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7232019 Revista ISO
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7232019 Revista ISO
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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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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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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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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
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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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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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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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
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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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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
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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
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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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
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 2476
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
7232019 Revista ISO
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25ISO
KATIE KLIN
7232019 Revista ISO
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MYTHOLOGIESREAL AND
IMAGINED
26ISO
FEATURED ARTIST
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 2776
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
httpslidepdfcomreaderfullrevista-iso 2976
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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httpslidepdfcomreaderfullrevista-iso 3076
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
7232019 Revista ISO
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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
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
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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
7232019 Revista ISO
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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
7232019 Revista ISO
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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
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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
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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
7232019 Revista ISO
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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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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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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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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
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
7232019 Revista ISO
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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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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
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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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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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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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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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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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
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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
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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
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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
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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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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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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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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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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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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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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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
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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
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
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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
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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
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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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
httpslidepdfcomreaderfullrevista-iso 7476
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 7576
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
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
7232019 Revista ISO
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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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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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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
7232019 Revista ISO
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MYTHOLOGIESREAL AND
IMAGINED
26ISO
FEATURED ARTIST
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 2776
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
httpslidepdfcomreaderfullrevista-iso 2976
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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httpslidepdfcomreaderfullrevista-iso 3076
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
7232019 Revista ISO
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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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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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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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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
7232019 Revista ISO
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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
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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
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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
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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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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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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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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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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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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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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
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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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
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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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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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
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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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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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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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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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23ISO
KATIE KLIN
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 2476
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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httpslidepdfcomreaderfullrevista-iso 2776
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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httpslidepdfcomreaderfullrevista-iso 3076
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
7232019 Revista ISO
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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
7232019 Revista ISO
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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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7232019 Revista ISO
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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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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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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
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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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
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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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
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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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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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IS
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httpslidepdfcomreaderfullrevista-iso 1276
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
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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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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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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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
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 2776
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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httpslidepdfcomreaderfullrevista-iso 2976
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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httpslidepdfcomreaderfullrevista-iso 3076
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
7232019 Revista ISO
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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
7232019 Revista ISO
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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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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
7232019 Revista ISO
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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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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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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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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
7232019 Revista ISO
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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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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
7232019 Revista ISO
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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
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
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
7232019 Revista ISO
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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
7232019 Revista ISO
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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
7232019 Revista ISO
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68ISO
THE GALLERY
7232019 Revista ISO
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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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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
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 1976
19IS
KATIE KLIN
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 2076
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
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 2476
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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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
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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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
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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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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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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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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
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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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
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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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
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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
7232019 Revista ISO
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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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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
7232019 Revista ISO
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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
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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
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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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
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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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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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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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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
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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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
7232019 Revista ISO
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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
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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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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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
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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
7232019 Revista ISO
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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
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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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
httpslidepdfcomreaderfullrevista-iso 1976
19IS
KATIE KLIN
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 2076
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
7232019 Revista ISO
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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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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
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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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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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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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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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
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 2276
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
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 2476
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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httpslidepdfcomreaderfullrevista-iso 2776
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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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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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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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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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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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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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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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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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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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
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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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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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54ISO
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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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
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
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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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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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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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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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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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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
7232019 Revista ISO
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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
httpslidepdfcomreaderfullrevista-iso 2776
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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httpslidepdfcomreaderfullrevista-iso 2876
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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httpslidepdfcomreaderfullrevista-iso 3076
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
7232019 Revista ISO
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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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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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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
7232019 Revista ISO
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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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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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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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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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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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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
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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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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
7232019 Revista ISO
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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
httpslidepdfcomreaderfullrevista-iso 2776
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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httpslidepdfcomreaderfullrevista-iso 2876
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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httpslidepdfcomreaderfullrevista-iso 3076
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
7232019 Revista ISO
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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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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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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
7232019 Revista ISO
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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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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
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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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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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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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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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23ISO
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
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 2976
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
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 3076
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
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
7232019 Revista ISO
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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
7232019 Revista ISO
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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
7232019 Revista ISO
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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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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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httpslidepdfcomreaderfullrevista-iso 4276
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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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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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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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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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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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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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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
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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
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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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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
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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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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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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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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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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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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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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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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
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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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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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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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
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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
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
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
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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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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
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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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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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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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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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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
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
7232019 Revista ISO
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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
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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
httpslidepdfcomreaderfullrevista-iso 7476
7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 7576
7232019 Revista ISO
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7232019 Revista ISO
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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
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
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
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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
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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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
7232019 Revista ISO
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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
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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
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
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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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
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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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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
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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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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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
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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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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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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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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
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
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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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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
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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
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
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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
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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
7232019 Revista ISO
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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
7232019 Revista ISO
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65I
Untitled 1 from Buried series Calie Schieman
THE GALL
7232019 Revista ISO
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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
7232019 Revista ISO
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68ISO
THE GALLERY
7232019 Revista ISO
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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
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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 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
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
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
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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
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
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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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7232019 Revista ISO
httpslidepdfcomreaderfullrevista-iso 7576
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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
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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
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
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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
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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
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
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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
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
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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
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62ISO
THE GALLERY
Therersquos Never Anything Good On David Macedo
7232019 Revista ISO
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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
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
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67I
Bonnaroo Meredith Rom
Next spread Untitled Kay Ohta
THE GALL
7232019 Revista ISO
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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
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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
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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
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
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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
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 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 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