 How's it? How's it guys? One of the things that I miss daily in photography is holding a fresh print in my hand. There's something indescribable almost in the difference between an image on the screen and an image, a printed image, physical object in your hand. Now recently I was talking with Tomarch from Frames Magazine and he very generously sent me over the entire collection of frames. And there's an editor's letter here in the first episode from Tomarch that I think sums up quite neatly why magazines like this are so important in photography. A photograph on paper receives one more very special dimension. It starts speaking to you. It invites you to be part of itself and lets you hold it and touch it. Enjoy these moments, take your time, spend several long moments with each individual photograph you discover in this very first edition of Frames. And that is something that I feel is a dying event in photography. The idea of actually holding something because it is amazing when you see an image printed and not only that, but like in this episode of Frames. We get some insight into the images and I thought what I'm going to do. I thought, you know, well, we could sit here and I could page and I could make some notes and we could talk very earnestly about, you know, printed images and actually discuss the images. But I want to actually do almost like a reaction video where I'm looking through with you at the same time and seeing how I feel about these photographs. Now I have cheated a little bit because I did look at the Michael Kenner images to begin with because I love Michael Kenner and they are wonderful. It's beautiful to see them printed. You know, there is something special about it. And also the fact that there is accompanying text that he talks you through, you know, the not the technical process of the image, but the event surrounding it. There's this photograph here called the Tian Tan Buddha. And, you know, he talks about this massive Buddha that it has taken 12 years to complete and he has studied and photographed it from many angles and in different weather conditions. And often with long exposures, but he finds himself constantly drawn back to this hand held snap. And those are his words made with a plastic holger camera from a moving car in a car in pouring rain. That, you know, it often, you know, we sort of think about, oh, yeah, these images are planned and, you know, and really meticulously crafted together. But sometimes it is just a snap. He goes on further to say, you know, as with most photography, the possibility of individual interpretation lies in the eyes and the mind of each beholder. Then I rather like that. What a wonderful insight that you don't get when you look at, you know, photographs on a screen or on a website or stuff because they seem to be divorced almost from the way that the, you know, the the photographer is thinking about, especially when they go off into the wild of the Internet. Now, you know, as I said, I flicked through the Michael Kenner stuff for a while and, you know, I really enjoyed that. And then towards the end of that, I came across a breakfast page again of a photographer called Phil Penman. And I turned the page and I was confronted and I'll put this up on screen for you guys confronted with this image here, which I just I was like, wow. Oh my God, I love this photograph. It is everything that I love about photography is all in my own personal photography. It is it's got this architectural sort of feel to it. It feels like it's, you know, an Eric Stoller or Ezra Stoller or, you know, maybe like a Jonas Schulman or something's got that sort of feel to it. But it also is reminiscent of Stuyken and Stieglitz and all those, you know, straight photographers and pictorialism. Oh, it's just everything in there. But what an amazing image. It is so simple on the face of it and yet so striking. I'm now going to turn the page for the first time to see his images and OK, this next shot is all the skyscrapers. That's a little bit more kind of, you know, sort of middle of the road. I get it. It's nice and stuff. But it doesn't wow me the way that the first one did the use of the blacks and the shadows and the contrast. This feels a little bit more like we have seen something before. And then we kind of it's an interesting mix. He's got an image here that springs to mind like kind of FSA sort of Walker Evans kind of things. And that I find that one is an interesting mixture. Now, obviously he's probably documenting and I haven't read all the pieces. Obviously I'm just going as we go along, you know, New York. And he says that my images have gone from full length and city landscapes to more intimate shots. OK, I get that. And I think this is partly because of my need for social interaction. This was not a conscious thing, just something I became aware of, looking through my work. What an interesting insight that that first image, the dramatic scene, it is very different to this one. That there is a sort of a divorce. You know, that he's kind of standing up for crack. And you know, I actually quite like that in cities that you can be anonymous. But it's obviously feeling that he wants to connect more with the real life of the city. And I think that's a really brave move to kind of throw off one approach and almost go to the opposite end of it. Wow, what an interesting collection of images. And there's some more here of just, you know, more sort of slightly documentary work. And I think there's a real, you know, real interest in what he's photographing. They're not particularly my favourite things. I think he's more abstract, kind of more graphic design works for me personally. But that's because, you know, that's what I'm drawn to. Now we have a photographer called Yalem Vural. Oh, Yalem Vural? If I pronounce these things incorrectly, I'm terribly sorry. From Turkey. And I don't know if Yalem is a male or a female. I'm not sure if it matters a great deal, but if I reference him or her. And these are very different. They're more like a photo montage kind of feel. And interesting enough, I have been, I think about sort of pictorialism a lot because I've been given it some thought recently. When I look at these images, there is an interesting sort of vibe to it. That they have this kind of pictorialist feel. Now there's nothing written in the information here so far that I've seen that talks about the process of what Yalem is doing. But it does have that feel. I'm sort of put in mind of, you know, again, I'm going to mention, you know, Edward Steichen and his sort of pictorialist images, you know, the hand colouring and things like that. And while the photographs themselves, from a composition point of view, may not be the world's most amazing images, there is something about the process that he has used, and I'm sorry if Yalem is a female's name, that intrigues me because it's not like a filter that he's just slapped on in Photoshop. This is something that's done with intent and something that's done with purpose. And I really like the feel that is being conveyed with these. It is the total opposite to, you know, a lot of the very sharp and pixel-perfect images that we see. And this is, of course, the beauty of a magazine is that you go through these things and you are introduced to work that you would probably struggle to see in the same context, or in the same arena online. You know, yes, these all may come up on an Instagram feed or something like that, but then it's a single image being bombarded by all the other images around it. Whereas here, with this photograph, we can enjoy it by itself. And that is one of the things, and I'm going to keep saying one of the things, it's like a head-fisted way of me kind of getting ears and arms out of my conversation, that I love about magazines. And I have genuinely missed. I haven't really had zines or magazines or anything for a long time. And I think we're going to get some portrait photography here and have Olga Karlovak in the mirror and a selection of self-portraits. And even, you know, here, oh, look at that. Somebody, this is great because this is so not what you would expect to see. Is it? That's blurry, abstract, just a suggestion of a person. Oh, yeah, I'm really, I'm so enjoying these straight away. Behind the shades of light. And again, I do hope that I can find these to put up on screen, because, wow, Olga, I'm loving this kind of stuff. You know, in this, surprisingly, this is a wonderful example of photographers who are willing to, you know, try some things out, go a little bit further out. And I don't think this is really just the result of an afternoon of going, oh, I'm going to, you know, do some blurry portraits and what have you. This is somebody who has worked at this and has built this idea. And there are photographs here that are also starting to go a little bit further, starting to really give me something to latch into in terms of story. And yet, funny enough, of course, there is no, there isn't very much here for us to kind of, you know, look at beyond these suggestions of shapes. And maybe that's why it works so nicely. And I would suggest if you want to try these kind of things, is find a photographer who you like or you kind of go, wow, you know, this is a piece that I would like to try and emulate and break down how they have done this. What is the process here? You know, looking at Olga's photographs, yes, there's some blurriness and there's probably some long exposures, but what else is she doing in here? How else is she getting this process to result in these images? Now we have a photographer called, well, there's actually a piece, there's conversation. So this is quite another interesting thing that you don't often find when you're on a website or what have you. There's a conversation here. I mean, an interview between Richard Chong Tatri, a photojournalist for the Minneapolis Star Tribute, and by Stolius Scott Olson. And these are photographs, obviously, there's some writers that say, obviously, they're not obviously, because, you know, you can't see the bit that they're up on screen. And I won't have to obviously not going to go into the whole thing, because I want you to look at them. I don't want you to go out and get a magazine. But it's wonderful that there are so many things in the same place that we could look at not just great photographs with a little bit of exposition from the photographers. And I will say what I find refreshing is that it is less about the gear. There aren't very many references to equipment here. It's more about how they're feeling about the images, some of the backgrounds behind them and things of that nature. And yeah, I'm really, I think I've seen this, this image somewhere before. This is Malala, oh, sorry. Malala Yusafzari. It was Afzari by Shirin Nishat. I think these, oh, that's why I've seen it, because I've seen it at the National Portrait Gallery. These faces with the words written over them. Again, an interesting project. And that's, again, coming back to the idea that we are introduced to images and photographers and ways of doing things with and through the medium of magazines like Frames that we would never have experienced otherwise. What a wonderful thing. I'm so pleased that Tamash has sent me things. And here at the back, there's a whole bunch of other, also lovely, wonderful images, which I'll put up on screen here from a photographer called Curtis, excuse me, Curtis Salonnik, which are more kind of, they feel like they're multimedia pieces and they feel like they're some more digital art. And I'm going to leave you with saying, what is the difference between photography, I mentioned at the beginning of the episode about pictorialism and stuff like that, where they were manipulating prints and doing all sorts of things to make them look like paintings. And yet they are held up in great regard within photographic circles, whereas today, people who create digital images, who use photography and Photoshop together to create something different, sometimes they seem to be pushed off to one side. I mean, interested to hear what you think. So yeah, thanks ever so much for watching and if you are interested in finding out more about Edward Steichen, check out this video right here. See you later. But let me see you later. It's thanks for watching. Cheers.