihough ha phoographing hem

would be a grea way or me o sayrue o my way o shooing and sill

work on an ongoing projec I sared wih one near our house ha I seeeveryday and moved on rom hereIn he beginning I wasnrsquo aking anypicures ha I liked Bu I kep a iand have now sho over hiry owersTis projec has goten more and moreineresing o me as Irsquove coninued o

work on i Wha sared as somehingI was kind o orcing mysel o do has

become a projec I really care abou

and am excied o finish and show opeople Having spen a decen amouno ime on i a his poin Irsquom saringo hink o he images as ldquouurelandscapesrdquo and how specifically mygeneraionrsquos overuse o echnologyhas physically alered our currenlandscape

I needed o give mysel an assignmena deadline and a goal I had been a

very long ime since I did anyhing likeha and Irsquom glad I did

Opening Michael Cera (left) and Amanda

Seyfried (right) Previous Rikugien Garden

(Tokyo Japan) Opposite Picnic Table

(Queenstown New Zealand)

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FALL 2009

In 1909 he phoographer SergeiMikhailovich Prokudin-Gorskii se ou

o documen he daily lives o ordinary

Russians across he vas expanse o

he sarrsquos dominion Te expediion

conduced under he auspices o

Nicholas II who provided passes o

resriced regions o he Empire and

a specially-convered railroad car o

house Prokudin-Gorskiirsquos darkroom

coninued on and off unil 1915 and

yielded housands o phoographs over

wo housand o which have survived o

he presen day

Tese phoographs were aken in ull

color

I never really hough abou he hisory

o color phoography beore I saw he

Prokudin-Gorskii porrais I pressed

I would have admited ha color film

mus have been possible by 1939 a

he laes jus in ime o produceTe Wizard of Oz Neverheless my

impression o he world beore 1960

was ha i was inhabied largely by

mopey beige figures huddled agains

sepia backgrounds

On he superficial level I knew ha

we always exised in ull color bu

here is a proound difference beween

knowing somehing and acually seeing

i physically represened I ound hese

early color phoographs ascinaing andunsetling all a once Irsquos difficul o

pinpoin wha is so jarring abou he

Prokudin-Gorskii images Te daed

clohing is a par o i orcing he

viewer o realize ha ashion in he age

o he Homburg was no monochrome

ndash and more imporanly ha a man in

a sack coa could sill sand agains a

VIEWEREXPECTATIONS

by Aaron Krol

Overnight Camp by a Rock on the Bank of the Chusovaia River Sergei Prokudin-Gorskii (1912)

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blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

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FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

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ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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FEATURED ARTIST

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KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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IS

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JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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24ISO

JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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28ISO

FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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8ISO

FALL 2009

Glancing a Emily Shurrsquos porolio

can be dauning Her phoography

encompasses a mulipliciy o pracices

rom commercial porraiure o

personal landscapes Tere is a wide breadh o work o ake in However

his deph is rereshing and oen

inspiring Shurrsquos lie and work inerac

complexly in differen ways a differen

imes Tis muli-layered noion o

arisic pracice has allowed her o work

beween genres and o invesigae a

wide range o phoography

PC Your work varies rom personallandscapes o celebriy porrais Wha

role does phoography play in your lie

ES Phoography plays many differenroles in my lie Irsquos how I make ar Irsquoshow I make a living I keeps me saneand makes me crazy all a he sameime Phoography is an escape Ialso makes me eel as hough I belongsomewhere

PC How does a commercial shoodiffer han a personal one (i a all)

ES I donrsquo hink he wo could bemore differen i hey ried For me acommercial shoo is an arul blendo people skil ls diplomacy creaiviyand echnical know-how Commercialshoos are no all abou me or myopinion Te goal is o make everyonehappy including mysel and ha has alo o do wih he phoographerrsquos abiliyo quell anxieies and problem-solve onse Te clien is always in he back omy mind on a commercial shoo I needo make sure ha I come away rom anyand all jobs wih a usable and hopeullygrea image (or images) or he clienrsquospurposes Ta is he ask a handand i I can do ha I have a beter

chance a geting hired again Mucho commercial work is abou repea business and building a good workingrelaionship wih cliens

On he oher hand my personal workis all abou me and my opinion Irsquomno rying o please anyone bu mysel

which is why he work is so graiying Ipu similar pressures on mysel in bohmy commercial and personal work sohere is a level o sress I associae wih

boh ypes o shooing Bu he ac oshooing is very differen as well as hesubjec mater Tere are virually nopeople in my personal work ye I makea living as a porrai phoographerSo a big difference beween he woypes o work is also he ac ha inone I have o deal wih oher peopleand heir personaliies hang-ups likesand dislikes In he oher I am usually

wandering around wih a camera on myshoulder or in he back sea o my carsomeimes no speaking o anyone allday I quiely search or picures o akeand ha process is very relaxing or meIrsquom always spending ime by mysel

PC Despie heir differen origins your personal phoographs describea similar space Wha do you look or

when phoographing

ES echnically I usually look or agraphic composiion and one ha ishopeully no oo clutered ndash somehingpleasing o he eye Te qualiy oligh mus be phoogenic and addo he image On an emoional orinellecual level irsquos hard or me o

FOR (EMILY) SHUR by Peter Curtis

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9ISSUE NO

IS

describe specifically wha I look or when phoographing I oen graviaeowards siuaions ha evoke someorm o sadness wihin me hough Idonrsquo hink o my images as melancholy

or depressing I hink ha sadness when illusraed well can be very beauiul as well as ruhul PC How did you sar as a commercialphoographer

ES While I was a NYU I inernedor a couple years a a music magazineand upon graduaing in 1998 I go a

job a a differen music magazine I wasoo nervous and scared o atemp a

career as a phoographer a ha poinI worked a ha magazine or abou a

year and le aer deciding ha I shoulda leas ry o pursue my lielong dreamo being a working phoographer

During my ime working a magazinesI learned a lo abou he indusry Ilooked a porolios and saw how hings

worked wihin he magazine world Ime some o he phoographers whosho or he magazine I worked or andI would oen ask i I could pick heir

brain abou all hings phoo I asked orheir opinion on my work I would alsoask my bosses o check ou my porolio

when hey had some ree ime A ha

poin I realized i would ake quie a bi o effor o elevae my work o helevel o ldquoproessional phoographerrdquoI worked hard o make my poroliomore commercial-riendly I played

around wih srobes and ook picureso riends and acquainances specifically wih he mindse o puting ogeher aporolio wih which I could ge work I

would ren a darkroom and prin or my book aer I go off work Evenually Ipu ogeher a porolio good enough o

begin showing o magazines I saredfirs wih he conacs I already hadrom my jobs in phoo deparmensa differen magazines I also droppedoff my porolio o prety much every

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FALL 2009

magazine in New York on heir

designaed ldquodrop-off daysrdquo Aermuch rejecion and coninual porolioimprovemen I finally booked a shooTen one more Ten anoher Andso on I worked or very litle moneysomeimes or ree I ook any shooha anyone was willing o give meI sho people resaurans objecs

whaever I was no picky

Meanwhile I coninued o work as aphoo edior par-ime a numerousmagazines I filled in or people

a couple weeks here and here Ievenually scored a wo-day-a-week

job a Newsweek where I worked or acouple years unil I le in he summero 2001 Ta was my las office joband I have been shooing ull-ime eversince

PC Wha are your influencesphoographic and oherwise

ES Te person who go me inophoography iniially is undoubedly

Irving Penn One o he firs phoo books I ever purchased was Passage I bough i when I was in high schooland I can saely say looking a ha

book changed he course o my liePenn did everyhing well He masered

virually every ace o phoographyrom connecing wih his subjecso becoming a maser priner Mypersonal work which is largelylandscape based is also influenced byhe work and shooing philosophies o

William Eggleson Sephen Shore andRichard Misrach

Oher influences would probably behings I see in movies while driving oron my daily dog walks Reading booksis good oo

PC I read abou your ldquoake plasic

reesrdquo projec on your blog and was very excied as here are a ew o hoseowers near where I live in New Jersey

Where did he idea o documen hemoriginae and how did i develop

ES I have been working on anongoing body o work in Japan or hepas five years or so and I ound I wasinspired o shoo my personal workonly when I was here or ravellingouside o Los Angeles I waned ochallenge mysel and sar a projec

here in LA In he pas I have never been a projec-oriened phoographerI usually shoo wha ineress me andedi he work ino groups laer on Iel I needed o push mysel and makea body o work ha had a commonheme oher han place I was in a bio a phoographic ru a he ime and

waned o ge excied abou my imagesso I wen on a litle hun or an ideaha would allow me o shoo in he

way ha I am comorable ye wouldsill be differen enough o challenge

me My husband came up wih a bunch o poenial ideas and he oneI responded o he mos was shooinghese cell phone owers ha aredisguised as rees Tey are everywherehere in Souhern Caliornia and Ihough ha phoographing hem

would be a grea way or me o sayrue o my way o shooing and sill

work on an ongoing projec I sared wih one near our house ha I seeeveryday and moved on rom hereIn he beginning I wasnrsquo aking anypicures ha I liked Bu I kep a iand have now sho over hiry owersTis projec has goten more and moreineresing o me as Irsquove coninued o

work on i Wha sared as somehingI was kind o orcing mysel o do has

become a projec I really care abou

and am excied o finish and show opeople Having spen a decen amouno ime on i a his poin Irsquom saringo hink o he images as ldquouurelandscapesrdquo and how specifically mygeneraionrsquos overuse o echnologyhas physically alered our currenlandscape

I needed o give mysel an assignmena deadline and a goal I had been a

very long ime since I did anyhing likeha and Irsquom glad I did

Opening Michael Cera (left) and Amanda

Seyfried (right) Previous Rikugien Garden

(Tokyo Japan) Opposite Picnic Table

(Queenstown New Zealand)

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11ISSUE NO

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FALL 2009

In 1909 he phoographer SergeiMikhailovich Prokudin-Gorskii se ou

o documen he daily lives o ordinary

Russians across he vas expanse o

he sarrsquos dominion Te expediion

conduced under he auspices o

Nicholas II who provided passes o

resriced regions o he Empire and

a specially-convered railroad car o

house Prokudin-Gorskiirsquos darkroom

coninued on and off unil 1915 and

yielded housands o phoographs over

wo housand o which have survived o

he presen day

Tese phoographs were aken in ull

color

I never really hough abou he hisory

o color phoography beore I saw he

Prokudin-Gorskii porrais I pressed

I would have admited ha color film

mus have been possible by 1939 a

he laes jus in ime o produceTe Wizard of Oz Neverheless my

impression o he world beore 1960

was ha i was inhabied largely by

mopey beige figures huddled agains

sepia backgrounds

On he superficial level I knew ha

we always exised in ull color bu

here is a proound difference beween

knowing somehing and acually seeing

i physically represened I ound hese

early color phoographs ascinaing andunsetling all a once Irsquos difficul o

pinpoin wha is so jarring abou he

Prokudin-Gorskii images Te daed

clohing is a par o i orcing he

viewer o realize ha ashion in he age

o he Homburg was no monochrome

ndash and more imporanly ha a man in

a sack coa could sill sand agains a

VIEWEREXPECTATIONS

by Aaron Krol

Overnight Camp by a Rock on the Bank of the Chusovaia River Sergei Prokudin-Gorskii (1912)

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13ISSUE NO

IS

blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

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FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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15IS

ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

7232019 Revista ISO

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17IS

ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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FEATURED ARTIST

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19IS

KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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9ISSUE NO

IS

describe specifically wha I look or when phoographing I oen graviaeowards siuaions ha evoke someorm o sadness wihin me hough Idonrsquo hink o my images as melancholy

or depressing I hink ha sadness when illusraed well can be very beauiul as well as ruhul PC How did you sar as a commercialphoographer

ES While I was a NYU I inernedor a couple years a a music magazineand upon graduaing in 1998 I go a

job a a differen music magazine I wasoo nervous and scared o atemp a

career as a phoographer a ha poinI worked a ha magazine or abou a

year and le aer deciding ha I shoulda leas ry o pursue my lielong dreamo being a working phoographer

During my ime working a magazinesI learned a lo abou he indusry Ilooked a porolios and saw how hings

worked wihin he magazine world Ime some o he phoographers whosho or he magazine I worked or andI would oen ask i I could pick heir

brain abou all hings phoo I asked orheir opinion on my work I would alsoask my bosses o check ou my porolio

when hey had some ree ime A ha

poin I realized i would ake quie a bi o effor o elevae my work o helevel o ldquoproessional phoographerrdquoI worked hard o make my poroliomore commercial-riendly I played

around wih srobes and ook picureso riends and acquainances specifically wih he mindse o puting ogeher aporolio wih which I could ge work I

would ren a darkroom and prin or my book aer I go off work Evenually Ipu ogeher a porolio good enough o

begin showing o magazines I saredfirs wih he conacs I already hadrom my jobs in phoo deparmensa differen magazines I also droppedoff my porolio o prety much every

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FALL 2009

magazine in New York on heir

designaed ldquodrop-off daysrdquo Aermuch rejecion and coninual porolioimprovemen I finally booked a shooTen one more Ten anoher Andso on I worked or very litle moneysomeimes or ree I ook any shooha anyone was willing o give meI sho people resaurans objecs

whaever I was no picky

Meanwhile I coninued o work as aphoo edior par-ime a numerousmagazines I filled in or people

a couple weeks here and here Ievenually scored a wo-day-a-week

job a Newsweek where I worked or acouple years unil I le in he summero 2001 Ta was my las office joband I have been shooing ull-ime eversince

PC Wha are your influencesphoographic and oherwise

ES Te person who go me inophoography iniially is undoubedly

Irving Penn One o he firs phoo books I ever purchased was Passage I bough i when I was in high schooland I can saely say looking a ha

book changed he course o my liePenn did everyhing well He masered

virually every ace o phoographyrom connecing wih his subjecso becoming a maser priner Mypersonal work which is largelylandscape based is also influenced byhe work and shooing philosophies o

William Eggleson Sephen Shore andRichard Misrach

Oher influences would probably behings I see in movies while driving oron my daily dog walks Reading booksis good oo

PC I read abou your ldquoake plasic

reesrdquo projec on your blog and was very excied as here are a ew o hoseowers near where I live in New Jersey

Where did he idea o documen hemoriginae and how did i develop

ES I have been working on anongoing body o work in Japan or hepas five years or so and I ound I wasinspired o shoo my personal workonly when I was here or ravellingouside o Los Angeles I waned ochallenge mysel and sar a projec

here in LA In he pas I have never been a projec-oriened phoographerI usually shoo wha ineress me andedi he work ino groups laer on Iel I needed o push mysel and makea body o work ha had a commonheme oher han place I was in a bio a phoographic ru a he ime and

waned o ge excied abou my imagesso I wen on a litle hun or an ideaha would allow me o shoo in he

way ha I am comorable ye wouldsill be differen enough o challenge

me My husband came up wih a bunch o poenial ideas and he oneI responded o he mos was shooinghese cell phone owers ha aredisguised as rees Tey are everywherehere in Souhern Caliornia and Ihough ha phoographing hem

would be a grea way or me o sayrue o my way o shooing and sill

work on an ongoing projec I sared wih one near our house ha I seeeveryday and moved on rom hereIn he beginning I wasnrsquo aking anypicures ha I liked Bu I kep a iand have now sho over hiry owersTis projec has goten more and moreineresing o me as Irsquove coninued o

work on i Wha sared as somehingI was kind o orcing mysel o do has

become a projec I really care abou

and am excied o finish and show opeople Having spen a decen amouno ime on i a his poin Irsquom saringo hink o he images as ldquouurelandscapesrdquo and how specifically mygeneraionrsquos overuse o echnologyhas physically alered our currenlandscape

I needed o give mysel an assignmena deadline and a goal I had been a

very long ime since I did anyhing likeha and Irsquom glad I did

Opening Michael Cera (left) and Amanda

Seyfried (right) Previous Rikugien Garden

(Tokyo Japan) Opposite Picnic Table

(Queenstown New Zealand)

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11ISSUE NO

IS

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12ISO

FALL 2009

In 1909 he phoographer SergeiMikhailovich Prokudin-Gorskii se ou

o documen he daily lives o ordinary

Russians across he vas expanse o

he sarrsquos dominion Te expediion

conduced under he auspices o

Nicholas II who provided passes o

resriced regions o he Empire and

a specially-convered railroad car o

house Prokudin-Gorskiirsquos darkroom

coninued on and off unil 1915 and

yielded housands o phoographs over

wo housand o which have survived o

he presen day

Tese phoographs were aken in ull

color

I never really hough abou he hisory

o color phoography beore I saw he

Prokudin-Gorskii porrais I pressed

I would have admited ha color film

mus have been possible by 1939 a

he laes jus in ime o produceTe Wizard of Oz Neverheless my

impression o he world beore 1960

was ha i was inhabied largely by

mopey beige figures huddled agains

sepia backgrounds

On he superficial level I knew ha

we always exised in ull color bu

here is a proound difference beween

knowing somehing and acually seeing

i physically represened I ound hese

early color phoographs ascinaing andunsetling all a once Irsquos difficul o

pinpoin wha is so jarring abou he

Prokudin-Gorskii images Te daed

clohing is a par o i orcing he

viewer o realize ha ashion in he age

o he Homburg was no monochrome

ndash and more imporanly ha a man in

a sack coa could sill sand agains a

VIEWEREXPECTATIONS

by Aaron Krol

Overnight Camp by a Rock on the Bank of the Chusovaia River Sergei Prokudin-Gorskii (1912)

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IS

blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

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14ISO

FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

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ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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FEATURED ARTIST

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19IS

KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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IS

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JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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25ISO

KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

7232019 Revista ISO

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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28ISO

FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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10ISO

FALL 2009

magazine in New York on heir

designaed ldquodrop-off daysrdquo Aermuch rejecion and coninual porolioimprovemen I finally booked a shooTen one more Ten anoher Andso on I worked or very litle moneysomeimes or ree I ook any shooha anyone was willing o give meI sho people resaurans objecs

whaever I was no picky

Meanwhile I coninued o work as aphoo edior par-ime a numerousmagazines I filled in or people

a couple weeks here and here Ievenually scored a wo-day-a-week

job a Newsweek where I worked or acouple years unil I le in he summero 2001 Ta was my las office joband I have been shooing ull-ime eversince

PC Wha are your influencesphoographic and oherwise

ES Te person who go me inophoography iniially is undoubedly

Irving Penn One o he firs phoo books I ever purchased was Passage I bough i when I was in high schooland I can saely say looking a ha

book changed he course o my liePenn did everyhing well He masered

virually every ace o phoographyrom connecing wih his subjecso becoming a maser priner Mypersonal work which is largelylandscape based is also influenced byhe work and shooing philosophies o

William Eggleson Sephen Shore andRichard Misrach

Oher influences would probably behings I see in movies while driving oron my daily dog walks Reading booksis good oo

PC I read abou your ldquoake plasic

reesrdquo projec on your blog and was very excied as here are a ew o hoseowers near where I live in New Jersey

Where did he idea o documen hemoriginae and how did i develop

ES I have been working on anongoing body o work in Japan or hepas five years or so and I ound I wasinspired o shoo my personal workonly when I was here or ravellingouside o Los Angeles I waned ochallenge mysel and sar a projec

here in LA In he pas I have never been a projec-oriened phoographerI usually shoo wha ineress me andedi he work ino groups laer on Iel I needed o push mysel and makea body o work ha had a commonheme oher han place I was in a bio a phoographic ru a he ime and

waned o ge excied abou my imagesso I wen on a litle hun or an ideaha would allow me o shoo in he

way ha I am comorable ye wouldsill be differen enough o challenge

me My husband came up wih a bunch o poenial ideas and he oneI responded o he mos was shooinghese cell phone owers ha aredisguised as rees Tey are everywherehere in Souhern Caliornia and Ihough ha phoographing hem

would be a grea way or me o sayrue o my way o shooing and sill

work on an ongoing projec I sared wih one near our house ha I seeeveryday and moved on rom hereIn he beginning I wasnrsquo aking anypicures ha I liked Bu I kep a iand have now sho over hiry owersTis projec has goten more and moreineresing o me as Irsquove coninued o

work on i Wha sared as somehingI was kind o orcing mysel o do has

become a projec I really care abou

and am excied o finish and show opeople Having spen a decen amouno ime on i a his poin Irsquom saringo hink o he images as ldquouurelandscapesrdquo and how specifically mygeneraionrsquos overuse o echnologyhas physically alered our currenlandscape

I needed o give mysel an assignmena deadline and a goal I had been a

very long ime since I did anyhing likeha and Irsquom glad I did

Opening Michael Cera (left) and Amanda

Seyfried (right) Previous Rikugien Garden

(Tokyo Japan) Opposite Picnic Table

(Queenstown New Zealand)

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11ISSUE NO

IS

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12ISO

FALL 2009

In 1909 he phoographer SergeiMikhailovich Prokudin-Gorskii se ou

o documen he daily lives o ordinary

Russians across he vas expanse o

he sarrsquos dominion Te expediion

conduced under he auspices o

Nicholas II who provided passes o

resriced regions o he Empire and

a specially-convered railroad car o

house Prokudin-Gorskiirsquos darkroom

coninued on and off unil 1915 and

yielded housands o phoographs over

wo housand o which have survived o

he presen day

Tese phoographs were aken in ull

color

I never really hough abou he hisory

o color phoography beore I saw he

Prokudin-Gorskii porrais I pressed

I would have admited ha color film

mus have been possible by 1939 a

he laes jus in ime o produceTe Wizard of Oz Neverheless my

impression o he world beore 1960

was ha i was inhabied largely by

mopey beige figures huddled agains

sepia backgrounds

On he superficial level I knew ha

we always exised in ull color bu

here is a proound difference beween

knowing somehing and acually seeing

i physically represened I ound hese

early color phoographs ascinaing andunsetling all a once Irsquos difficul o

pinpoin wha is so jarring abou he

Prokudin-Gorskii images Te daed

clohing is a par o i orcing he

viewer o realize ha ashion in he age

o he Homburg was no monochrome

ndash and more imporanly ha a man in

a sack coa could sill sand agains a

VIEWEREXPECTATIONS

by Aaron Krol

Overnight Camp by a Rock on the Bank of the Chusovaia River Sergei Prokudin-Gorskii (1912)

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13ISSUE NO

IS

blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

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14ISO

FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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15IS

ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

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17IS

ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

7232019 Revista ISO

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18ISO

FEATURED ARTIST

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19IS

KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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22ISO

JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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24ISO

JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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28ISO

FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

7232019 Revista ISO

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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11ISSUE NO

IS

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12ISO

FALL 2009

In 1909 he phoographer SergeiMikhailovich Prokudin-Gorskii se ou

o documen he daily lives o ordinary

Russians across he vas expanse o

he sarrsquos dominion Te expediion

conduced under he auspices o

Nicholas II who provided passes o

resriced regions o he Empire and

a specially-convered railroad car o

house Prokudin-Gorskiirsquos darkroom

coninued on and off unil 1915 and

yielded housands o phoographs over

wo housand o which have survived o

he presen day

Tese phoographs were aken in ull

color

I never really hough abou he hisory

o color phoography beore I saw he

Prokudin-Gorskii porrais I pressed

I would have admited ha color film

mus have been possible by 1939 a

he laes jus in ime o produceTe Wizard of Oz Neverheless my

impression o he world beore 1960

was ha i was inhabied largely by

mopey beige figures huddled agains

sepia backgrounds

On he superficial level I knew ha

we always exised in ull color bu

here is a proound difference beween

knowing somehing and acually seeing

i physically represened I ound hese

early color phoographs ascinaing andunsetling all a once Irsquos difficul o

pinpoin wha is so jarring abou he

Prokudin-Gorskii images Te daed

clohing is a par o i orcing he

viewer o realize ha ashion in he age

o he Homburg was no monochrome

ndash and more imporanly ha a man in

a sack coa could sill sand agains a

VIEWEREXPECTATIONS

by Aaron Krol

Overnight Camp by a Rock on the Bank of the Chusovaia River Sergei Prokudin-Gorskii (1912)

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13ISSUE NO

IS

blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

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14ISO

FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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15IS

ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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16ISO

FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

7232019 Revista ISO

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17IS

ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

7232019 Revista ISO

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18ISO

FEATURED ARTIST

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19IS

KATIE KLIN

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20ISO

FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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22ISO

JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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24ISO

JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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54ISO

THE GALLERY

7232019 Revista ISO

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55THE GALL

I

7232019 Revista ISO

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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12ISO

FALL 2009

In 1909 he phoographer SergeiMikhailovich Prokudin-Gorskii se ou

o documen he daily lives o ordinary

Russians across he vas expanse o

he sarrsquos dominion Te expediion

conduced under he auspices o

Nicholas II who provided passes o

resriced regions o he Empire and

a specially-convered railroad car o

house Prokudin-Gorskiirsquos darkroom

coninued on and off unil 1915 and

yielded housands o phoographs over

wo housand o which have survived o

he presen day

Tese phoographs were aken in ull

color

I never really hough abou he hisory

o color phoography beore I saw he

Prokudin-Gorskii porrais I pressed

I would have admited ha color film

mus have been possible by 1939 a

he laes jus in ime o produceTe Wizard of Oz Neverheless my

impression o he world beore 1960

was ha i was inhabied largely by

mopey beige figures huddled agains

sepia backgrounds

On he superficial level I knew ha

we always exised in ull color bu

here is a proound difference beween

knowing somehing and acually seeing

i physically represened I ound hese

early color phoographs ascinaing andunsetling all a once Irsquos difficul o

pinpoin wha is so jarring abou he

Prokudin-Gorskii images Te daed

clohing is a par o i orcing he

viewer o realize ha ashion in he age

o he Homburg was no monochrome

ndash and more imporanly ha a man in

a sack coa could sill sand agains a

VIEWEREXPECTATIONS

by Aaron Krol

Overnight Camp by a Rock on the Bank of the Chusovaia River Sergei Prokudin-Gorskii (1912)

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13ISSUE NO

IS

blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

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14ISO

FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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15IS

ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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16ISO

FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

7232019 Revista ISO

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17IS

ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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FEATURED ARTIST

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19IS

KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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54ISO

THE GALLERY

7232019 Revista ISO

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55THE GALL

I

7232019 Revista ISO

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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13ISSUE NO

IS

blue sky Te more unexpeced colorsconribue as well I is one hing o

observe ha a manrsquos jacke is brown

quie anoher o find ha he humdrum

mug in his hand is a sriking navy blue

Bu he greaes surprise was he ease

wih which I could place mysel behind

he eyes o he subjecs now ha heir

world was as colorul as mine Suddenly

he pas didnrsquo seem so disan and

unreachable a world in Prokudin-

Gorskiirsquos phoos as i did in he well-

known monochromaic snapshos o

he Grea Depression World War II

or even 1950s suburbia ndash a ime and

place ha should have been much

more amiliar han pre-Sovie Russia

Te Russian Empire may no have had

elevisions or long neckies bu is

grass was every bi as green as mine I

ried o imagine mysel inhabiing he

body o a Russian soldier observing

he scene rom he inside and ound omy asonishmen ha I could Tis was

somehing I could never achieve wih a

Dorohea Lange

Prokudin-Gorskii used his own

paened echnique o color

phoography which he developed

in sages beween 1902 and 1906

However several mehods o capuring

images in color have exised since

James Clerk Maxwellrsquos experimens

in 1861 Mos o hese early processesinvolved shooing hree separae slides

hrough differen filers o capure he

addiive red green and blue ones hen

projecing hem on op o one anoher

Ohers uilized he subracive colors

cyan magena and yellow ha orm he

basis o mos color phoography oday

or emulsions o silver chloride ha

reac o differen requencies o ligh waves All o hese echniques require

long exposure imes usually resuling

in hree separae shos Tis prohibied

acion phoography and resuled in an

abundance o sil l lie phoography

Furhermore bulky specialized cameras

were unavailable o mos phoographers

no involved in color experimens and

elaborae projecion equipmen made

viewing he resuls an awkward process

Tus he early color phoographic

process proved mosly o be a ailure

Tese iniial experimenal phoographs

also ended o ade rapidly repors

o successul effors as early as 1840

are hereore difficul o subsaniae

Prokudin-Gorskiirsquos mehod was no

immune o hese limiaions he

collecion o his images available oday

have been digially recreaed rom his

original negaive plaes

My experience o viewing Prokudin-Gorskiirsquos collecion relies more on

my expecaions han o he images

hemselves perhaps in one hundred

years when hree dimensional

rendering is he norm wo dimensional

phoographs rom our era will seem

disan and impenerable he way

black and whie phoographs do now

For all he discussion ha goes on

abou phoography and ruh our

expecaions are never concree and i

is sarling when we ge more han weare prepared or

Prokudin-Gorskiirsquos mission was o

compile a record o lie in his ime

or Russian schoolchildren o he

uure and he recognized ha he bes

echnology would produce he mos

accurae record Te phoographers

o oday migh consider wha heirmedium doesnrsquo adequaely capure

ndash movemen dimension ndash and bear

in mind ha his is wha will make

heir work seem oherworldly o he

audiences o he uure Is he moving

image already making us eel less

involved wih he sill momens we see

phoographed I a phoographer aims

o produce a jarring sense o realism

he migh imagine he visual desires o

uure viewers and rom here ranscend

he expecaions o how an era should be

depiced

Te real lesson I suppose is or he

audience ha looks o phoographs

o define he pas As viewers wersquove

been augh o be wary o wha he

phoographer inenionally did no

capure bu we rarely consider wha is

beyond his abiliy o convey Te ruh

is ha a phoograph is no inherenly

any more or less hones han a paininga novel a scrap o graffii or any oher

medium I is a ragmen limied by

he creaorrsquos inenion and mos o all

he limis o he medium isel o look

o phoographs or he mos accurae

impression o he pas is o neglec he

ac ha even in a world o onal greys

he sky has always been blue

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14ISO

FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

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ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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FEATURED ARTIST

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19IS

KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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IS

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JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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32ISO

THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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14ISO

FALL 2009

November is ldquoPhoo Monhrdquo in Paris a

celebraion o he mediumrsquos birhplace

Irsquos hard no o lose onesel in he

endless mass o exhibiions crowding he

srees and gallery spaces

Walking along he Seine I came upon an

exhibiion o phoographs planed righ

on he sidewalk Te culpri Museacutee

du Quai Branly which is amous or is

collecion o Arican masks and ribalar Quai Branly is cerainly no he firs

space ha comes o mind when I am

looking o visi a phenomenal phoo

exhibiion bu I was luckily persuaded

by an oddly enhusiasic Parisian o see

he Iranian phoography show inside

I enered he dark ambiance o he

gallery an amosphere meiculously

engineered by archiec Jean Nouvel

While a gloomy environmen works

wonders in he darkroom i is less

effecive when looking or a phoo

exhibi among shadows cas by ancien

masks and sculpures Tough difficul

o find I locaed he exhibiion 165

Years of Iranian Photography floaing

on a plaorm above he ars o Asia and

Oceania

Te gallery esablished a hisorical

conex or he exhibi by insalling wo

painings rom he Qajar dynasy onineeenh-cenury Iran Tese porrais

were ronal depicions o wealhy

arisocras rendered in a manner

reminiscen o early Ialian Renaissance

porraiure Te single-subjec oil pain

porrai originaed in he Occiden

jus like he phoograph Tis being he

THE NEW FABRIC OF

ABSTRACTIONby Alison Wynn

CONTEMPORARY IRANIANPHOTOGRAPHY IN PARIS

Museacutee du Quai Branley Alison Wynn

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15IS

ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

7232019 Revista ISO

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17IS

ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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FEATURED ARTIST

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19IS

KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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54ISO

THE GALLERY

7232019 Revista ISO

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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15IS

ISSUE NO

case he firs images mouned in he

exhibiion were no aken by an Iranian

bu by Anoine Sevruguin he son o a

Russian diploma who was one o he

firs phoographers o work in Iran

Sevruguinrsquos images depic Iranians

quie lierally hrough a Wesern

lens However his iconographic syle

was abandoned or he res o he

exhibiion

Te nex series o phoographs jumped

o he 1960s leaving me wondering

wha had occurred in he phoographic

world in Iran or 80 years aer

Sevruguin inroduced he phoograph

as ar objec Wha ollowed was a

sring o violen documenary images

rom he Iranian Revoluion o 1978-

1979 and rom he war beween Iraq

and Iran during he 1980s Te images

o war were powerul bu ew a

umuluous apex preceding a series o

laer conemporary phoographs

Te phoographs o crowds in

ooball sadiums amilies soldiers

ciyscapes and absracions provided an

unanicipaed shock o color aer such

an abundan collecion o somber black

and whie prins Te synhesis o rich

visual hisory and digial innovaion was

paricularly sriking in he composiions

o Rana Javadi and Sadegh irafan who boh chose o incorporae imagery

o abric in heir phoographs Javadirsquos

work When You Were Dying (2008)

depics brighly colored silks raming

elegan porrais o women In Sadegh

irafanrsquos Multitude series (2008)

a vibran abric is woven ino he

conen o he phoograph replacing

he individual garmens and he spaces

beween bodies in a crowd

I was compelled o consider he

hemaic implicaions o he work

which in his case was he juxaposiion

o abric and image which represens

more han jus a combinaion o

maerials Te works o Javadi and

irafan illusrae he union o wodifferen arisic media he exile and

he phoograph In Iranian radiion

he exile is no only decoraive bu

is also considered an imporan mode

o arisic expression because i is

more relaable o Iranian culure han

he soic porrais o arisocras Te

depicion o exiles in he phoographs

is no simply an allusion o exure or

decoraion i is an echo o hisorically

significan mehods o represenaion

Tis bold amalgam o ancien and

modern radiions is an innovaive

example o an emerging visual

conversaion riggered by digial

echnology and harnessed by young

Iranian ariss In his new mehod o

represenaion he phoograph coupled

wih he angibiliy o he cloh become

par o a whole image reerencing he

flexibiliy o he medium isel Javadirsquos

work subvers he radiional posedporrai by inerlacing i wih oher

images In a similar ashion irafanrsquos

series creaes a visual comparison

beween he ighly-woven bodies o he

crowd and he delicae hreads o he

silk which lends isel o conemplaion

ar beyond he ldquoabric o socieyrdquo

Te phoography o Javadi and irafan

iniiaes a reflecion on noions o

surace and subsance realiy and

represenaion Tey use individual

images in he same manner as a painer

uses oil pain using phoographs

insead o pigmens o creae expressive

orms In an almos alchemic manner

layered races o differen realiies use

o creae a powerul image A new kind

o phoography has emerged a blend omuliple media siched ogeher wih

invisible hread

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16ISO

FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

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17IS

ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

7232019 Revista ISO

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FEATURED ARTIST

7232019 Revista ISO

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19IS

KATIE KLIN

7232019 Revista ISO

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20ISO

FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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22ISO

JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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36ISO

FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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37ISO

CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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16ISO

FALL 2009

IT TAKES PICTURES by Pey Chuan Tan

Top Untitled Pey Chuan Tan Bottom Untitled Pey Chuan Ta

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17IS

ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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18ISO

FEATURED ARTIST

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19IS

KATIE KLIN

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20ISO

FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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22ISO

JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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23ISO

KATIE KLIN

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24ISO

JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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25ISO

KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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28ISO

FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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17IS

ISSUE NO

Irsquos Friday nigh and Irsquom a a riendrsquos

dinner pary in her sudio aparmen

Platers o finger ood empy beer botles and crumpled Dixie cups are

scatered across he cramped coffee

able Nesled wihin he mess are wo

or hree disposable cameras each nealy

wrapped in paper packaging Walgreens

Kodak CVS As he end o he nigh

approaches I overhear some conusion

as o whom each camera belongs o an

issue ha would have never occurred

wih a regular camera

No only are disposable cameras a

physical hrowaway bu he ransience

o he momens capured makes hem

a perec visual ool or recording liersquos

impermanence and imperecions Te

simple phoographic box preloaded

wih a single roll o 35mm film

provides convenience in siuaions

where a camera may be easily solen

los or damaged

Growing up he opporuniy o use adisposable camera arose only on poorly

planned las minue amily holidays

when someone negleced o pack

he regular camera My aher would

grudgingly purchase a couple o he

overpriced phoographic conrapions

rom gi shops and we would embark

on a zealous poin-and-shoo spree

Weeks laer we would gaher a he

dining able o review 4rdquo x 6rdquo prins o

phoographs aken in hase while my

moher and aun would lamen he acha he disposable lacked he necessary

echnology o accuraely porray he

magnificen views o wherever we had

gone sighseeing and ha one o us

should have remembered o grab ha

Olympus Sylus film camera (wih

ldquoEpic Zoomrdquo uncion) rom home

In he mos basic sense he disposable

represens a uncional device or he

phoographic layman And in a more

aesheic sense i presens a lo-fialernaive o digial echnology Te

cheap plasic lenses quesionable film

qualiy and fixed ocal lengh o he

single-use camera make i popular wih

hose who graviae owards he less-

han-perec syle o phoography Tis

isnrsquo a new visual curren per se he

ldquodisposablerdquo aesheic is a sel-reflexive

ar reerencing he documenary-syle

works o Nan Goldin perhaps even he

raw overexposed ashion spreads by

Juergen eller and erry Richardson

Te ease o poin-and-shoo coupled

wih he low cos processing compels

us o documen every deail o

our lives inane as hey may be o

he ouside world Te resul is an

auobiographical phoographic sory

guided efforlessly by inuiion and a

disregard or phoographic preense

Irsquos a peculiar hrowback o no-rills

snapsho phoography ha plays upon

he amaeur handiwork o our amilyalbums

Each roll o film developed rom a

disposable camera brings an elemen

o surprise he prins are a mixed bag

o joy and disappoinmen an ode

o liersquos hi-and-misses Awkward as

hey may be he phoographs possess

a air amoun o magneism - here

is somehing romanic abou he

overexposed rames over-sauraed

colors and he unexpeced glare andlens flare ha make he inspecion

o hese haphazard picures so

unexpecedly un Te harsh flash

o each exposure releases isel

simulaneously wih he spli second

ha a singular memory orms in our

minds and conveys ha impression

wih he visual accuracy o sraigh

phoography Irsquos his idea o chance

and he unexpeced ha beckons us

o ake a closer look a wha comes back rom he phoo processor Oen

wha makes or breaks hese oherwise

unremarkable prins is he veriy o he

personal deails Wha you see is wha

you ge ndash maybe a litle speck o dus on

he upper righ corner or your moherrsquos

finger blurring hal o he rame While

he disposable may no boas he clariy

o a housand mega pixels i definiely

has he uncanny abiliy o magniy he

deails we remember bes

In an era where so many images

have become par-phoo and par-

Phooshop he disposable provides

he opporuniy o creae simple

impressionisic images Quie lierally

irsquos a sraigh shooer going o he

hear o he mater and capuring

subjecs wih minimal uss More han

jus a pary accessory i has become

he perec medium or he ldquodecisive

momensrdquo o our generaion appealingo us wih an arresing honesy harsquos so

hard o come by hese days

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18ISO

FEATURED ARTIST

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19IS

KATIE KLIN

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20ISO

FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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22ISO

JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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25ISO

KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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28ISO

FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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THE GALLERY

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49I

THE GALL

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THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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18ISO

FEATURED ARTIST

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19IS

KATIE KLIN

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20ISO

FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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22ISO

JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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19IS

KATIE KLIN

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FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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22ISO

JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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28ISO

FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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THE GALLERY

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49I

THE GALL

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THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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THE GALLERY

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55THE GALL

I

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THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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20ISO

FEATURED ARTIST

Our ravels rom place o place day o

day do no announce heir significance

all a once Because we do no know

our purpose we are consanly creaing

meaphors When we look back a he

rames we shoo everyday we find hepaterns ha define our curiosiies our

syles and our sories

Phoographer Kaie Kline is inspired

by a myriad o influences including

sur-culure susainable living ukulele

music beer quiling sighseeing and

cas among many oher animals Her

passions may serve as meaphors or her

work Klinersquos ongoing dipych series

is a quil o vibran color and echoing

shapes Her subjecs are boh inimae

and universal Since graduaing rom

isch in 2005 Kline makes use o her

vacaion ime o ravel rom coas o

coas visiing amily and phoographing

amiliar surroundings Wih an eye

or he idiosyncraic she compiles

humorous hearwarming dipychs ha

are as rereshing as a cold one on a ho

day

JS How would you describe your work

KK Irsquos inended o reflec poscards

Quick observaions o sauraed color

sriking shapes and dramaic ligh I

phoograph o remember a combinaion

o ime place and eeling and o

share some o he humor and magic o

everyday lie

JS Your dipychs bring a resh

perspecive o commonplace subjec

mater Te images are sponaneous

bu no incidenal Do you have any

paricular influences

KK I am a consan observer Irsquom oen

disraced and bemused by movies

memories poscards snapshos

windows scrapbooks picure books

exiles and animaion In erms o

oher image-makers my heroes include

Marin Parr David Graham Sephen

Shore Graciela Iurbide Mich Epsein

Rober Frank and Jeff Mermelsein

Many o my influences round ou my

imaginaion and arisic aspiraion

JS Do you share Marin Parrrsquos affiniy

or kisch

KK Mos cerainly I am an avid

collecor and Irsquove requened flea

markes since high school Parrrsquos

Postcards and Objects books are grea

I always enjoy observing wha people

choose o collec hoard and sell When

I firs sared phoographing I loved

documening ound sill-lives in fleamarkes and garage sales

JS I like he ceramic owl in Brooklyn

NY Birmingham MI Irsquos grea

KK Ta owl is in my riendrsquos backyard

in Williamsburg bu I like how i looks

like i could be anywhere I was here

when hey moved in le over rom he

previous enans Irsquom drawn o how

people arrange objecs in heir living

spaces Objecs coninually ascinae

me

JS All o your work is iled by

locaion providing general conex o

he images while leaving he conen

up or inerpreaion I like how his

fis in wih he poscard aesheic

How do you relae o he locaions you

phoograph

KK I grew up in Los Angeles and

moved o New York having never

visied beore when I sared a NYU

a age 18 All my phoos are aken

during my day-o-day lie in New

York and during visis o my amily

in he Wes and he Midwes Irsquom

more inclined o phoograph when

Irsquom less disraced by busyness When

I phoograph in New York irsquos oen

when I explore new corners o he ciy

on weekends holidays or during he

summer Irsquove reurned o Souhern

Caliornia he Oregon Coas he

suburbs o Deroi exas Brooklynand Fire Island muliple imes bu I

rarely go specifically on phoographic

excursions I almos always phoograph

while spending ime wih he people I

love My relaionships wih riends and

amily ie my images ogeher and mos

o he subjecs included in my dipychs

are he places where hey ake me

KATIE KLINEby Jenna Spitz

DIPTYCHS

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21KATIE KLIN

IS

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JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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24ISO

JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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25ISO

KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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32ISO

THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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54ISO

THE GALLERY

7232019 Revista ISO

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55THE GALL

I

7232019 Revista ISO

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

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61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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21KATIE KLIN

IS

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22ISO

JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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24ISO

JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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25ISO

KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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28ISO

FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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22ISO

JS Many serious phoographers like

o carry pocke cameras wih hem

day-o-day bu you phoograph almos

exclusively wih inexpensive poin-and-

shoos

KK I ound while I was a suden

a isch ha using an Olympus

Sylus Epic reed me o phoograph

insincively wihou over-hinking

he medium Since 2004 Irsquove been

collecing 35mm poin-and-shoos and

now use a combinaion o he Olympus

Leica Minilux and Conax 3

Shooing wih pocke cameras is always

a bi o a gamble I guess I like ha I

helps me make a lo o quick insincive

shos o up my odds I make sure o ge4rdquo x 6rdquo prins every ime I process a roll

and I like o collec and arrange hem in

hri sore phoo albums or shoeboxes

Irsquove never been all ha ineresed in he

echnical aspecs o shooing I much

preer he resuls

JS So how did his projec begin

KK Te dipychs are a new wis on an

ongoing projec Irsquove always liked how

my images communicae in clusers Irsquomno a phoographer who makes large

individual images Irsquove never made

a prin larger han 11rdquo x 14rdquo While

working or Sylvia Plachy in 2008 I was

deeply inspired by how she shows work

rom hroughou her career in dipychs

and ripychs I hen sared grouping

my phoos I showed my images o a ew

riends and amily o help recognize he

maches I need resh eyes o help wih

my edis Irsquos like when yoursquore working

on a jigsaw puzzle or hours canrsquo find

a piece hen someone walks by and inseconds pus one in he correc spo

JS Do your pairings ell a sory

KK Almos every image or dipych

ells a sory bu I hink he sories

are all much more mundane han he

images hemselves I really like how my

phoographs make my lie seem a litle

more ineresing han i acually is Tis

is where Irsquod like he v iewer o creae he

sory My iles encourage his open-ended narraive

JS As a viewer Irsquod say your lie looks

prety ineresing

KKTanks Irsquom prety pleased wih i

JS Yoursquove only used film or his

projec Wha makes you sick o he

medium

KK Irsquove never been conen wih my work any oher way I need o shoo film

o orce mysel o rus my insincs I

like he film process parly because i

was he way I was augh and he way I

ell in love wih phoography

JS Yoursquove been working a he

Inernaional Cener o Phoography

(ICP) or almos wo and a hal years

now How does ha environmen

influence you

KK Te way my work a ICPinspires my lie and arisic pracice

is incredible I canrsquo imagine doing

anyhing else I sared as an inern

and now I work in he Communiy

Programs deparmen as Coordinaor

o he een Academy Program where

we offer black-and-whie darkroom

courses o high school sudens rom

diverse backgrounds Irsquom inspired

daily by heir curiosiy and enhusiasm

or phoography ar and lie I was

inroduced o he power o communiyar-based projecs hrough he

Community Collaborations course a

isch Ever since hen i has el righ

or me o work wih young people who

are ineresed in he medium eager

o learn and may no oherwise be

exposed o opporuniies in he ars

JS Do you have ond memories o

isch

KK Yes he Phoo Deparmen aisch changed my lie I me many o

my closes riends here and coninue

o say in ouch wih a number o

sudens and proessors I visi he

deparmen whenever I can and

consider i a home away rom home

FEATURED ARTIST

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KATIE KLIN

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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23ISO

KATIE KLIN

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24ISO

JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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25ISO

KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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28ISO

FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

7232019 Revista ISO

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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32ISO

THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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34ISO

FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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JS Sylvia Plachy said ha when you

sring images ogeher in an essay a

show or a book he groupings become

ldquomore han he sum o heir parsrdquo In

relaion o your experience making

dipychs is ha abou righ

KK Sylvia is so brillian I compleely

agree and i cerainly resonaes wih

my work My process o collecing

maching and re-arranging really

describes who I am as a person and an

aris I also like how he quoe can be

applied o quil making an ar and cra

passed ono me by my moher Quiling

is anoher creaive process I really

enjoy

JS Your wi shines hrough your

work Where did you ge your sense o

humor

KK My aherrsquos mos requen and

accurae criicism o movies is ldquoTere

werenrsquo enough jokesrdquo He has worked

in animaion my enire lie and

inroduced me o comedy a a young

age I always hank my aher and my

broher or my sense o humor

JS Tere are only wo porrais in he

projec bu mos o your composiions

imply a human presence Do you oen

phoograph people How do hey figure

ino he dipychs

KK Irsquos much harder o phoograph

people and be able o conrol he eel

o he image I am more drawn o

spaces inhabied by people and wha a

seting can imply abou hem Objecs

and privae environmens are elling

o personal ineress experiences andinvolvemens I only recenly sared

phoographing riends and amily and

I raher like some o hese images Irsquom

surrounded by such creaive characers

in my lie - I hope hey all can wiggle

heir way ino my work

JS Your subjecs are much more

inimae han say in Marin Parrrsquos

phoographs In dipychs like Palm

Desert CA Brooklyn NY you

juxapose classic poscard subjecs wih inimae encouners How does

your own personal remembrance

evoke a universal eeling Wha makes

images like hese ones ha we will all

remember

KK I like how ha porrai is

classically ramed and li in a universally

known seting he resauran booh

Te subjecrsquos expression is boh

ambiguous and direc I hink everyone

has aced her a some poin in his or her

lie ndash jus like he sunse

JS Wharsquos your opinion on poscard

sunses

KK I hink heyrsquore grea I canrsquo ge

enough I almos like hem beter han

he real hing because hey are porable

and sharable Film documened sunses

are simpler han digial and I hink

more painerly Ta qualiy is nice

JS Your color palete reminds me oold Kodachrome phoographs I see a

resemblance o Mich Epseinrsquos colors

o he 1970rsquos and lsquo80rsquos and o images

in old amily albums Wha does your

moher say abou your phoographs

KK My moher loves when I shoo

film and prin in he darkroom She

ar preers c-prins o inkje I use

Fuji Superia Xra 400 speed color

negaive film (and recommend i o my

sudens) because you can buy i a hedrugsore and he color is always grea

Since I hardly ever shoo porrais skin

one and ldquonauralrdquo color really isnrsquo

ha imporan o me I much preer

sauraion ndash I wan he image o reflec

wha I remember rom he momen I

phoographed which is usually brigher

and bolder han i may have acually

appeared

Intro Brooklyn NY Birmingham MI and La

Crescenta CA Fort Worth TX Opening Crescent

City CA Riverdale NY Previous Palm Desert

CA New York NY Opposite Palm Desert CA

Brooklyn NY

FEATURED ARTIST

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KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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25ISO

KATIE KLIN

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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MYTHOLOGIESREAL AND

IMAGINED

26ISO

FEATURED ARTIST

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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37ISO

CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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ldquoPhotographs I think give people an emotional

response that they can connect with a rough

tangible ideardquo

PETER CURTIS

27PETER CURTIS

ISO

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FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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28ISO

FEATURED ARTIST

PETER CURTISIn he summer o 2008 isch phoography sudenPeer Curis crossed an ocean and ound a amily

Separaed by he rials o World War II his grandaher

moved o he Unied Saes o escape Sovie rule while

his brohers chose o remain in he Ukraine I was

a decision ha divided a amily or wo generaions

One plane ride was all i ook or he people ha he

once knew only hrough phoographs and sories o

quickly come alive For wo weeks he winessed he

counry hrough heir eyes heard heir sories sraigh

rom heir lips and documened every sep o his

experience Te resuling phoographs leave nohing o

be desired rom porrais o sill lives o documenedmomens Curis capured i all giving he series a

heavy sense o corporealiy I is as i he rip exiss in

our memory as much as i does or him Te quie car

rips he danger o a flash flood he nervousness ha

accompanies a meal shared wih a amily o srangers

all exis simulaneously wihin he series bu orCuris irsquos no enough Wih plans o urher expand

he series he assures ha is srengh will lie in is

abiliy o communicae boh his amilyrsquos sory and ha

o Ukraine isel ldquoo do hisrdquo says Curis ldquoI need o

reurn o Ukrainerdquo

DH Did you inend o urn your rip o Ukraine ino

a series rom he sar

PC I didnrsquo inend or he rip o be a series and I

hink i shows in how differen all o he phoographs

are I brough a lo o film in case I was compelled ophoograph which I was Even now I separae he

Ukraine picures rom he res o my phoographs

more because heir associaion wih a specific place

and ime complicaes hem more han heir differences

rom oher phoographs Irsquove aken

DH Was here a language barrier o overcome I so

how did ha affec he series

PC I donrsquo speak Ukrainian and only undersand

very rudimenary phrases While I was here I learned

o read a bi beter I was raveling wih my moher

who is fluen so communicaion wasnrsquo hopeless Ta

said I never really alk when phoographing Te only

ime i became an issue was when I had o ask people

o pose or ormal porrais such as he couple in heir

garden Even hen I donrsquo like o ell models or subjecs

wha o do I like hem o relax and pose hemselves

and hen I look or he righ momen o ake he

picure

DH Does working wih amily members change your

process a all Were you relucan o capure scenes orask hings o your amily ha you wouldnrsquo normally

hink wice abou wih a sranger

PC I donrsquo hink so bu ha parially has o do wih

wha I would hink o phoograph in general I donrsquo

like aking advanage o people wih my camera

DH Te images in his series run he gamu rom

documenary o porrai o sill-lie Wha sors o

subjecs were you drawn o

by Deirdre Hering

FEATURED ARTIST

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

7232019 Revista ISO

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55THE GALL

I

7232019 Revista ISO

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

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29PETER CURTIS

ISO

PC I donrsquo know I donrsquo hink much a all when

I am aking picures I came back wih all kinds o

picures o all kinds o hings I ook ormal porrais

and snapshos o my amily sree phoographs

landscapes One recurring heme ha didnrsquo make a

final edi was sray dogs I ound mysel phoographing

sray dogs oen

DH Tere is a angible sense o separaion beween

you and your subjecs in his series many porrais

were eiher aken a a disance or when he subjec wasleas expecing i Is his a sylisic effor or a resul o

your separaion rom your amily

PC I guess i was a uncion o my alienaion

Alhough I also hink i was a uncion o he

way I phoograph I like o place subjecs in large

composiions and he resuling effec I hink is ha

viewers are more aware o my presence in aking he

phoograph

DH I firs saw your phoographs beore I learned

wha hey were abou Tey are wholly capable o

sanding alone bu hey ake on a whole new meaning

when viewed in he conex o your experience How

big o a role does narraive play in your process

PC Irsquom no sure how big a role he narraive aspec o

phoography plays or me I mean I donrsquo wan people

o really ge he same senimen rom my phoographs

ha hey would rom an aris saemen Phoographs

I hink give people an emoional response ha heycan connec wih a rough angible idea So knowing

ha hese were picures I ook in Ukraine wih my

amily viewers could perceive my consciousness while

here and perhaps draw some conclusions based on

ha connecion

DH You had jus oureen days o connec wih a

amily you had never known and documen i in a

meaningul way Were you ever worried ha you were

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missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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32ISO

THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

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47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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54ISO

THE GALLERY

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55THE GALL

I

7232019 Revista ISO

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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30ISO

missing ou on chances or real ineracion because o your desire o documen he rip

PC Phoographing or me has always been a real

way o ineracing no jus as removed sor o

documenaion When I ook porrais o my amily

members he ineracion oen made us closer and

gave us hings o alk abou

DH How acive o a role did your amily members

play in he series Were hey sel-conscious in ron o

he camera or eager o be capured

PC Some o hem like Uri and Naalia (he couple

in he garden) were sel conscious ohers less so I

donrsquo know how eager hey were o be phoographed

bu mos were happy abou i

DH You had he unique dual experience o being

a complee sranger in a oreign place wih he

advanage o seeing Ukraine hrough he eyes o

hose who know i bes Did hey compel you owardssubjecs ha you wouldnrsquo normally phoograph

PC No I mean ulimaely I phoograph rom my

perspecive991252which was broadened by meeing my

amily

DH You menion ha in order o complee

he series you need o reurn o Ukraine and

coninue wha you sared in he summer o 2008

Bu as o righ now wha have you learned rom

your experience boh abou your amily and he

myhology o Ukraine

PC I hink he experience has helped me ge o

know amily members and heir lives And o see he

counry Tose are raher obvious and simple bu hey

provide a couner weigh o he sories and hisories

ha I heard rom my amily here or mos o my lie

FEATURED ARTIST

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31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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32ISO

THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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34ISO

FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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38ISO

BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

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47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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54ISO

THE GALLERY

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55THE GALL

I

7232019 Revista ISO

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

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61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3176

31ISO

Opening spread My Mom

in Urirsquos Car Previous Bus

(left) and Bridge Collapse

(right) Opposite Dinner

This page Uri and Natalia

(top) and At Urirsquos House

(bottom)

PETER CURTIS

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32ISO

THIS PROMISED LAND

FEATURED ARTIST

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3476

34ISO

FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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36ISO

FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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37ISO

CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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38ISO

BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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httpslidepdfcomreaderfullrevista-iso 4176

41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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54ISO

THE GALLERY

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55THE GALL

I

7232019 Revista ISO

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

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61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

7232019 Revista ISO

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3276

32ISO

THIS PROMISED LAND

FEATURED ARTIST

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3376

33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3476

34ISO

FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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37ISO

CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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38ISO

BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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33CEacuteSAR VEGA

ISO

ldquoIt was in part a need to conjure up my own

definition of what America actually isrdquo

CEacuteSAR VEGA

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34ISO

FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3576

35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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36ISO

FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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37ISO

CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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38ISO

BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

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41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

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42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

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47THE GALL

I

Metallic Bodies Shraddha Borawake

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48ISO

THE GALLERY

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49I

THE GALL

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

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51THE GALL

I

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

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54ISO

THE GALLERY

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55THE GALL

I

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

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57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

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59THE GALL

I

Somewhere Melodie Jeng

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60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

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61THE GALL

I

Untitled Ruoyi Jiang

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62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

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67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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34ISO

FEATURED ARTIST

FEATURED ARTIST

CEacuteSAR VEGA

by Julia Pugachevsky

For decades every inch o America has been

inspeced wih every shadowy corner illuminaed

by he flash o a camera in a ques o pin i down

and rip i open Coninual exposure o he diverse

elemens o our naion seems o spoil he surprise

However looking hrough Ceacutesar Vegarsquos

phoographic journey in Tis Promised Land i

becomes clear ha he secre o mainaining mysery

lies ironically in he bareness o he work Insead

o relying on shadows and porrais o ell a sory

Vega does somehing a bi differen991252he ells his

sory o raveling he counry hrough brigh and

boundless landscapes In his world people play

a diminuive role991252he emphasis lies in he land

isel raher han wha people inerpre i o be

Suddenly i is he environmen ha akes conrol

o he viewer no by dicaing wha o eel or hink

bu by revealing he undulaing landscapes and

endless skies Ulimaely America hrough Vegarsquos

lens becomes a palete o color in negaive space a

mesmerizing absracion ha caapuls he observer

across he vas landscape isel

JP How did he series begin and wha were you

hoping o explore wih hese phoographs

CVTe series began as a need o ravel around he

Unied Saes o ge a beter idea o wha was really

ou here I was in par a need o conjure up my

own definiion o wha America acually is We all

seem o have ideas o wha ha means I jus needed

o do some ac-checking Te resuling phoographs

are he way I winessed and defined i

JP Te series is iled Tis Promised Land Why

CV I grew up in Miami Florida a ciy

made up mosly o immigrans who

abandoned heir paria or he promise

o more o come o opporuniy andadvancemen Te unny hing is ha I

picked he ile beore Irsquod even sared

phoographing I always seemed o be

he righ name I really eel harsquos wha

his naion represens or millions o

immigrans and I el i when I wen ou

o see wha his promised land has o

offer

JP Your collecion combines boh

landscapes expanding o he horizon

and everyday places such as publicswimming pools and acories Wha

did you inend by he clash o subjec

mater and how are all hese images

inerrelaed

CV I donrsquo know ha hey necessarily

clash he wo Collecively he variey

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35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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httpslidepdfcomreaderfullrevista-iso 3676

36ISO

FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

7232019 Revista ISO

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37ISO

CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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38ISO

BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

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40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4176

41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4276

42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

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httpslidepdfcomreaderfullrevista-iso 4376

43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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44ISO

THE GALLERY

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45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

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46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

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48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

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50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

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51THE GALL

I

7232019 Revista ISO

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52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

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56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

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58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

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63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

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65I

Untitled 1 from Buried series Calie Schieman

THE GALL

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66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

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68ISO

THE GALLERY

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httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

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ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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httpslidepdfcomreaderfullrevista-iso 7576

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httpslidepdfcomreaderfullrevista-iso 7676

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httpslidepdfcomreaderfullrevista-iso 3576

35ISO

o images works owards illusraing he

whole filling in blanks where he ohers

canrsquo Tey are inerrelaed in he ac

ha hey all o some exen describehe same place

JP In your work here is a srong

emphasis on sunligh and well-li

setings Terersquos a sor o bareness o

your work leting he mysery lie more

in he subjec mater Why is ha

CV As a phoographer I am naurally

atraced o specacular ligh and Irsquom

cerainly no unique in ha regard

A momen draped wih very delicae

and beauiul ligh also plays he role

o a pedesal i makes he momen

more excepional and atracive o me

I also end o work somewha slowly

which has len isel o quieer rames

ha allow me o ocus on more suble

aspecs irsquos no necessarily a choice Irsquove

made irsquos he way I work

JP Te phoographs o vas landscapes

and expansive skies are beauiul bu also a biinimidaing in heir expansiveness Wha moods do

hese phoos evoke in you

CV Irsquos difficul o avoid he landscape in America

Irsquos also a comoring way o defining America very

exciing acually I quickly realized ha America was

no all ha differen rom he res o he world o me

hese landscapes are almos an alphabe I could use

o define any oher counry or landmass across he

globe Teyrsquore sor o building blocks ha you could

rearrange and aler slighly

JP Whenever people are par o he sho hey appear

small in comparison o heir surroundings Wha is he

purpose o his

CV People seemed insignifican o me Tey cerainly

explained a lo o wha I saw bu I didnrsquo wan o

rely on hem o define he places I visied You can

find quirky and off people everywhere and every

counry has hem in some orm or anoher I was moreineresed in he way he people had chosen o develop

heir space and define heir landscape Irsquos a more

efficien and direc way o viewing wharsquos ruly unique

abou hese places since o some exen I am rying o

exal he lack o unique-ness heir universaliy

JP Is here a paricular aris or work ha influenced

his series Or was i inspired more by personal

experience

CV I was definiely ueled by my personal

experiences in Nicaragua and some lack o ldquoAmericanrdquoexperiences whils growing up in Miami

JP Some o he places yoursquove phoographed such as

hoels and swimming pools are more or less ordinary

setings Wha sruck you abou hese places ha made

you wan o capure hem

CEacuteSAR VEGA

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36ISO

FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

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37ISO

CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

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38ISO

BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

7232019 Revista ISO

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ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4076

40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4176

41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4276

42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4376

43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

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httpslidepdfcomreaderfullrevista-iso 4476

44ISO

THE GALLERY

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httpslidepdfcomreaderfullrevista-iso 4576

45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4676

46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

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53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

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httpslidepdfcomreaderfullrevista-iso 3676

36ISO

FEATURED ARTIST

CV I was he amiliariy o hese places ha made hem

clear choices o me We all have our ideas o wha hese places

look like wha hey mean heir significance Tey were an

effecive way o ranslaing America ino erms mos anyone

could comprehend and relae o

JP Ou o your whole experience phoographing he counry

which place is he mos memorable or special o you

CV I would say he Norhwes was mos memorable Tere

were a ew places I winessed here a odd hours ha were

more sunning han I could have ahomed

JP Upon embarking on his projec did you have a se

desinaion and roue or did you jus phoograph as you wen

along

CVTere were cerain places ha I knew I would sop or

he projec I used hem as a loose srucure or he res

o my sops Everyhing in beween was a bi imprompu

someimes going ou o he way o explore cerain places

JP Is here any place in paricular you missed during

your our o he counry and wished you could have

phoographed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3776

37ISO

CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3876

38ISO

BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3976

ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

7232019 Revista ISO

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40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4176

41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4276

42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4376

43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4476

44ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4576

45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4676

46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3776

37ISO

CV I didnrsquo spend any ime in New England My greaes

wish is o spend more ime phoographing here are oo

many places I missed and even some o he places I did visi

deserve more ime han I could afford hem

Opening spread Untitled (Shiprock) Previous-left Untitled (Badlands)

Previous-right Untitled (Traverse City) Opposite Untitled (Chicago)

This page Untitled (Barton Spring)

CEacuteSAR VEGA

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3876

38ISO

BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3976

ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4076

40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4176

41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4276

42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4376

43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4476

44ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4576

45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4676

46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

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64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3876

38ISO

BLACKROCKTOWER

THE LONGCOURSE

+

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 3976

ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4076

40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4176

41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4276

42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4376

43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4476

44ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4576

45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4676

46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

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httpslidepdfcomreaderfullrevista-iso 3976

ldquoI like people awkward and landscapes ordered

THOMAS PRIOR

39I

THOMAS PR

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4076

40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4176

41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4276

42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4376

43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4476

44ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4576

45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4676

46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4076

40ISO

FEATURED PROFESSIONAL

THOMAS PRIOR

by Michael George

Troughou he world here are places where people

go o le loose991252 leisure spos o relieve sress o

breahe Some seek release in calming aciviies like

fishing biking or siting on a beach Ohers seek

he anicipaion o reealling ino reezing cold

waer or driving a a breakneck speed where he

world becomes nohing bu an absracion o orms

and color Tomas Prior phoographs hose wih a

hirs or adrenaline A bi o a wanderer himsel

Prior ravels beween locales never making any

deep connecions He observes quiely and leaves

no raceable relaions excep or hose beweenphoographer and disan subjec His laes ravels

included sops in Bonneville Uah where he sal

flas have become amous or he infinie errain fi or

high-speed drag racing and in Salhill Ireland where

Blackrock ower reels in anyone looking o ake an

icy plunge

Many phoographers immerse hemselves ino

subculures or he experience alling deep ino

he liesyles o ohers and ransorming heir own

characer in order o more accuraely reveal he

culure rom wihin Prior discovers he magic inshor-lived advenure where he chooses o remain an

observer His images are reacive as i he phoographs

a dance wihou knowing he choreography Te

work provides a raw momenary view ha combines

he wondermen o a snapsho wih he qualiy and

vision o someone looking or somehing jus a litle

bi more

MG ell me a bi abou hese projecs

TP I guess i akes me a long ime o change habis

I wan o move ino a more sraigh documenary

area bu have always concenraed on one-off singlemomens Recenly I wen o Uah and Ireland o

pracice looking a specific places and how people

use hem Boh o hese places were chosen because

I had been o hem beore and hey boh le a mark

on me I remember hinking ldquoIrsquom coming back hererdquo

I wan o do a ew more o hese ypes o projecs

(1-2 weekshellip never geting involved deeply wih he

people) and develop hem ino a condensed porolio

Laer I wan o do a projec Irsquove been hinking o ha

will ake much longer and be more abou individuals

and places I have one rip planned in January and

one rip planned in February o 2010 Boh are placesIrsquove never been I wan o see how Irsquoll approach hem

compared o a known place I never wan o convey a

message or heorize oo much I jus reac and ry no

o hink I wased a lo o ime in my 20rsquoshellip livinghellip

and now have a new fire o explore and spend all my

savings and shoo as much as I can and see i I can

somehow eek a living ou o i

MG Boh locaions yoursquove chosen o documen are

gahering poins or a specific aciviy Boh have

o do wih hrill-seeking and advenurous ypes Is

ha one o he reasons you were atraced o he

locaions Was here anyhing more specific ha drew

you back aer your original visi

TP I was a mixure o he super dedicaed people

and beauiul open landscapes I remembered he

changing ligh and engine noise o Bonneville Uah

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4176

41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4276

42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4376

43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4476

44ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4576

45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4676

46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

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BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4176

41IS

Saring a abou 4pm in summer he ligh changes by

he minue all he way ill dark aer 10pm Blackrock

diving ower is such a cool srucure ou here on ha

pier all by isel and irsquos so un-Americanly dangerous

Te locaions are simple ye no a all boring Teyrsquore

visually incredible bu made more amazing by humans

MG When you say hese people are dedicaed do you

mean heyrsquore consanhellip Always here

TP I hink more like personaliy I akes a specific

personaliy ype o jump ino reezing waer when he

weaher is super shity I akes a specific personaliy

ype o risk deah and drive super as Irsquos un being

around people ha are passionae abou wha hey do

MG Wha benefis are here o hese shor-erm

engagemens Some documenary phoographers

say you should live wih your subjec or a ew weeks

beore you even ake a phoograph Wha would you

say o ha

TP I sho mos o he good phoos in he firs 3 or 4

days o each projec I waned o ge quick impressions

o each locaion wih resh eyes reac o a siuaion puineresing suff on film and hen move on Nex year I

wan o sar a long erm projec where he subjec will

be more imporan han he place so in ha scenario

i will help o slow down and sudy a litle more Tese

projecs are like un litle skeches a kind o warm up

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4276

42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4376

43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4476

44ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4576

45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4676

46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4276

42ISO

MG Perhaps i is he opposie hen herersquos more

charm in he innocence beore you really know a person

or a place Do you hink your long-erm projec will

replace hese skeches

TP I plan on doing shor projecs or a long ime Irsquoll

probably ake he bes o he bes and combine i all

laer I have no idea how my long-erm projec is going

o urn ou Terersquos ons o variables I have ye o work

on so I donrsquo know how harsquos gonna go

MG Your images show he elderly in boh locaions

doing hings we migh normally associae wih youh

You also menioned you eel like you wased a lo o

ime and are rying o change ha way o living Is his

atracion an appreciaion or ohers who coninue o

ldquoliverdquo even aer heyrsquove reached a cerain age

TP Te elderly hing is mosly coincidence Te

drivers happened o be old guys who are reired drag

racers and ex-figher pilos Litle kids use he diving

ower in Ireland and hen he same bunch o old guys

come every day Te waer is reezing cold and he

wind is brual so you donrsquo see many eens or middle-

aged people Maybe subconsciously I was atraced o

hese old dudes living i up bu i was also jus cool o

see a crusy old imer go 400 mph Maybe ldquowase imerdquo

was he wrong way o pu i I waied around or suff

o happen and now ha Irsquom geting older he ich o

move orward is so much sronger

MGTe Long Course images have a rugged masculiniy

(smoking cars moorcycles he subjecrsquos inensely

aged aces) Bu you also have hese men caugh in

awkward momens

TP Ta kind o awkwardness is wha I naurally reac

o I like people awkward and landscapes ordered Tis

syle runs hrough all o my phoos and irsquos how Irsquove

always made picures

FEATURED PRO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4376

43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4476

44ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4576

45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4676

46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4376

43IS

MG A lo o conemporary phoographers are atraced

o ha awkwardness I eels he mos like a momen

TP Yeah I agree

MG Do you ever orm deeper relaionships wih your

subjecs Are your ineracions as shor lived as your

experience in documening

TPTe only deep phoographic relaionships Irsquove

had in he pas have been wih my Dad and broher

My ineracions were shor or a reason Wih his

projec I was looking or good represenaiveshellipa broad

view o he ypes o people using each landscapehellip

he individual and my relaionship o hem wasnrsquo as

imporan I was rying o ge he gis o a place in jus a

ew porrais I have a ew more rips planned o similar

bizarre recreaional spos where I will do he same ypes

o invesigaions and laer on down he road Irsquoll edi

hem ino a book

MGDo you go on hese venures alone

TP Yes I go alone Terersquos no real significance o going

alone I like being alone I canrsquo hink when oher

people are around I have mind-numbing paience and

move a my own pace spending as litle or as long as I

like in a cerain place

MGOher han all o hese uure projecs do you

planwan o break away rom he ashion scene yoursquove

assised on or quie someime and ocus on personal

worka commercial porolio

TP I have no idea wha Irsquom gonna do in he uure Irsquom

leaving all my doors openI jus wan o keep aking

picures

THOMAS PRIO

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4476

44ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4576

45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4676

46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4476

44ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4576

45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4676

46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4576

45THE GALL

I

THE GALLERY In our waking lives we perceive magical and myserious hings When we venure ou ino he world our own ee can eel unseady beneahus We begin o quesion wheher we are flying or alling sinking oremerging sleeping or sanding wide awake Imagery propels us o places where wersquove never been and places we may never see or ourselvesIn order o share hese puzzling sighs ISO is eauring a selecion osuden work ha surrounds he heme o mystique

a note from the photo editors

SASHA ARUTYUNOVA JENNA SPITZ

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4676

46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4676

46ISO

THE GALLERY

Untitled 2 from the Buried series Calie Schieman

Opening spread Pat Michael George

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4776

47THE GALL

I

Metallic Bodies Shraddha Borawake

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4876

48ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 4976

49I

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5076

50ISO

THE GALLERY

Untitled Beryl Bevilacque

Previous Untitled Daniel Jaffe Opposite Family Portraits Arieru Iwahori

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5176

51THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5276

52ISO

THE GALLERY

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5376

53THE GALL

I

Untitled from the Iceland series Maggie Owsley

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5476

54ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5576

55THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5676

56ISO

THE GALLERY

Untitled Kristina Knipe

Previous Parkour Ben Franke

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5776

57THE GALL

I

Suite for Euterpe and Melpomene Michelle Watt

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5876

58ISO

THE GALLERY

Untitled (Prague) Sasha Arutyunova

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 5976

59THE GALL

I

Somewhere Melodie Jeng

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6076

60ISO

THE GALLERY

Oklahoma Storm Clouds Jennifer Kinney

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6176

61THE GALL

I

Untitled Ruoyi Jiang

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6276

62ISO

THE GALLERY

Therersquos Never Anything Good On David Macedo

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6376

63THE GALL

I

Untitled 1 2 and 3 Erin Wahed

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6476

64ISO

Dr Seuss Hands and Catharsis Katie Frank

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6576

65I

Untitled 1 from Buried series Calie Schieman

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6676

66ISO

Castaway Alex Arbuckle

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6776

67I

Bonnaroo Meredith Rom

Next spread Untitled Kay Ohta

THE GALL

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6876

68ISO

THE GALLERY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 6976

69THE GALL

I

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7076

ANGELA BACON-KIDWELL

70ISO

PHOTOFLO

A collecion o unexpeced

phoography (Picured Phoo by Bety Schlueer)

JUSTIN VISNESKY

wwwjusinvisneskycom

FILE MAGAZINE

wwwangelabaconkidwellcom

wwwfilemagazinecom

Visneskyrsquos phoography will bring you back home

Angela phoographs dreams Her phoo-illusraions will leave you wishing youcould all ino her images

PHOTOGRAPHERS COLLABORATIONS PORTFOLIOS GALLERIES AGENCIES

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

capured is magic and ransormed i ino a successul commercial business

GOOD Magazine wwwgoodis

GOOD Magazinersquos Picure Shows are a grea opporuniy o view independen phoojournalism narraives

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7276

ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

wwwkaieklinecom

KNIPE Kristinakek297nyuedu

KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

TAN Pey Chuanpc226nyuedu

VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

VOGEL Katiekjv207nyuedu

WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

WYNN Alisonakw267nyuedu

DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7176

BOWMAN STUDIO

71PHOTO

I

Go or he porolio Say or he projecs

PHOTOFLO wwwbowmansudiocom

PHOTO BLOGS RESOURCES

20x200 www20x200com

ldquoAr or Everyonerdquo Ever walk ino an ar gallery and say ldquoI wan hardquo

unil you looked a he price ag 20x200 releases limied prin ediions

by conemporary phoographers and ariss wih a saring price o $20

Urban Outfitters Blog blogurbanoufiterscom

I know wha yoursquore hinking Urban Oufiters Blaargghhh

Bu irsquos acually grea

Contact Editionsconacediionscoukhome

Love Phoography

Suppor Phoography

Cig Harvey wwwcigharveycom

ldquoConrary o popular web belie Cig

Harvey is a girl no a boyrdquo She alsoakes grea picures

Jeremy and Claire Weiss Photography wwwday19com

Jeremy and Claire Weiss havenrsquo los he innocence ha comes wih amaeur phoography Teyrsquove

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wwwborawakecom

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FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

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HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

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wwwarielledelfinocom

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MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

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DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

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ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

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ARBUCKLE Alexalexqarbucklegmailcom

ARUTYUNOVA Sashasashafacegmailcom

wwwispokeoosooncom(954) 822-3243

BEVILACQUE Beryl bcb275nyuedu

BORAWAKE Shraddhasub203nyuedu

wwwborawakecom

BROWN Alexabb306nyuedu

CULOTTA Ninacmc590nyuedu

CURTIS Peterpeeracurisgmailcom

wwwpeercurisne

DOMINGO Danllydanllydanllydomingocom

wwwdanllydomingocom(562) 537-9465

EOM Jennyseomnyuedu

FRANK Katieklf273nyuedu

FRANKE Ben bfrankegmailcom wwwbenfrankecom

GEORGE Michael

michaelgeorgephoogmailcom wwwincepivenoionscom(239) 898-1799

HERING Deirdredlh309nyuedu

HOLZWARTH Hannahhanaomicgmailcom

IWAHORI Arieruai503nyuedu(917) 361-1310

wwwarielledelfinocom

JAFFE Danielhejaffenaor189yahoocom

wwwhesunismadeofyolkcom

JENG Melodiemelodiejenggmailcom

wwwmelodiejengcom

JIANG Ruoyirj617nyuedu(917) 902-9595

KINNEY Jennifer jenkinneynyuedu

KLINE Katiekaiekaieklinecom

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KROL Aaronald331nyuedu

MACEDO Daviddaviddavidmacedocom(760) 703-6934

wwwdavidmacedocom

NAZAROV Denniszvezdagmailcom

OWSLEY Maggieandhenshesaidgmailcom

wwwandhenphooscom

POON Francisfrancispoon91gmailcom

PRIOR Thomashomasprior79gmailcom

wwwhomaspriorcom

PUGACHEVSKY Julia jp2523nyuedu

RAPONE Corinnecorinneraponegmailcom(609) 730-2269

ROM Meredithmeredihromgmailcom

wwwmeredihromcom

SCHIEMAN Caliecns244nyuedu

SHANKAR Avantikaaas521nyuedu

SHUR Emilyemilyemilyshurcom

wwwemilyshurcom

SPITZ Jenna jennaspiznyuedu

STEPHENSON Lauralcs331nyuedu

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VEGA Ceacutesarcesarveganyuedu wwwcesarmvegacom

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WAHED Erinerinwahedgmailcom

wwwerinwahedcom

WATT Michellemw1298gmailcom

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DIRECTORY

72ISO

DIRECTORY

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7376

ISOZINECOMIF YOU ARE INTERESTED IN AD SPACE

PLEASE CONTACT MICHAEL GEORGE

AT MICHAELISOZINECOM

TO SUBMIT CONTENT FOR THE NEXT ISSUE

PLEASE VISIT

73HOW TO SUB

I

Tis project was initiated by students in the Department of Photography amp

Imaging and the Gallatin School of Individualized Study and funded by Te isch

Undergraduate Student Council the Department of Photography amp Imaging and

various individual donors All NYU Students are invited to contribute

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7476

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7576

7232019 Revista ISO

httpslidepdfcomreaderfullrevista-iso 7676

7232019 Revista ISO

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