Interview with Costas Polinakis / January 19, 2019 by Kasia Trojak

My name is Costas Polinakis. I started my journey with B&W film thirty years ago, but later I switched to digital. I’m more interested in documentary and travel photography now. I currently live in Greece, but I’m very fond of exploring new places and cultures.

1 . Which was the most interesting place for you that you photographed? And why?

I think it was my first trip to Ghana with Nikos Economopoulos. Being my first time in an African country, the cultural differences inspired me to took some meaningful photos. So far, I love all the places I have visited and had a chance to shoot photos in, but Ghana felt special to me. I connected a lot both with the locals and the people I traveled with.

2 . For you what is the importance of the camera used in the field? What type of cameras you prefer and why?

I am not very fond of post processing in my photography. I’m looking for that perfect shot that I will not manipulate later on my computer. So I decide and act very quickly. For this reason, the camera is very important. In the past, I used to have good results with DSLR’s but lately I started using smaller cameras with fix lenses which are more versatile and inconspicuous. Sometimes I even use my phone which has wider 28mm alike focal length. All in all, I prefer to use smaller, unnoticeable and quick cameras with autofocus. They are easy to carry and don’t bother people like big DSLR’s.

3 . Do you make observations on an area to locate interesting backgrounds or revisit or you prefer a more spontaneous approach?

As I don’t have so much time to travel I prefer spontaneous photos, taken “in the moment,” so I can’t say I revisit the places that much. But generally, I pay attention to the elements of the location, the background, the light, shadows and then after this quick observation I begin to photograph. I am not thinking too much prior to taking a photo, for me the most important is grasping the unique expressions of people involved in some activity or just the subject’s mood.

4. How do you organize your time for photography?

Photography to me is always related with travelling to new places and meeting new people. As much as, I have time for travelling, I carry my camera with me and those are the times when I have a chance to actively shoot. Other than that, I carry my camera with me, but it’s rare that I come up with good results. Those are generally more personal photos of my family, especially my son Harry.

5. What recommendations do you have for photographers interested in portrait and documentary photography?

I recommend to new photographers to make observations even if they don’t carry a camera with them. Trying to understand the human situations is always a good approach and adds a lot to your photographic skills and language. This practice will give you the confidence you will need to get closer to your subjects. By doing this you will never need to use big telephoto lenses on people. I shoot mostly with moderate wide-angle lenses, so I have to go close and often I can't avoid interaction with the subject. It's much more difficult than shooting with a telephoto lens but the result is different.

And finally build your own ethical and moral rules. As the eye behind the camera, distorting or manipulating the truth will be in your hands, use this power carefully on your subjects and on your viewers.

Raimund Moser joins ZERO! / January 15, 2019 by Kasia Trojak

Zero Photos is proud to announce that Raimund Moser has become a member.

Raimund is a photographer based in Munich, Germany.

Stay tuned for Raimund’s portfolio to be presented on ZERO’s website. In the meantime, check out his work on his website and his instagram.

ZERO PHOTOS' YEAR IN PICTURES 2018 / December 21, 2018 by Kasia Trojak

2018 was a special year for ZERO as it was our first year. To celebrate and say farewell to 2018 we wanted to showcase where our members traveled and what they shot. Enjoy!

Interview with Kasia Trojak / December 11, 2018 by Kasia Trojak

My name is Kasia Trojak, I’m a Polish-born, LA-based assistant director working on feature film and TV productions. My interest in photography ignited while studying in Paris, shooting and developing black and white film, and it grew into an ongoing exploration of places and people by wandering the streets of distant locations and capturing their stories.

1. Who are the photographers that inspire you or have inspired you in your photographic work the most?

When it comes to street photography, I admire Alex Webb and his attention to detail, composition, and study of light and color. I have been inspired by photographers who have different approaches from what and how I shoot but who create amazing, out of this world images. The use of light and color and the abstraction of bodies and shapes in Viviane Sassen’s personal work stays in the back of my head when walking around and seeing people. I also especially admire the direct, honest, raw and yet very creative and personal approach of Deana Lawson. She has a point of view that seems ordinary and descriptive but that is carefully crafted and unique. Even though her portraits are staged they don’t lie.

2. What are the challenges of being a female photographer working primarily in the street?

Some challenges include the society’s expectations and fears imposed on solo female travelers. Fear of “what if?” has stopped me multiple times from taking a picture that I saw clearly and composed only in my head. Also, the reactions of people and subjects encountered on the streets can be discouraging. In the past, I would feel uncomfortable when approached by strangers while shooting. It took me years of practice to learn how to interact with people I wanted to photograph and have less of those “photographs I haven’t taken” in my head, and more on the memory card in my camera. All in all, I think that women’s contributions to photography are limitless and that women shouldn’t be treated as less capable.

3. Most of your work is focused on life in Cuba, do you have any other locations to focus on or are you more focused on a project about Cuba?

I have been spending a lot of time in Cuba in the last few years. It is a truly magical place to me and I can’t imagine not photographing the Cuban life and activities. I’m pursuing ongoing projects there concentrating on the young generation of Cubans, who are not limited by their country’s history and who are pursuing their dreams and following their creativity. To me, coming from a post-communist country, growing up watching the same Polish cartoons as Cubans, understanding similar hardships, to me Cuba is a kind of special place that doesn’t exist anywhere else. I lust for the creative life that my generation has there and I strive to document it in multiple simultaneous projects.

4. There’s an ongoing debate about the ethics of photographing strangers. What is your approach and how do you maintain a balance between taking from and giving to the people you photograph?

My first instincts are to try to remain unnoticed, as I think people’s reactions to me will ruin the picture. For portraits, I try to engage with people and then ask them if I can take their picture, directing them not to smile or not to show me peace signs or thumbs up, etc. Also, this question needs to be approached on a case to case basis. I think there are times when you need to “steal” a picture, without the person giving you a permission to take it; and sometimes it’s an exchange based on mutual understanding and compliance resulting in meeting new people, maybe even forming friendships. Doesn’t matter the means, the end result for me is always the same: to capture, create or freeze a moment that is forever beautiful, nostalgic, reminiscing of the time and the place – the outcome has to be positive. Even If you can’t give back directly to your subject maybe you can give their beauty to somebody else or to yourself. To me that is why I do what I do.

5. What do you think about social media and the Internet’s positive effects on photography today?

I think that the Internet is a great tool for presenting and promoting your work. Social media has changed the genre of photojournalism and documentary for sure, mourning the printed craft, and a lot of photographers have suffered from it. However, it could be a good way to monetize on your craft as well. Nowadays many creative businesses had to adjust due to the growth of the Internet and social media, and whether we like it or not, it is the direction that we need to adapt to. I think it also gave opportunities to regular and talented people to exhibit their work and they wouldn’t have been able to do so without it. On the Internet you are your own curator, your own publisher, and for the lack of the better word, your own brand. If used with intention, it can promote and establish your work.

Nazywam się Kasia Trojak. Pochodzę z Polski, a mieszkam w Los Angeles, gdzie pracuję jako drugi reżyser przy filmach pełnometrażowych i produkcjach telewizyjnych. Moje zainteresowanie fotografią zrodziło się, kiedy studiowałam w Paryżu - robiłam i wywoływałam wtedy czarno-białe zdjęcia tradycyjne - po czym ewoluowało w kierunku, którego trzymam się do dziś: skupiam się na miejscach i ludziach napotkanych podczas wędrówek ulicami dalekich krajów, i na uchwytywaniu ich historii.

1. Którzy fotografowie inspirują bądź zainspirowali cię najbardziej?

Wśród fotografów ulicznych podziwiam Alexa Webba i jego dbałość o szczegóły, kompozycje, uwagę, z jaką zgłębia światło i kolor. Inspirują mnie artyści, których zdjęcia różnią się od moich tematycznie i stylistycznie, ale są wspaniałe, nie z tej ziemi. Kiedy chodzę ulicami i widzę różnych ludzi, mam z tyłu głowy niesamowitą grę światła i kolorów oraz abstrakcyjność ciał i kształtów, jakie znajdujemy na zdjęciach Viviane Sassen. Szczególnie podziwiam też bezpośrednie, szczere, surowe, a przy tym bardzo twórcze i osobiste podejście Deany Lawson. Jej sposób patrzenia na świat wydaje się zwyczajny, opisowy, a w istocie jest głęboko przemyślany i niepowtarzalny. Jej portrety, choć aranżowane, nie kłamią.

2. Z jakimi wyzwaniami musi się mierzyć kobieta fotograf, której zdjęcia powstają głównie na ulicy?

Do wyzwań należą między innymi oczekiwania społeczeństwa i lęki narzucane kobietom podróżującym samotnie. Obawa „a co jeśli?” wielokrotnie powstrzymała mnie przed zrobieniem zdjęcia, które widziałam wyraźnie oczami wyobraźni. Ponadto reakcje napotkanych na ulicy osób, które chce się sfotografować, bywają zniechęcające. W przeszłości czułam się nieswojo, kiedy obcy podchodzili do mnie w czasie robienia zdjęć. Potrzebowałam wielu lat praktyki, żeby nauczyć się zwracać do osób, których chcę sfotografować, a tym samym mieć mniej „zdjęć, których nie zrobiłam” w głowie, a więcej obrazów na karcie pamięci w aparacie. Ogólnie rzecz biorąc, uważam, że kobiety mają nieograniczony wkład w fotografię i że nie należy ich traktować jako mniej kompetentne.

3. Większość twoich prac ukazuje życie na Kubie; czy skupiasz się też na jakich innych miejscach, czy też jednak głównym tematem jest Kuba?

Od kilku lat spędzam na Kubie dużo czasu. To dla mnie naprawdę magiczne miejsce i nie wyobrażam sobie, żebym miała przestać fotografować kubańskie życie i zajęcia. Pracuję tam nad projektami poświęconymi młodszemu pokoleniu Kubańczyków, ludziom, których nie ogranicza historia ich kraju, którzy podążają za marzeniami i realizują się kreatywnie. Dla mnie, osoby, która pochodzi z postkomunistycznego kraju, która wychowała się na tych samych kreskówkach co mieszkańcy Kuby, która rozumie dotykające ich trudności życiowe, Kuba jest miejscem wyjątkowym, miejscem, jakiego nie ma nigdzie indziej. Pragnę takiej kreatywności, jaką wykazują się tam moi rówieśnicy, i dążę do tego, żeby udokumentować ją poprzez kilka prowadzonych jednocześnie projektów.

4. Cały czas toczy się dyskusja wokół etyczności fotografowania nieznajomych. Jakie masz do tego podejście i jak zachowujesz równowagę między tym, co czerpiesz od ludzi, którym robisz zdjęcia, a tym, co im dajesz?

W pierwszym odruchu usiłuję pozostać niezauważona, gdyż jestem zdania, że reakcja fotografowanego na mnie zepsuje zdjęcie. Przy portretach staram się najpierw nawiązać kontakt, a dopiero potem pytam, czy mogę zrobić zdjęcie; proszę ludzi, żeby się nie uśmiechali, nie pokazywali mi znaku pokoju, nie podnosili kciuka, i tak dalej. Ponadto każdy przypadek należy traktować indywidualnie. Myślę, że są sytuacje, w których trzeba „ukraść” zdjęcie, zrobić je bez zgody osoby, którą się fotografuje; czasem z kolei dochodzi do interakcji opartej na wzajemnym zrozumieniu i przyzwoleniu, dzięki którym poznaje się nowych ludzi, a nawet zawiera przyjaźnie. Natomiast ostateczny cel, nieważne jak osiągnięty, jest dla mnie zawsze taki sam: uchwycić, stworzyć, zatrzymać chwilę, która jest wiecznie piękna, nostalgiczna, która przywołuje dany czas i miejsce - rezultat musi być pozytywny. Nawet jeśli nie możesz bezpośrednio odwdzięczyć się osobie fotografowanej, może podarujesz jej piękno komuś innemu, albo sobie. Właśnie dlatego robię to, co robię.

5. Co myślisz o mediach społecznościowych i pozytywnym wpływie Internetu na dzisiejszą fotografię?

Uważam, że Internet to wspaniałe narzędzie do prezentowania i promowania prac. Media społecznościowe niewątpliwie odmieniły fotoreportaż i fotografię dokumentalną i wielu artystów na tym ucierpiało. Przy tym jednak mogą też stać się dobrym sposobem na czerpanie zysków z twórczości. Wiele kreatywnych biznesów musiało się dostosować do nowych realiów związanych z rozwojem Internetu i mediów społecznościowych - czy im się to podoba, czy nie, to jest kierunek, który musimy obierać. Myślę, że Internet i media społecznościowe pozwoliły też wielu utalentowanym ludziom pokazać swoją twórczość, na co inaczej nie mieliby szansy. W Internecie sam jesteś swoim kuratorem, wydawcą i - z braku lepszego określenia - swoją marką. Jeśli korzysta się z tej platformy w sposób przemyślany, pozwala wypromować twórczość i ugruntować pozycję.

Interview with Omer Babadag / October 19, 2018 by Kasia Trojak

Havana, Cuba. 2017Celebrating the birthday of the lady who I photographed a few minutes before taking this picture. — Havana, Cuba. 2017
Celebrating the birthday of the lady who I photographed a few minutes before taking this picture.

Hi, my name is Omer Babadag, I am an engineer who started shooting photos in high school and then realized that I was having fun documenting things in my own way. I currently split my time between Houston and Istanbul.

1. How did the Zero idea start?

The idea is simple: photography is our common tool to relate to the world. We travel around and photograph things we are interested in just because we need to and love to, so we decided to combine our individual effort to build a larger and more visible body of work.

I grew up in Turkey and the approach to arts, music and photography is a little romantic probably because of the eastern culture. A little conservative, not that open for new things and also a little tricky about being objective when reviewing something new. Most of the time, we are hurtfully kind about not saying “the emperor has no clothes” or pretty harsh on attacking somebody saying it, nothing truly motivating in between. That’s why I delayed everything such as an exhibition, applying to an agency or even showing my portfolio to some other photographers. So i stayed out minding my own business. This was somehow good i because I had a better chance to focus the pioneers of different genres to understand the key elements to come up with a solid statement. Also made me realize that there is the right time and the right partners to create something like Zero.

When i met with more photographers thinking like me, I opened this idea to them and after discussing how to, we came up with Zero.

2. Why photography is your medium?

Photography is not my language of expressing myself or telling a story. I am pretty extrovert and straightforward on showing what I think and how I feel. I am more interested in trying to question and understand what is happening and why it’s happening through the process of photography. I like using my own perspective to experience the environment that I am in and keeping a unique piece of it with me. That’s how I realized that I need a camera instead of a notebook in my backpack or somewhere close.

To me, documenting memories by images is more trustworthy than words. There is a story behind almost all of my photographs that i know and remember clearly. And as it is my personal experience and privacy, i also prefer to leave a little abstract and unpredictable gap for the viewer to create their own reality instead of directly looking at mine

Trinidad, Cuba. 2017Talking with people on the street, while one of them asked me to shoot our photo with my camera. Why not. — Trinidad, Cuba. 2017
Talking with people on the street, while one of them asked me to shoot our photo with my camera. Why not.

3. How do people react to you on the street? Talk about your interactions with your subjects. What's your approach when photographing strangers? Do you usually start a communication with them?

Kathmandu, Nepal. 2018A family living nearby Bagmati River invited me to their small house for a drink during the Holi festival. This little girl is my dancing partner. — Kathmandu, Nepal. 2018
A family living nearby Bagmati River invited me to their small house for a drink during the Holi festival. This little girl is my dancing partner.

I mostly focus on human situations that is why people are the important motif in the images themselves. Even as the witnessing eye behind the camera, your existence is visible and cannot be ignored. This is inevitable. Therefore, to close this gap and reach the utmost objectivity, I believe observing and learning human behavior is the key element to define the level and amount of communication. The rest is just empathy.

I am not that comfortable when somebody points a camera at me so I try to be as nice as I can be when I am pointing my camera at other people. I get closer to an interesting place after a few minutes of observation, introduce myself with some eye contact or little talk, read the body language and let people relax about my existence. Then I chase the correct moments that they forget or ignore me to get the most natural feeling. There are very rare moments that I felt insecure and unwanted in a place. And when I feel that I don’t insist and leave by wishing a good afternoon. Most of the time I find myself invited to their personal space either for having a cup of tea in their house or drinking and dancing in their wedding parties. This generosity is priceless to me.

Of course, this is not that effective when you have to act fast but when I am finished, at least I still look for an eye contact for a silent “thank you.”

© Omer Babadag. Teotitlán del Valle, Mexico. 2016

© Omer Babadag. Cartagena, Colombia. 2013

4. What are the components of a good photograph? Can you break it down, starting with technical aspects of it?

Technically, I find light very important. If you understand how light works and how people react to it, that’s half of a good photograph. As far as composing a frame goes, I am open for new approaches but I still look for fundamentals and balance. All these together make the viewer travel in a photo from one point to another, enter and exit.

A good photograph has to have an interesting content. The protagonist of the image must be selected carefully by the power of its characteristics which must be supported by the other elements. The main subject cannot be “a dog” or “any dog”, must be “the dog” so photographer must seek and find the correct one. Somebody walking in the street, some other getting out of the subway train, a kid running, a bird flying, these are not interesting subjects, that’s what they do, they walk, they run, they fly. These are repetitive and banal or “just like bananas” as Nikos Economopoulos says; “they are yellow and everywhere”.

And finally the photographer must have the full control of the camera by knowing the limits and adjusting it based on the situation. It is very easy to miss a magical moment which will never happen again.

5. While talking about Nikos, how did you start going to Nikos’ workshop? Who else is an inspiration to you?

Nikos Economopoulos is one of the first eye opening photographers for me. I was so impressed with his work from Balkans, Greece and Turkey but back then I never had a chance to meet him. I remember keeping a copy of his photo from Avlona village at my bookshelf when I was in university. Probably because of my Balkan heritage and of course his extraordinary way of composing everyday life, his photography is still a big inspiration for me.

Kathmandu, Nepal. 2018A group photo from Nepal during “On The Road” workshop, from left to right : Kasia Trojak, Ferhat Celik, Marco Pecci, Jacque Foo, me, Nikos Economopoulos, Michelle Chan, Valeria Bross. — Kathmandu, Nepal. 2018
A group photo from Nepal during “On The Road” workshop, from left to right : Kasia Trojak, Ferhat Celik, Marco Pecci, Jacque Foo, me, Nikos Economopoulos, Michelle Chan, Valeria Bross.

Years later, at a time that I was so bored of photography and everything about it in general, my photographer friends Elif & Baris (aka Flufoto) recommended his workshop after they participated one in Istanbul. That’s how I decided to join him in Mexico. He totally changed my motivation and tuned almost everything about photography in my mind. He is a great teacher, mentor and a friend, I owe him a lot.

Other than Nikos, I think André Kertész, Henri Cartier-Bresson and Gilles Peress, inspired me a lot in many different ways. I think Kertész and Cartier-Bresson were the first ones who fascinated me with their magical compositions and use of different camera angles. Gilles Peress inspired me a lot not only by his photography but with his discipline and intellectual approach of documenting history as well. I still feel the same even today when I look at his work in Bosnia, Rwanda and Northern Ireland.

6. What are future plans for Zero?

We are still brainstorming what is next for us. Some of our members will start launching workshops. Also, we will start working on publishing our first book next year. Stay tuned!

Merhaba. Ben Ömer Babadağ. Fotograf cekmeye lise yillarimda basladim ve cevremde olan biteni bu yolla belgelemeyi sevdigimi farkettimden beri fotografla ilgileniyorum. Simdilerde hayatimi biraz Houston’da biraz da Istanbul’da surduruyorum.

1. Zero fikri nasil dogdu ?

Aslinda fikir cok basit: Fotograf dunyayla iliski kurmak adina kullandigimiz ortak aracimiz. Hepimiz farkli yerlere yolculuklar yapiyor ve dogal bir refleks olarak ilgimizi ceken seyleri fotografliyoruz. Tek nedeni buna ihtiyac duyuyor ve seviyor olmamiz. Bu yuzden dusunup tasinip bireysel calismalarimizi birlestirmeye ve daha kapsamli, daha gorunur hale getirmeye karar verdik.

Ben Türkiye’de buyudum. Saniyorum ki dogu kulturu ile etkilesimimizden dolayi genel olarak sanatin diger dallarina oldugu gibi fotografa yaklasımimiz da biraz romantik. Yeni seylere pek acik değiliz ve bunlara objektif davranabilmekte biraz sikintiliyiz. Cogu kez “kral ciplak” dememek icin fazlaca nazik davraniyoruz yahut bunu soyleyebilen birisi oldugunda acimasizca saldirabiliyoruz. Her iki durumda da gercekten motive edici bir sey yok. Iste bu yuzden, bir sergi acmak, bir ajansa yonelmek ve hatta portfolyomu baska fotografcilara gostermek gibi isleri hep erteledim. Bu bir yonden de iyi oldu. Bu sayede ciddi bir iddia ile ortaya cikmadan once farkli turlerdeki basarili orneklere odaklanmaya firsat buldum. Bu ayrica, Zero gibi bir olusumun ilk adimlarini atmak icin dogru zamanin ve dogru partnerlerin gerektigini anlamami sagladi.

Benim gibi dusunen daha çok fotografciyla tanistikca bu dusunceyi onlarla da paylastim ve nasil yapabilecegimizi konustuktan sonra Zero’yu kurduk.

2. Fotograf neden kendinizi ifade etme araciniz?

Fotograf benim icin kendimi ifade etmek veya bir olayi anlatmak amaciyla kullandigim bir arac degil. Disa donuk, ve ne dusundugumu, nasil hissettigimi sikintisizca ifade edebilen biriyim. Ben daha cok fotograf yoluyla bulundugum yerde neler oldugunu ve neden oldugunu sorgulamak ve anlamaya calismakla ilgileniyorum. Yasadigim deneyimden kendimce kiymetli bir parcayi da fotograf olarak alip saklamayi seviyorum. Cantamda bir defter yerine bir fotograf makinesine ihtiyac duydugumu boyle boyle farkettim. Sanirim bu yuzden fotograf cekiyorum.

Bununla birlikte bana gore anilari goruntulerle belgelemek, yazarak belgelemekten daha guvenilir. Neredeyse tum fotograflarimin benim bildigim ve hatirladigim bir oykusu var. Bu benim kendi kisisel deneyimim oldugu icin de, fotograflarimda izleyiciye benim gercekligim yerine kendi gercekliklerini olusturmalari icin belirsiz bir mesafe birakmayi da tercih ediyorum.

3. İnsanlar sokakta size nasil tepki veriyor? Fotografladiginiz insanlarla etkilesiminizi anlatir misiniz? Insanlari fotograflarken yaklasiminiz nedir? Genellikle onlarla iletişime gecerek mi başliyorsunuz ise?

Fotograflarimda cogunlukla gundelik insan hallerini isliyorum bu yuzden goruntulerdeki en onemli motif insanlarin kendileri. Makinenin arkasinda ne kadar olaya sadece taniklik eden kisi olsaniz da, ortamdaki varliginiz gorunur durumda ve orada yokmussunuz gibi davranilmasini bekleyemezsiniz. Bu kacinilmaz bir durum. Dolayısıyla aradaki bu boşluğu kapatmak ve olabilecek en dogal hali yakalayabilmek icin, insan davranislarini gozlemlemenin ve ogrenmenin benzer durumlardaki iletisim duzeyini ve miktarini belirlemekte en onemli oge olduguna inaniyorum.

Birisi fotograf makinesini bana dogrulttuguna ben de o kadar rahat olamiyorum. Bu yuzden ben makinemi baskalarina dogrulttugumda olabildigim kadar nazik olmaya, rahatsiz etmemeye calisiyorum. Ilginc buldugum bir yere biraz gozlem yaptiktan sonra yaklasiyorum. Ya goz temasiyla ya da biraz konusarak kendimi tanitiyorum ve insanlarin beden dillerini okuyarak benim varligimdan rahat olup olmadiklarini anlamaya calisiyorum. Benim varligimi kabul ettiklerinde ise orada oldugumu unuttuklari ya da umursamadiklari bir anlarini yakalamaya calisiyorum ve boylece cok daha dogal sonuclar aliyorum. Simdiye kadar cok nadiren kendimi bulundugum yerde guvensiz ya istenmeyen konumda hissettim. Boyle bir sey hissettigimde ise israrci davranmak yerine iyi gunler dileyerek oradan ayriliyorum. Ama cogu zaman insanlar beni evlerinde misafir edip bir bardak cay icmek ya da dugunlerinde, eglencelerinde birlikte eglenmek icin davet ederler. Bu comertlik benim icin paha bicilmez.

Tabi bir fotograf icin hizli davranmam gerektigi zamanlarda bu kadar iletisim kurmaya firsat olmuyor. Yine de isimi bitirdikten sonra belki sadece bir goz temasi ile sessiz bir tesekkuru ihmal etmiyorum.

4. İyi bir fotografin bilesenleri nelerdir? Teknik yonlerinden baslayarak bizlere aciklayabilir misiniz?

Teknik yonden ben isigi cok onemli buluyorum. Isigin etkisini ve insanlarin isiga verdikleri tepkiyi anlayabiliyorsaniz iyi bir fotografin bence yarisi elde edilmis demektir. Karenin nasil olusturulacagina gelince, deneysel yaklasimlara acik olsam da basit temel kurallara sadik kalmaya ve dengeye onem veririm. Bunlarin hepsi dogru olarak bir araya geldiginde, izleyici fotografin bir yerinden fotografi okumaya baslar ve baska bir yerinde yolculugunu bitirir. Aksi halde bakar ve gecer.

Bununla birlikte iyi bir fotografin ilgi cekici bir icerigi olmasi gerekir. Fotografin “basrol oyuncusu” onu destekleyen diger yardimci ogeler de degerlendirilerek iyi secilmelidir. Ornegin fotografiniz icindeki “yoldan gecen herhangi bir kopek” olmamali, “o kopek” olmali. Fotografci hangi oge basrolde, hangileri onu destekleyen konumda cok iyi secmeli. Yolda yuruyen birisi, metroya inen bir baskasi, kosan bir cocuk, ucan bir kus. Bunlar ilgi cekici konular degil. Insanlar yurur, cocuklar kosar, kuslar ucar, ortadaki sey zaten yaptiklarindan ibaret. Bu tip konular ya da ogeler artik kendini tekrar eden, siradan seyler. Nikos Economopoulos’un da dedigi gibi’ “muz gibiler, sarilar ve her yerdeler”

Son olarak ta fotografci makinesine hakim olmalidir, bulundugu isik konumuna gore devamli ayarlamali, hazir tutmalidir. Bir daha yakalanamayacak buyulu bir ani kacirmak oyle kolay ki.

5. Hazir Nikos’tan bahsetmisken, onunla calismaya nasil basladiniz? Etkilendiginiz diger fotografcilar kimler?

Nikos Economopoulos fotograf anlaminda benim gozumu acan ilk fotografcilardan biridir. Balkanlar, Yunanistan ve Turkiye’deki islerini ilk gordugumde buyulenmistim. Gundelik hayati olaganustu bir sekilde fotograflayip sunmasi ve beni cok etkilemistir. Balkan kokenli olmam da sanirim bunda biraz etkili oldu. O zamanlar kendisiyle tanisma firsatim olmadi ama universitedeyken Avlona koyunde cektigi o guzel fotografin bir kopyasi hep kitapligimda dururdu.

Yıllar sonra, fotograf cekmek hatta genel olarak fotografla ilgili her şeyden bunaldigim bir dönemde, arkadaslarim Elif ve Barıs; nam-ı diger Flufoto; Nikos ile Istanbul’daki bir atolye calismasina katıldıktan sonra bana da tavsiye ettiler. Ben de kalkip Meksika’dakine katildim ve boyle basladi. Motivasyonumu tamamen degistirdi ve zihnimde fotoğraf ile ilgili olan ne varsa yeniden düzenledi. Cok büyük bir ogretmen, akil hocasi ve dost. Ona cok sey borcluyum.

Nikos’un dışında, sanırım André Kertész, Henri Cartier-Bresson ve Gilles Peress bana farklı sekillerde esin kaynagı oldular. Kertész ve Cartier-Bresson sihirli kompozisyonları ve farklı aci kullanimlariyla beni etkileyen ilk fotografcılar olmuştur. Gilles Peress ise yalnızca fotografciligiyla degil, tarihi belgelemek konusundaki entelektüel yaklasimiyla da beni cok etkilemistir. Bosna, Ruanda ve Kuzey İrlanda’daki islerine her baktıgımda hala aynı sekilde hissediyorum.

6. Zero için ilerideki planlarınız neler?

Yakin gelecekte ne yapacagımız konusunu kendi aramizda tartisiyoruz. Bazi uyelerimiz fotograf egitimleri, atolyeleri yapmaya baslayacak. Ayrica gelecek yil ilk kitabimizi yayimlamak icin calismalarimiz basladi.

Prints SALE extended! / September 1, 2018 by Kasia Trojak

Limited edition prints are now available until December 31. Get yours today HERE!

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PRINTS SALE / May 18, 2018 by Kasia Trojak

With the launch of the website, each photograpehr has selected two of their prints for sale. Limited edition archival quality prints will be available until September 1. Edition of 10.

Check out the prints section for more information.

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GOOD MORNING ! / May 18, 2018 by Kasia Trojak

Screen Shot 2018-05-18 at 11.45.11 AM.png — WELCOME TO ZERO

AND WE ARE LIVE!! We are happy to announce the launch of the website! Check out every member's portfolio page and follow us on INSTAGRAM.