Bryan Banducci knows what he is doing. Bay area born & educated, now based in Brooklyn, he knows how to tow the line between personal work, skate photography, & commercial work. He some how flows between styles with ease, with a consistent aesthetic pervading. Skate kids, strangers, & beautiful landscapes scatter his work & almost form mini narratives a la day in the life.
You should also check out his zine LOSING/ FEELING put out by the dudes over at A Love Token. We haven’t seen a copy in person but from the preview on his website, it looks exactly like a zine should. A time span of photographs to convey an overall emotion, grainy & out of focus, crisp perfect vast landscapes all smashed together to tell the story of a time & a place.
Please find more of Bryan Banducci’s work on his website.
Ruth Micmillan’s photographs read of multiple stories in one. Over the last few days, I have returned repeatedly to her website, in order to figure out the narrative, the hidden stories, anything. By leaving open ended answers, she is able to make the viewer ask endless questions. While mixing the styles of Cindy Sherman & Jackson Eaton, she makes us wonder if these self portraits or someone in life close to her, while referencing vaguely similar looking females of varying ages.
Please find more of Ruth Mcmillan’s work on her website.
Brent Adkin’s recently sent some work our way, have a look.
“the mundane” is an ongoing series of photographs that capture the everyday moments that we tend to overlook or dismiss. They represent reality in a detached and analytical manner, shining a spotlight on an empty dining table or an “everything you could ever need” store, leaving the viewer to stop and consider what these things mean to us as individuals and as a society. When you step inside a person’s home, you see a reflection of who they are, and the same goes for communities of any kind, large or small. We express ourselves a lot more than we realize, often in ways we are unaware of.
Please find more of Brent Adkin’s work on his website.
Genius Loci Vol.1 is an autobiographic statement. It is a daily journey that was born as much from the will of maturing as a photographer as from the necessity of facing a long convalescence. Each snapshot is the destination of a travel at your fingertips, a trip that was almost always an Italian one, in which, with selective and precise criteria, I was looking for the presence of color, composition and light. Realized between the summers of 2012 and 2013, Genius Loci Vol.1 walks the spectator through a few recurring paths: Milan, the water, the vegetation, the animals, the non-place, the Virgin Mary. They are all pacific environments, reassuring in a certain way, and in which I’ve always searched for order of things.
The location choice was rather accidental. Often I just happened to find a space that I liked and I waited and waited, until something, just about anything, would appear and complete it.
Please find more of Albertini’s work on his website.
We recently asked Marcel Rollock some questions about his work & his new zine, Serenity Now.
Empty Stretch: Age/ Location
Marcel Rollock: 24 / Brooklyn
ES: How did you get into photography?
MR: I started taking pictures when I was 17 or so while living in Australia. Our group of friends were always skating or going out drinking and doing stupid, random stuff and taking pictures of it all just seemed normal. A couple of few of us would bring cameras and I was one of them. Shooting on film was the cool thing so we would go around to goodwill stores or whatever and pick up cheap 35mm cameras.
ES: What were some early influences?
MR: Definitely being exposed to so many places growing up, my family, friends and music. The homie Lloyd Stubber was coming out with some rad stuff and really seeing his pictures and feeling a connection to them was cool. My girlfriend Shay Richardson would always be showing me her latest shots and rolls of film which kept me wanting to shoot more.
ES: What made you decide to do a zine?
MR: It had been something on my mind for about a year before starting it and I have always thought photographs are better in print. Looking though a zine gives you a whole different feel then just looking at pictures online.
ES: What were decisions in sequencing/ editing/ layout?
MR:It terms of sequencing and layout I really just went with what felt right. Nobody knows your photos better than you and that being the case it was just a matter of putting photos in an order that complements them the best. All works were shot on film so the only editing done was for printing purposes for example dpi.
ES: Any newer zines recently that you’ve enjoyed?
MR: ‘The Last Best Place’ by Brian Merriam just made me want to move to Wyoming. ‘Division of Vision’ by Jay Dymock and Lloyd Stubber has those Aussie vibes and ‘Play’ by Pat O’Rourke is sick!
ES: Do you decide whats a photograph while shooting or during editing? Are you more documenting time of a scenario or composing an image?
MR: Shooting solely on film forces you to decide what a photograph is while taking the picture and that is what’s so appealing about it, you are telling a story in a way. In the past I have used digital cameras but never really liked the results.
Find more of Rollock’s work over on his website.