THE MAGAZINE FOR LEICA M PHOTOGRAPHY No.5 148-16 USS: 25 CHF: 2000 128 02.2016 / ENGLISH 4 This issue featuring: CLAUDINE DOURY / JOSE COLON / FRED MORTAGNE PETER BAUZA / GIOVANNI DEL BRENNA / ERNESTO BAZAN Essay: 10 years of digital M- from the Leica M8 to the Leica M10 LEICA FOTOGRAFIE INTERNATIONALLEICA. DAS WESENTLICHE. LEICA M A LA CARTE Create your own, uniquely personal M-Camera. Leica M la carte mates it possible to redesign the versatile Leica M or the unique Leica M Monechrom the way you alvays wished it could be: Choose from 2 selection of premium leathering options, engravings ‘and 2 multitude of variable elements and functional details to create your own, truly personal syle eon, Your M-Camera will then be custom-built to your precise specifications at our manufacture in Germany with painstaking attention to every detail and the most stringent qualty assurance, Discover the wide ‘ange of options at leica-aa-carte.com LEICA M-SYSTEM. See the bigger picture.DEAR READER, ‘Weare delighted to jin you in taking look at this new issue ofthe M Magazine ~ the magazine dedicated tothe Leica M system, which, with ll its older, ‘middle and newerlenses (you wll be surprised to see ‘what the near future has instore) affords us the great ‘opportunity of taking photographs with a rangefinder ‘camera! [Jookall around me, wait patiently to see what develops, and then capture the moment forever! Sometimes I take the picture straight away because, {or those with expertise, its obvious what needs to be doneso.as tobe able to shoot even faster than ‘camera with auto-focus does. As said in my foreword forthe previous issue, “This magazine challenges its readers to shoot the pictures they wantto shoot. This magazine says lookat the photographs inthis issue and let them inspire you~ and then go out and find your awn unique style! And in ths issue you will once again find plenty of ‘motivation: whether you, dear reader, photo- sraph with the M Monochrom, the Mo, the M240 ‘or the M6 (at the recent inauguration ofthe Leica Store in Istanbul on October 5, Leven sawa photographer with a Leica Tg), you will find a ‘broad panorama ofthe possibilities that the Msystem has to offer photographers ‘We hope you will take pleasure inal that this Issue No. Sof the M Magazine has to offer, and that will, ‘continue to take pleasure in your own M system! Good Light Andreas KaufmannCONTENT 6 10 Years of Digital M essar 10 86 Viva la Virgen! ‘The Flip Side of the Coin sost co1on even auuzA 40 116 Summertime in Crimea Cuba, mon Amour cLavoINe Douay enNESTO BAZAN 62 148 Modern Lines Assumptions FRED MORTAGNE SIOVANNI DEL BRENKA 174 uovocnaPicrs COVER PHOTO: CLAUDINE DOURY, FROM: ARTEK, UN ETE EN CRIME tee 5 tans10 Years of Digital M Or, to put it differently - 62 years of the M system! Its digitisation has enabled Leica’s rangefinder camera to remain what it has always been: a tool that combines precision and simplicity in an unparalleled manner. The M has shaped photography culture like no other niche product. In the tenth year of the digital M, Leica are releasing the M10 - affirming that the classic rangefinder concept transcends fashion. wee GanaESSAY As the name implies, the M Magazine is dedicated to pho= tographs taken with Leica’ rangefinder system, These can Include the works of cassie masters, though the magazine predominantly features the achievements of cantempo- rary photographers, created in more recent times. Among, them are reportages and ambitious long-term projects, strictly conceptual artistic works and street photography, ‘humorous and serious visual interpretations of the world that surrounds us. In other words, the magazine isa vibrant presentation ofthe many individual approaches to work ing with the most tradition-steeped ofall camerasystems -Most probably, the M Magazine and the content within its pages would not even exist today, had the MS in 2006. Indeed, the M system itself would almost certainly have diseppeared from the market, apart from as, aniche second-hand product. not released ‘THE DIGITISATION of the Leica rangefinder camera ‘was aprocess fraught with many challenges, atone that was quickly followed by a remarkable success story. Itwas anoutstanding accomplishment toextrieate the M from its confinement to film~a recording medium which, how- ever highly-developed, was clearly destined tobe replaced inthe fairly imminent future. What made this achievement allthe more extraordinary was the fact that digitisation ‘was very much outside of Leica’ usual core competences. Afterall it was not the classic camera manufacturers, but the major electronies corporations that were setting the pace forthe industry's digital innovation. Therapid techno- Jogial advancements in the field of generating electronic Images led to equally rapid changes to the ways in which photography was being used, This, in turn, vastly altered the methods of reproduction, post-processingand presen- tation ofthe photographic image. Asa consequence, offering customers solutions that were exelusively flm- based had quite suddenly become the equivalent of ‘commercial suicide. Yet this was precisely what the body of the Leica Mad originallybeen made for. Oskar Barnack’s concept of small, simple camera for your coat pocket had been relined intoa camera whose internally complex rangefinder was complemented by the definition of sparseness, It was constructed specifically for the pur- pose of accommodating one roll of film, and nothing else besides While this extreme reduction to the most essential funetions made the Leica Ma masterpiece of design, it posed asignificant problem when iteame to adding further functions. This was already evident in the analogue ‘Mo, whose integrated exposure meter only became pos- sible once the miniaturisation of electronics was suficiently advanced ~ again something that was outside of Leica’s 7 control. T light ofthese challenges the development of the Ma was a taxing process marked by enormous creativity and the necessity to make a number of compromises in order to create a camera that stayed true tothe traditions of rangefinder photography, while atthe sume time gener- ating a digital image. ‘The results were well-received on the market. Pho- tographers took great store in the fact that working with the Mhad, in essence, remained as it had always been — signifying not traditionalism, but timelessness. What mattered was not a commitment to analogue photography, butto the rangefinder principle itself, along with the characterisies ofthe photographic practice ithad given rise to, And how tragie would it have been, had the ques- mn ofthe recording medium determined the fate ofthis unique camera system. ‘THE LEICA M has been considered an unobtrusive camera since the very beginning. Photographers appreci= ated being able to anticipate the development ofaseene through the viewfinder window ~enablingthem to release the shutter atthe exact moment when the configuration oftheir subjects inside the bright-frame constituted sn outstanding image. They appreciated the way inwhich high-precision opties and mechanics manifested them- selves ina spartan device, which humbly stands between the photographer's intuitive experience and the events before him ~ fostering a visual style which brings to mind ‘This essentially made the M the symbolic antithesis ofthe general mass market camera, which continuously (and mostly successfully) enticed customers with yet ‘more technological upgrades and still more func Most crucially each newcamera generation thrown onto the market in ever shorter product eyeles promised photographers the ability to take even better pictures. In reality this pledge contained very little substance — asanyone who is familiar with the photographs that have shaped the medium throughout the past 100 years will undoubtedly know, However, the marginalisation of the Maystem started a mere decade after the introduction ofthe Ms in 1954, Reflex cameras, recording in the 35mm format which the Leica had made popular in the first place, were perceived as far more versatile and conveni- ent ~ increasingly pushing the rangefinder prineipleinto the background, Asa result, the M series was already in danger of being discontinued back in the 1970s Soitis not without irony thatthe 5mm single lens rellex eamera that has dominated the market for so longis inereasingly considered outmoded, all its sophistication notwith- standing, while Leica were able to celebrate the >ESSAY (oth birthday of the M in 2014. And what ismore, this anni -versary was not a nostalgic homage to an anachronism that has managed to endure, butthe celebration ofatrue success story. This is compiled from several chapters, ‘Regardless of the M systems intermittent marginalisation, ‘what matters isnot so much the device itself, but the cultural practice it initiates - which subsequently either ‘does or does not develop a sustained, far-reaching impact. {In the same way that Oskar Barnack’s invention revolu- tionised our way ofseeing based on a combination of technical means and zeitgeist, the M gave rise toa specifi visual styl, with which it will always be associated. You ‘can call it the art of capturing the instant deeisif,or you ‘may callit street photography; although its heyday was, inthe50sand 60s, it as brought about such an abundance offconic,history-shaping material, that in our emotive perception, cameraand image have long.culminated into ‘one entity. For this reason, Leica's M series keptits fan hase even duringits darkest hour. Of course, this would never have been the case had it not offered qualities that set itapart asthe best opto-mechanfcal instrument in its field, Added to this isa potential fora continuous re- Interpretation ofthe purpose an Mwas intended to serve ‘Thereare, for example, other camera concepts today that are better suted to fulfilling the role ofthe small, light-weight, inconspicuous camera ‘And even as far backs inthe 1980s, it was no longer credible to cite fast eportages as the primary domain ‘ofthe M. Instead, it was now considered a tool for ereating, ‘measured, carefully thought-out compositions ideal for those who appreciate the finest mechanics and the abllity tocontrol the entire process at ll times. The strategy ‘of emphasising the performance of the system’slenses, «established inthe 1990s, complemented this development, Ofcourse lens performance has alway'sbeen asignificant ‘characteristic ofall Leica photography since Max Berek, but aspheric technology brought about a major paradigm shift. Afterall, someone like Cartier Bresson would have had little interest in what performance 85mm Summiluxe ‘ould offer at maximum aperture, considering that is style ‘of photography was largely based on his preferred hyper~ focal method. Now, however, itwas all about proving that itwas possible to create compact, extremely light-sensitive lenses that follow the pre-dictated design of the M whilst offering unparalleled optical performance ‘THE RANGEFINDER PRINCIPLE temporarily almost reveded into the background during ths process, withthe Mbecoming more ofa facilitator for high-performance lenses - some of them with unique compositional eapabil ities, all ofthem compact and, ofcourse, with manual 8 focus. The M240 was distinctive expression ofthis strategy. Itembodied everything that defines M photogra- phy, but also offered the option to completely imore the rangefinder thanks to Live View, workewith R lenses and ‘even shoot videos, As a direct result, the M system once again became viable for those pursuing (reportage) pho tography on. professional level, In other words, people ‘who did not want to be weighed down by abig beast of camera and valued the interaction with their subject ~ Dut who also required digital workflow that was befitting ‘ofthe times. Some M fans, however, found that even the M240 was too cumbersome, and Leica began tosense that there was a danger of watering down part ofthe M system's brand essence, Afterall its successful digital transforma tion had proven that the rangefinder emanates a timeless fascination ~ and there can hardly be abetter position ‘than to have a unique selling point, which only needs to ‘be maintained with a measure of consistency. ‘THE ANNIVERSARY YEAR ofthe digital M will there {ore be marked withthe introduction of a model that represents avery clear statement. The name MIO affirms, that thisis a direct continuation ofthe series that began in 1954 with the M3. Consequently italso features the lassie body dimensions of the analogue M, made possible bby modifying the wiringof the sensor and the main board. ‘There seven a thumb wheel that isjust like the film ‘rewind knob of the MP, which on the M10 servesas the 1SO settings wheel. Asa concession to those in favour of the fasterhigher-further’ philosophy, the setings can be pushed up to ISO 50 000; the base sensitivity offered by the newy-developed sensor is ISO 100, The magnification ofthe rangefinder is 073, Overall, the entire interface of the M10 is specifically geared towards takingattention. away from the camera’ digital functions, with the number ‘of buttons having heen reduced toa perhaps unparalleled ‘minimum, In Leica’ view, the MIO isnot only the best digital M, but indeed the best M altogether. In any ease, the Leica M10 isa camerain which the ‘rangefinder principle and the traditional virtues of distraction-free, intuitive hand-eye coordination have ‘once again returned to their truecore. Olaf Stefunus isan editor at LET and has ben caramentatng onthe Msjstem and tts histor for several yearsSTR ae 78Viva laVirgen! They come on horseback, in beautifully decorated carriages, in simple donkey carts, or on foot: over one hundred brotherhoods set out just before Whitsun for the village of El Rocio, to pay tribute to the Holy Virgin. With over a million partici- pants, this pilgrimage is the largest in Spain, as well as one enormous party. Spanish photographer José Colén presents images of a typical tradition from his homeland, Andalusia. PHOTOGRAPHED WITH A LEICA M9 enw 1] eranvow 12 esauwean 19 sez» 20 ensnere > eS SY. _wan 26 onsn6wn 27 ensueJosé COLON [very year, a smal village inthe western part of Andalusia, southern Spain, opens its gates to the Romeria, religious pilgrimage in honour ofthe Virgen del Rocfo, It isan ‘explosion of religious fervourand popular revelry in equal parts: Masses, supplications, prayers, rosaries, faith, promises, petitions..song, dance, alcohol, free flowing food and a lack of moderation, ‘The many legends surrounding the origins ofthe cult, to the Virgen del Rocio are both diverse and contradictory One thing thatthe different versions do share in common is the understanding that ahunterora priest founda statue of Mary by atree in the southern marshland area, 11653, she was made patron ofthe village of Almonte the province of Huelva. After that, the devotional and festive impulse inereased exponentially till forthe past twenty years or, the number of participants in the Romeria was officially rounded off at about one million people. Nowadays, the statue that gave rise to this, the largest pilgrimage to take place every year in Spain, is kept inthe village of EI Rocio, located fifteen kilometres away from Almonte. ‘The village of El Rocfo keeps its streets unpaved and ives priority to horses, mules and animal-driven vehicles. ‘What is more, overcomeby the sheer number of partii- ‘pants the town hall has decided in recent years to close off any access to cars, Only those witha special permit can. ‘enter the village during the Romeria. At the same time, and to the disgust of many, the local authorities have transformed its dusty streets into an immense market place, where, in addition toa variety of souvenirs related tothe Virgin, you can buy clumsy imitations of designer underwear, African figurines carved in ebony ~ oF simi- Jar football equipment or any other imaginable trinket ‘aswell. The economic shadow ofthe village patron grows Inlength and helps fill the municipal coffers. INTHE DAYS LEADING UP TO WHITSUN, when the pilgrimage takes place, over one hundred brotherhoods set forth on the road tothe village of El Rocio, each earry- {nga banner bearing an image ofthe Virgin, Some leave their town on foot, on horseback, in carriages oF four whee! drives, and it ean take them up toa week to reach the feet ofthe Virgin, popularly known as the Blanca Paloma (White Dove) or Queen ofthe Marshlands, Hacer el camino’ (Cotravel the path) implies preparing yourself for the pi image, to draw close to the Virginsas the years have gone by, however, the pilgrimage itself has become part ofthe festivities “However, it doesnot offically begin until the pilgrims ‘of Almonte arrive atthe church of EI Rocio, presenting themselves to the Virgin between Friday and Saturday, and in advance ofall the other brotherhoods. They then all participate together in the rosary and the Sunday Mass. ‘The Virgin, who according to local beliefs ean do anything, breaks to some degree with the established order, when, atthe zenith ofthe celebration, she is spirited awayby the villagers ina peculiar and disconcerting procession, Hundreds of men from Almonte ~ women rarely participate ~ congregate during the last hours on Sunday ‘of Pentecost, next tothe railings ofthe sanctuary’ pres- bytery The mood is both joyous and tense. According to tradition, the frst rays of light on Monday signal the beginning of the procession: the frayed nerves of an ever rowing crowd, however, have gradually brought the _moment of the appearance of the statue forward. Around three olockin the morning, bathed in sweat and with no protocol other than their strength, men perform the salto e la roja Gump off the railing) nd, literally, take posses- sionof the freeze the blood of any unprepared newcomer. The statue foftenends up on the floor and has tobe raised up again amid the complaints of those who failed to keep it up in the first place and the feverish shouts of thousands of par ticipants. For the author ofthis piece, this isthe ‘emotional highlight ofthe pilgrimage. ‘Thestrugules to get beneath the platform are constant, and often end in ist fights between those from Almonte and youngsters from outside the village, Blasphemies are heard amid background shouts of, “Longlive the Virgen del Rocio! Long live the White Dove! Long ive the Queen. of the Marshlandst Longlive the Mother of God!” Stand- ing beneath a canopy, the statue is carried on men’s shoulders for about ten hours ~thereis no fixed time for its return tothe sanctuary ~, visiting the hundred or 80 brotherhoods affiliated to the Brotherhood of Matriz de Almonte. In tura, parishioners carry the one hundred oF more priests accompanying these congregations on thelr shoulders. The ministers recite the Hail Mary with great ‘emotion, as the procession struggles to male its way for- ‘ward amid the sound of church bells, and the claps, shouts. and prayers ofthe faithful. Itis popular piety in its purist form. For most down-to-earth Christians it may be an ‘unnecessary excess, but without it there simply would not be apilgrimage to honour the Virgen del Rocio. nin such aviolent manner that it would lls de Vega (1970 studied journalism in ‘Salamanca and works san editor and photojournalist, “His book El Rocio appeared in 2008. 38Ta NgSummertime in Crimea Founded in 1925 as a recreational camp for children, Artek on the Crimean Peninsula was reconstructed during the Khrushchev era and, with its inno- vative architectural imagery, became a object of prestige for the CPSU’s General Secretary. To spend the summer there was the dream of many youngsters in the Soviet Union. Nowadays, the pioneer camp is experiencing a revival. Claudine Doury travelled to a hideaway of nostalgia. PHOTOGRAPHED WITH A LEICA MG wen 4] nmean 4G ose‘Til glances that are witness toafear ofan intangible dimension ie. Adolescence, ‘hat ro time between child and aultod, ‘athe theme Prench photographer Cladine Dury deals with continuously toon 47 nonewan 4G oreSolitary card game and posingin font ofa pparently uninterested public a children mature to adults the tants are blared Doty's plture composition show the childrens they sradualy al from thei familiar word team 5Q. ersteLonging eves, thoughtful expressions and spectacular theatre costumes escaping from the ised tight of puberty nto unatain shle words ofthought and fantasy a pervasive spect of Dory 'simages tan 57 anewon 5G ananetan 5Q eaveCLAUDINE DOURY ‘The frst Artek camp created in Crimea, close to Yalta on the shores ofthe Black Sea, was inaugurated on June 16th 1925. Stalin wanted these ‘pioneer villages’ tobe show- ‘cases forthe ‘better world and the ‘new many promised by socialism. Young people of poor health were able to profit from the summer’s subtropical micro elimate,and mod- ‘em teaching methods mixingsports and studies, were offered to privileged youth all throughout the year. To be sdmitted or sent to Artek was considered a privilege. As of 1957, Nikita Khrushchev had the site transformed by con- structing the modern conerete and glass buildings that still exist today; and, in an amusing paradax of history repeating itself, this is where Russia's nouveau riche now send their children on holiday ~ asumptuous gift ~ that they can thank the Communist Era for! Uniforms, sports and celebration ofthe physical body ~ we rediscover the same old patterns that have now become the atest trend. WHEN CLAUDINE DOURY APPROACHES this sechided area she does so disereetly, keeping respectful distance: retuminga number of times she is happy to simply record ‘what she sees. On the one hand, a theatre of yesteryear one we can imagine is not missed at all by the privileged youth who benefitted from it-, on the ather, the adales- ‘ents of today: It is asa result ofher various Visits to Artek, that weareableto puta date on her interest inadolescence, theme she will develop, and which she still continues to explore. In Artek, she sno longer the photojournalist renowned for collaborating with the press She isa photog- rapher. She is not looking for objective documentation ~ though she knows that her photographs wll become documents, tha, ina certain way, they always will be just tha, though ts not her main intention. She reacts to visual stimulations The principal one slight: natural, sft with ‘outeffects, moulding clothes and museles, vibrating on the skin and on the material the clothes are made from; alight that processes colour, again without effects or stri- ‘dency, but composed to perfection light which captures two beautifully coifed hairdos from behind, or the elegant ‘drawing, the ephemeral tattoo, hat one boy delicately ‘draws on the shoulder of another. ‘THE SLIGHTLY FADED BLUE of the walls serves 8 thebackalrop for a decor from another era, tends up being, timeless, but suggests the idea ofa theatre of artificial, unclassifiable youth. Everythings somewhat suspended. Without really trying to explore or reveal anything. each Image draws close to feelings of adolescence, From the ‘questioning in the mirror and the ambiguity of gestures that allowa certain erotic tension to filter through, tothe affirmation of young boys wanting to show that they are strongby flexing their muscles in frontof the young gies they wish to seduce, Doubts regarding identity are there, perceived all the more because nothings said, because, officially speaking, thisis not the subject of this journey {nto the images atthe heart of Artek, WE FIND OURSELVES CONSIDERING the grandpar- ents ofthese young people, who donot resemble them bbut who were also there, andl who must have had the same types of feelings, desires, concerns and wishes. It is because the photographer isnot trying to prove anything, because she leaves the symbolic uniforms and the cos- ‘umes disturbing the passage of time, that we are nolonger sureas towhere we find ourselves, Temporalities ~ that ‘photography is incapable of telling us anything about — ‘come together, creating worlds but without expecting usto situate them, What remains sastate,amoment of prime youth that photography was able to capture. Claudine Doury has continued with this visual research far from being alone, because this ‘theme’ ifthat is what we can callit, has invaded the land= scape of contemporary photography and other forms of visual arts, Ansiety in the face ofthe extension oflife? Anxiety inthe face of an ineressingly degraded world, which seems less and ess prepared to weleome new gen rations? Idealist nostalgia for a moment that we cannot ‘uite define, between child and adulthood? Questioning the fact thatthe length of time we call childhood seems to begetting shorter, tobe replaced faster and faster by bodies, desires, and grown up practices? All this and. no doubt, other things, but the phenomenais as undeniable asitis spectacular. These youngsters are the cousins, the litte brothers, the young friends of the boys from Artek, ‘who learned to dance for the country fete, maybe dream- ingof becoming the sweethearts of the young giris of Artek, who confided their young girl secret among then= selves, murmuring in each others ears dreamingat siesta time about their great love o imagining the costumes tobringto the stage Itis photography thatallowsusto believe this, with images that make it possible: because, without our even noticing, Doury knows exactly how to choose and capture her light, her beautiful light free of effects, her mysterious light. ‘ofadolescence, She! (Christian Caujole ico founder of the VU" Agency, and Artistic Director of numerous photo ‘festivals including the Rencontres Arles. 60aaModern Lines Fred Mortagne is well known within the skate- boarder community. Recognising that the big city is the natural biotope for a skater, the French photographer has dedicated his series to this quintes- sential location. Mortagne, who is known on the scene simply as French Fred, has developed an incredible sense for the unusual perspectives and alignments found in urban spaces. PHOTOGRAPHED WITH A LEICA M MONOCHROM tien 63 wanean 6G omeES i = 7 A i ea Lp nf > - ; (weewean 72 mane\ = UZ a ZEEE a ee Leo PE 7 Ly NOLL, * 7; f ig TR Li Hib Me Ly te eea i UT tuean GQ eranwun BQ anneFRED MORTAGNE ‘Theearlylightisa time for balance the richness of morning life abounds with tone and stark hard contrast; devoid of. shadow at its peak moment of clarity. The late light fires in arush of highlight, golden glimpse of dashing brightness with an almost magical climax. The dally movementof life ‘Through towns, cities and the outdoors brings forth new- ness and life tothe dark grey architecture. The dormant ‘objects ay in walt for light and life to bring them character ‘or expression, while the watchful and patient artist paints ‘his own picture through the visions of his mind and the abilities ofhis physical self to capture such imagery. ‘The final result to be shared with others, the momentary slimpse into another world, inspires the individual to expand his/hersown creative scope..the process tobe repeated forall of time. ‘THE MIXTURE OF HARD CONCRETE and skateboard inghas always been an extremely original interaction, skateboarding having evolved from the coastlines of Cali- {fornia to the streets ofthe urban western world ~ andis now worldwide culture, Where else do we see expres sion dealt out so deadly and ina way that defies rules and barriers of ereativityasit pertains to oneself? Stop it, you ‘know nothing, The youthful and exuberant attack on architecture hits the nail between human and hand made ‘objects right on the head, You have to have lived it to truly ‘capture tn this case ts almost entirely the truth. A per- son having honed his skills capturing skateboard lifeon the streets, via the creative pattern of video, filmand now digital photography, seldom excels and exceeds at all It takes alot of personal sacrifice to fulfil such high stand- ards in multiple formats, but it ean also depend on the approach and the artist's initial goals. Like it when Ihear that photographer shoots mostly on the fy it shows a ‘constant and immediate need to documenta fleeting moment never tobe repeated again. Thesolemn mood of ‘main on his lunch break, or the flashing light bouncing off aaskyseraper, both tell different story but equally com- pellingand clear in message. “ve always been a supporter ‘offilm photography, but admit shooting on digital made ime learn and progress much faster” Fred Mortagne says shout his Leica M Monochrom, ‘The subject of shooting abstract skateboarding would naturally lend itself to other character opportunities whilst out in the eld the idea beingoneand the same with trans formation of character and personal expression moved fromasingle mode of transport, intoa world of everyday life The strength oflines, the classic geometric framing of ‘the old mixed with the new isa timeless subject relatable tomany. Remove the character, and life subsides, remove the controlled or captured flash of ight, andthe magic flattens. I’s this balance of expression and talent that PETER BAUZA ‘What do you think ofthe reporting during the course of the Olympics ~ did it convey a false image? Ofcourse, many reports about the favelas and about the «chaotic conditions there have been published. I think that yy reportage does, naturally, open up people's eyes. The more material that gets published now and the more peo ple try to change those conditions, the better; but, at the ‘moment, it doesn't yet help the Copacanaba Palace squat~ ters. They are completely eut of from the general public, and for the government they don'texist.Sceurity islacke ing. There's no presenceoof the government, there areno health services, There ae some drop-in centres where ‘couple of doctors sit and hand out paracetamol: but there's noreal treatment. During the Olympic Games we saw some hospitals that no longer had enough oxygen machines. That news went around the world. The other side ofthe gold medal - the black sie. ‘Were you struck by any particular life stories? Yes, ofcourse. Seeing Fdilane, for example,on a mattress with her children. known her for some time when took the picture. She was pregnant just then, Lifeisa challenge for her. he trusted the wrong partner so often, always fling fort. Now she has four fathers for her chil- dren, or maybe ‘makers’ would better describe someof them, because time and again she has to struggle through ‘omer own. As though this quasi spocalyptie state is not ‘enough she isn't even able to move into the social apart ‘ment she has right to. She can benefit from the Minha ‘Casa, Mina Vida apartment programme, but even that isn't for free. Small monthly payments of around 15 euros ‘over twelve months have toe paid; but the new complex ‘of social apartments was built in Cidade de Deus, the well- known favela from the movie City of God. A family from ‘one of the drug bands has occupied Edilane’s apartment Tewas made clear toherthat she shouldn't try tomove in there. Isa typical case. Edlane continues to fight, paying ‘her 1S eurvs a month sous not tolose her right tothe apart ‘ment. At the same time she's trying to get an exchange fro the authorities fora home without gangs. was also very moved by Simone’ story. Apart from. ‘many other illnesses, an x-ray revealed that she has tumour. The medical support at the centres in the district leaves alot tobe desired. Simone has been to the doctors there so often, but so far she couldn't be operated on ‘because the wating ists are so long, Soshe lives off tablets snd tries to master hersituation, She works when her ‘health allows her to, Within the four walls she occupies, found ‘Copacabana Palace’ inscribed on the wall. So there are many stories of people, families and individuals bbehind these grey, subsiding walls, 114 Brazil isa country that people immediately associate with colour, and colours also play an important role in your pictures. Did you ever, on the other hand, consider pho- tographing in black and white? [really love to photograph in black and white~a habit from my darkroom days. But no, in the case of Copacabana Palace I never considered it, Editors often thought that it ‘would, once again, be presentinga black and white tory of ‘misery and suffering. While life at Copacabana Palace includes suflering, need and adversity it surprisingly also has colourful side of happiness hope, passion, wishes, collaboration and solidarity At times a pictures shows a glimpse through to another oom, and light sources also draw the viewer's eye to the background. How important is the composition of the motifs for you? ‘Composition has always been important to me. I worked many years onit, With still lifes it's easier of course: you hhave enough time to think about things orto walt for the ‘ight light. in contrast, pietures with people are only avail ablefor a second, I often saw things in advance and let them just happen. The more time you spend with these people, the more familiar everything becomes. You are no longer the observer, the journalist, the photographer. With some shots Tknew: that’ the piture, the feonfe image for the project, and I mustn’tletit slip me by. Such a picture {isthe one ofthe young gitlon the windowsill, The eon position then follows automaticaly. Of course, the many photos one has taken help the process. Loften wished Td had asecond camera with a different focal lengthon. ‘hand. That would have made things easier. ‘Maybe for your next visit? Asa photographer, how hard is itto find closure for a project? Tvenowbeen backin Germany fora while, and Tve con- tinued working from a distance, for various publications and in collaboration with foundations. Of course, miss the people, And when I went back, Iwent out again and then there were additional pictures even though I actualy hnadall the photos T needed. So, itcould go on like that for another five years; but then there's moment when you have to say, “Callita day. ‘You've done it” Ive given them the opportunity to acquire ‘aface and an identity, voice. My next dream is to exhibit ‘the workin Brazil so that the residents can get achanceto tulle with the government. was baekat Copacabana Palace recently, and I didn't even have acamera with me~but ts really hard fora photographer not to take any pictures. Interviews Katrin IwanczukERNESTO BAZANCuba, mon Amour From 1992 to 2006, Ernesto Bazan shared the life, loves and suffering of Cuban locals, before he was obliged to leave the country. Fourteen intense years gave rise to an extensive body of work, where the photographer avoids all clichés to reveal the soul of the country. Ten years after leaving the place he loves so much we talked about hope and feelings, memories and patience. PHOTOGRAPHED WITH A LEICA MG woo 117 eanmn 120 ws“1mademy fst tipo Cuba on cheap week-long ckago tour bought in Mérida, Mexien For many years Thad strony desired Cab, aiflonging fora woman ‘hat youmeet only once and cant et ot of your mind, ‘Fmalmos certain lived therein another lie” Havana, fallof992 wee 12] eeane“never get red of walling Igazeat the constantly changing realty that unfolds slowly and ince sapilybefore my eyes Havana isin tate physi ‘and ments decomposition i distress andaling apart. Degradation iat Bverywhere traces of broken ‘reams and desolation” Havana, November 10h 1992 ww 1240 sane© awen 127 casei wow 131ten 133 ean“Snetines Fi asked when Ibe lnehing my workin Cuba. Usually 1 don’t know what to answer ‘The only thingcertain is that continuo photograph, to ream the slandin na specif direction, simply driven by my itrationa instinct” Camas, Apri sre, 198 wow 134 maneau 1350 ssene«137 sewe 140 ene41 eeeEverytime Heft my only crtanty was that— {wanted to return. Yesterday walking on the Malesén, breathing the fresh sea bree, it dawned upon me that Thad found my root ght here, unconseously sought fer for slong” Havana, November Ith 1995 wen 143 ose“Aforso many yearsof wandering alt the search was over Slellyand Cubs seen to inter- Tock ike tw pieces of ple In my daily snuntering slong th stroetofthisisland myo \sfnally at peace, Now Low why” Havana November 18h 1905 wow 144 eranERNESTO BAZAN ‘White sandy beaches, colourful rows of houses racy rumba shythms and the legendary mojito ~ these make up the carousel of classe clichés that seer to define Cuba. Bazan’ pictures allow us to ge off that merry-go-round, The photographer has dedicated his life and soul tothe island state in the Gulfof Mexico, Between 1992.and 2006, he spent what he considers was the most important time of his life there. Thanks to his Cuban wife, her family and his particular sensitivity, he gained an intimate glimpse into the world of the local - their dally lives, their sorrows, theirjoys, their efforts, The photographer reveals the action inthe streets and the country’s agricultural industry up ‘lose, unadorned and from unusual angles. ‘With great sensitivity, mest Bazan reveals what ife {inthe towns and the countryside ill about, placing his, patiently collected reflections on the essence of human existence atthe heart of his black and white photography. ‘Bazan was a part of Cuba. He remains so today, thanks toa conviction favoured with spirituality. With his kalei- ddoscope of light and shadow, and every shade in between, hhehas created a unique landscape ofthe soul, that is efort- lessly elevated beyond all space and time. ‘The series presented here is an excerpt from Bazan Cuba, the first part ofa trilogy about the sland state, which {s self-published. After ten years absence, the photographer was able to rerum to thislocation, Now he offers insight into how this work came about. When itcames to Cuba, you get very emotional. You call your longterm projecta “love affair”. In Bazan Cuba, there isa quote saying “Ihad strongly desired Cuba, as iflonging for awoman that you meet only once and can't get out of your mind” Isn't your wife jealous? (Laughs) Shes very generous! I was living there for four> teen years and eouldn' get back for anotherten. The connection isstill strong [felt at home the moment Tgot to Cuba forthe first time, Cubais home to me. It's the place where we raised our children and started a new life. msure must have lived there in another life! ‘You returned from your visit just a couple of weeks ago. How wasit? Tewas dificult forme to return. Iwas there for twelve days, after more than ten years, It was avery spiritual experi ence ~ithas to do with why [became a photographer. I's like dream: who isthe voice behind it? T'sall eonnected. As grow alder, 'm becoming more spiritual ‘What has changed during your absence? Outside the bubble very ttle has changed, ut yet the coun- ‘uyisdifferent in terms of the economy:itis easier toset ‘upyour own business. Informer timesyou couldn'tbea taxi drives, your car would have been confiscated and you ‘would have had to pay high fees. The culture has become ‘more pragmatic. That made things slightly better. Its step into the right direction, How did ital start? What does Bazan Cuba, which ‘was published in 2008, and what does the country itself ‘mean to you? You lived there from 1992 until 2006. ‘The book represents the first part of what has become my ‘Cuban trilogy; which also includes Al Campo, an in-depth poctie view of my Cuban farmer friends’ simpleand hard life, that I shot in colour, and sla, more metaphysical and subtle vision of the island Tlove so much, where T used panoramic format. While living and photographingin Cuba Thad no idea that Iwas creating a photographic tril+ ogy. Islowly started realizing that after we left the island in 2006, Because Cuba means such alot to me, Lalways ‘wanted to spend time there, not only as aphotographer butalso as ahuman being Why is this Cuban series still so special to you? I’sa combination of three things First: me being a hunter, looking for something to capture, which sounds alittle violent, but I definitely don’t kil laughs). I'm even more like a fisherman. You don’t know what you're getting. Second: photographed my family: ita very delicate thing totake pictures of people you know. And third: the book: has chapters. One of them is about the country side. Iwas concentratingon the farmersonce we became close. feel blessed to have been given access. We had agood rit- ual: 1a bring abottle of rum, some food and elothing. ‘wouldn't just take pictures, but give something back Please describe your visual approach. How do you develop you visual language? Does it change? ‘My work method is simple: when I finda place that reso- nates within me, begin to work there for a very long time. [in Cuba T spent more than a decade. Thanks to my own ‘workshops that I created in Cuba in 2002, 've been able toreturn to the same exact locations for seventeen years, such as the Sacred Valleyin Peru, the Day of Dead cel- ebrations in Oaxaca, Mexico, the State of Bahia in Brazil, and the Easter celebrations in Sicily, among many others Being able to return to each ofthese places to teach my students, year after year, has given me the unique and. priceless opportunity to probe these soulful mierocosmos. ‘My visual language develops at its own pace, with no set agenda. simply gt toa place and slowly my sensibility Jearns to adapt and respond tothe stimuli my internal eye receives and responds to. >ERNESTO BAZAN ‘How do you adapt to the environment? Is it easy for _you to get close to people, orare you shy? Not shy at al. think photographers are like vultures. Tike to say that I'ma “delicate” vulture, Along with my students during the workshops, we try our bestto give something back to our subjects whenever we can, by ‘bringing back pictures, buying food, ving bit of money. ‘The relationship becomes more equal and people are appreciative of what we give back, ‘Your images offer beautiful insight into the life and living, not only of people in Cuba, Your workis more universal. How do you manage to do that? ‘The only rational answer Tan gives that, since my wifeis, (Cuban, [started by being there from the inside, Becoming an insider allowed me to seea Cuba that only afew photog- raphers were allowed to see. spent fourteen years there! ‘This workis not about strangers, some people are part of iy family, othersare farmers Ibecame friends with, ‘Even though the pictures qualify as street photography, they are intimate pictures, “soulful microcosms”, is ‘how you like to call what you capture in them. “This might be what makes the difference tothe myriads of other photographers. Inced to get under the skin and ‘capture the essence ofa place ora people. This is whyTItke Robert Frank's work. When he takes pictures, he is nat ‘only photographing. His workis alsoaprotocol ofhis inner view. Its reflection and a mirrarat the same time, ‘Doyou link your photographs to political statements? Da you thinkcof a certain message in your images? {don't take pictures consciously thinking ofthis. Some Images become interlaced with politcal undertones natue rally. No preparation, only carry my eamera when I'm, taking pictures. !normally just go out and get lost in the place I want totake pictures of, ‘You photographed this series in black and white. It'sa ‘good way to avoid clichés that are connected with Cuba. ‘What does black and white photography mean to you? 1 fee1 its more congenial tomy way of looking at life, ut also love colour and plan to shoot more in the future. Once | started shootingin colour, I started acting and reacting ina different way: Iwas able to do more close-ups or still lifes. ll ofa sudden, realized T needed to combine them together to produce apostic thread, It's clear thatthe black and white workis more gutsy, it comes from the inside ‘The use ofcolour taught me something important: there is poetry everywhere around us. The difficult thingis to become aware ofthat. Speaking of poetry, inthe preface of Bazan Ciba there isaquoteby Rainer Maria Rilke, taken from his writ- ings Briefe an einen jungen Dichter Letters to a Young Poet) from 1903, where the poet describes the begin- ning ofa ereative process as being patient. Thelieve that the key toa meaningful existence istobe ableto be patient, to wait, ifyou are lucky, for the good ‘moments that life might bestow upon you. I dedicated fourteen years of my lf ving and photographingin Cubs with no other intention than to follow my destiny. Its great gift thatthe work slowly spreading around the ‘world, The publication in your magazine is part ofthis new journey’ Patienceis truly everything! In Bazan Cuba you make use of handwritten diary pages and also contact sheets ~thisis very artistic and innovative. You developed the layout for the book. together with your students. Once we left Cuba for good in 2006, knew that abigchap> terof my life was closing and anew one was opening up. realized the time had come to self publish the images taken over fourteen years going around the island mostly for myself Iwrote alettertoall my students asking them tohelp me not only to raise the money toself-publish with BazanPhotos Publishing but also tohelp mewith the creation of the entire layout and sequence of the book, the cover and all the different aspects involved in making ‘abook. I's what Ilike to describe as “choral editing” How did you compose the series for Bazan Cuba? Please tellus something about the edit. Hike to say that editing your own works each photogs pher's Achilles’ heel, in the sense that we are too close tobe able todo a tough eit, because we are too emotionally attached toourimages, Once I fel that ve got the founda tion ofabook, begin sequencing the images on a magnetic board using magnets tohold the picturesin place. I takes :me two years to come up with the sequence. Leompare itto.composinga music score in which different tempos playarolein the making ofthe whole piece. What is your favourite picture from Bazan Cuba? ‘The cover image of the book! (see page 144) Iwas able to capture three different things in it. First the sense of move ‘ment, Many Cubans are forced to move outof or within their country. Second: this ten year old boy could be me. Tike that [ean see myself and also the Cubans. Third: ean see how the boy feels about himself. Ican see the boy Twas and Tcontinue tobe. Interview: Carle Susanne ErdmannOT aaa EYAssumptions The people Giovanni Del Brenna photographs on the streets of Paris appear to have no faces. They do not even know they are being photographed. With this approach, Del Brenna is dealing with his own, and our, ignorance in view of the social masquerade playing out in public spaces. He focusses on the clothing and other clues that lead to speculation about the individuals. PHOTOGRAPHED WITH A LEICA M240 wen 149 cosewy 152. esneau 153 ssnSeat “< a= Wawa rs 3, tem . eyae 160. sn4 16] esewean 165 scseeian 167 ane2 swean 17Q waneGIOVANNI DEL BRENNA ‘They say that the eyes are the windows of the soul. They are, at least, what males us think we are linked to some- ‘one, an experience common to painting and photography. Rembrandt's melancholy gaze asan aging painter seems to follow us as we walk the room in the Rijlsmuscum, Steve -MeCurry’s Afghan gir, Diane Arbus's startled twins, stare ‘back as we stare. This exchange replicates that ofthe artist and his model, It is, in John Berger's words describing the experience of drawing portrait, “asf (he model) was sending something out to meet my aim.” We are hooked. BUT GIOVANNI DEL BRENNA has chosen toturn the ‘convention on its head and has wondered: what happens ‘when the photographer shoots with his subjects being mostly unaware? How i it possible to portray a person. from the back? What remains oftheir individuality ifthelr face is excluded from sight? What can we read in their posture, the colour and texture oftheir clothing the cut and colourof their hair Gaft white or aggressive red), the leet Ing gestures oftheir hands, the position oftheir feet? ‘Asoltary person seen from the back constitutes one of the major themes in Romantic paintings, asin the famous ‘works by Caspar David Friedrich Wanderer above a Seaof Clouds or Woman Looking at Sunset (both 1818). But Fie Adrichs models are posed within nature, not in city street, and they are little more than a silhouette, rendered in planes of dark colour, In Vues de dos (1981), Edouard Boubat has explored {feminine beauty as sen from the back, focusingon women’s ‘nur, backs and necks. His photographs are gentle and yri- cal, apaean to women's beauty. OTHER PHOTOGRAPHERS have also explored what happens when there is no exchange between photogra~ pphor and model: for instance Walker Evans in his famous series Many Are Called, shot in the late1930s in New York's subway, offers glimpse into the unguarded momentsof Depression-era Americans. Evans chose tohide his camera and shot through his coat’ buttonhole. In the weary, ‘haunted, tired, sad or aggressive gaze ofhis subjects resides ‘the illusion of reciprocity. What Evans's unwitting models have in common with Del Brenna'simages is that they are unaware ofbeing photographed, and seem wrapped ‘upin their own solitude. But Del Brennas inspiration may also have come from ‘Lee Friedlander’s 1960s slightly surreal image ofa blonde ‘woman with a fur collar, the photographer's shadow, with its spiky hair, projected on her coat asifona make- shift sereen. This image was shot in New York; and itis probably in New York, in 2002, that Del Brenna’ idea for ‘his Paris series originated when he started to photograph 172 witha fash isolating details of people: hands, feet, back of heads. A striking picture ofthat period shows close-up ofablack woman’shand holding a half-smoked cigarette, strongly contrasting wth the looped yarn texture of her redjacket Inhisrecent Paris series, shadowsare as important asbodies,and everyday things, discarded, abandoned ‘or waiting fora pickup, take onan important role: two baguettes left ona pavement grate; abag of rubble belted with an orange plastic t ‘These are portraits of things. They have the same compact presence as his images of people metal tie om a tree's bark. ARE PEOPLE OBJECTS? It seems, at least, that they are photographed inthe same way: the passers-by whase social class may be guessed from their clothingand aeves- sories. Textures, colours, shadows take on a vivid life oftheir own. Plastic and leather, fur and vinyl, linen and nylon, hair, necks, bejeweled hands, youngor wrinkled, nails polished or bitten raw, torsos thin or fat, feet encased inboots or high heels. Are they getting away, are they hiding? Some sort ‘of menace, of heaviness seems to Weigh on ther, Theit silhouettes are compact, almost compressed. ven though, after the 13 November, 2015 Paris attacks, Del Brenna noticed some changes in the city’satmosphere ~ numerous security alerts on the subway, tensions and {ear ofpeople perceived as Muslims ~ he says that is pho- tographic approach did not shift asa resultsbut he started his project just a month before these attacks, and Iam left wondering. ‘And maybe it is this very sense of wondering, this uncertainty, that feeling of mystery, of something that ‘exceeds wor that best defines Del Brenna’s photography. Imagesare a question mark they interrogate appear ances, twist our usual perceptions, and leave us full of ‘quizzical doubt and open questions. Like drifting islands in acity ofbriek, glass and con- crete, a Paris devoid ofits traditional history and grace, his subjects walk away from us clutching their loneliness like an oversized purse. Carole Nagear ha worked asa writer, poet and photog- ‘raphy historian. Her books inchde biographies of George “Hodger, Werner Bischafand David ‘Chim’ Seymour.PHOTOGRAPHERS JOSE COLON CLAUDINE DOURY “The pilgrimage to EI Rocio reveals where Tcome from.” Colin was born in 1975 near Seville, barely 100 kms from El Rocio. In 1998, after saving up for ayear, he Joined abeginners course atthe international photog- raphy school, the curriculum, he left six months later and became a self-taught photographer. He studied every photo book he could ly his handson, visited every photo exhibition {in town, listened to presentations and attended work- shops. In2014, together with Manu Brabo, Fabio Buceiarelli Diego Ibarra Sinchez and Guillem Vall, Colén founded the online magazine, MeMo~ Memory in Motion. The platform allows the photographers {involved to present their reportages and projects according to their own criteria, enhancing them with ‘multi-media elements. Coldn'sreportages focus on themes of migration, social injustice and, time and again, faith. He lives in Sevilleand Barcelons, iar, in Barcelona, Dissatisfied with Leica Ms José Colén sea Leica MOwith the ‘Sommilux-M 88mm /14Asph to photograph the Pilgrimage andthe festvitiesin EI Rocio 175 “T'm interested in the world of adolescence because itis situated at a turning point in life.” ‘Though originally a journalist, Claudine Doury has been dedicated to long-term project for many years now. Usingsubdued colours and poetic images, she deals with {questions of memory and transition in particular that sensitive turning point between childhood and puberty Doury has received a number ofawards,ineluding the 1999 Le Dsear Rarnack Award forher work Peuples de Sibérie, and the World Press Photo 2000. In 2004 she received the Yann Arthus Bertrand Award, as wellas the Prix Nigpee. Her photographs can be seen allover the ‘world in group and solo exhibitions, as well as important collections. Doury is represented by the Galerie Particu- igre in Paris and Brussels, and has been amember of the VU" Photo Ageney since 1991 LEICA ME Claudine Doury photographed the Atk ‘Summertime on Crimea series, with her analogue i the Summilux-M 85mm f/.4 AspPHOTOGRAPHERS. FRED MORTAGNE PETER BAUZA “While filming I discovered new perspectives that could enrich my photography.” “It’s the people who opened their doors to me. 'm aware of having a certain responsibility.” Knownas French Fred’ Fred Mortagne is skate boarder, videographer and photographer born in Lyon 1975, who enjoys international acclaim thanks to his skateboarding video documentation. His photographie style emerges from his experiences on a skateboard: skateboarders see their surroundings as an obstacle ‘course that needs to be conquered. In particular, urban settings offer opportunities to experiment. This isthe Dackground to his unique, exclusively back and white imagery. This series is takon from Mortagne’s book Attraper au Vol Catch in Flight), released by Um Yeah Books in October, 2016, which covers his creativity from 2000 to 2015. His works has been shown in numerous solo and group exhibitions. Asa foreign trade salesman, Peter Bauza, 57, travelled ‘rogularly thoughout Purope, Africa and South America Born i Dsceldorf, he has been livingin Latin America forthe last 20 years, where he also travels extensively for his new eareer, having turned to professional photogra phy. His particular focusis on social and geopolitical themes. fluency in five languages makes it easy for ‘him to conneet with his subjects, such asthe squatters ‘at Copacabana Palace, the unfinished buildings on the outskirts of Rio, where, in addition to taking 25000 pictures, Bauza carried out numerous interviews. A selection of the images were recently on display at the ‘Visa pour mage Festival in Perpignan, where his work received the Arthus-Bertrand Visa dor 2016, His book, ‘Copacabana Palace, was published by Edition Lammer- Inuber in August 2016. He is represented by the Teallan Echo Photojournalism Ageney. LelcA M MoNocHROM -Mortagne photographed Attraper au Volwith the SSummieron-M 28mm and 8mm /2 Asp as wells the ‘Apo-Sumumieron-M 0mm 1/2 Asph 176 Lelea M240 Upelose-at Copacabana Palace, Bauza worked with an Elmarit-M 2imm 172.8 Asph an mart M-28mm 728,00, ‘Summilux-M 6mm /.4and an Summarit-MS0mmf/25.PHOTOGRAPHERS ERNESTO BAZAN GIOVANNI DEL BRENNA “Photography means to capture the poetry of life, the essence of our emotions.” “T love photographs that give free rein to the imagination rather than the ones that impose agiven story.” Ernesto Bazan, born 1959 in Palermo, Italy, became photographer thanks to adream. He received hisfirst camera when he was fourteen years old and began pho tographing daily life in his native city and inthe rural areas of Sicily. Photography has been more than a pro- fession tohim, it isa mission in is life. Bazan studied atthe School of Visual Arts in New Yorkand graduated with a BEA and a Major in photography. His workchas been exhibited in Burope, Latin America and the US, 1n2002, Bazan ereated his own photographie work shops providing special emphasis on Latin Ameriea. tn 2008, he founded his own publishing house, Bazan Photos Publishing. He has published several books, including his trilogy on Cubs, ‘Though born in Genoa in 1974, Giovanni Del Brenna never lived there, but was brought up instead between ‘Rio, Lisbon, Lille, Paris, Naples, London, Rome and New York. After studying Mechanical Engineering in Milan, he decided to dedicate his life to photography, studying Documentary Photography at the International Center of Photography (ICP) in New York, from 2001 to 2002. After that, he spent two years working asan_ assistant to James Nachtwey, was a member ofthe Grazia Neri Ageney and took partin workshop with Eddi Adams, before leaving New York fr Tain 2008, In 2010 hehecames member of the LUZ Agency, and his pictures appeared in international magazines His frst photo book, fbidem, was published in 2014 and included works created over ten years in various metropolises around the world. In 2015 he moved to France, and in October beyan the Paris project presented in this issue Lelea ME Eresto Bazan photographed Bazan Cuba with ‘Sumumieron-M 28mm {/2 Asp, Summilox-M 35mm {4 Asph ‘anda Summihox M SOmm{/1.4 Asp. 177 Le1ea M240 Giovanni Del Brenna used the Sammilox M. 85mm /14 Asphand the Sammi M6Omm /1.4Asph {or his Pars projec.IMPRINT MAGAZINE, ‘Special lion Leica Fotograie international ‘Thirdyear—Iesueo2 2016, LPIPHOTOGRAPHIE GMBH Springeltwiote 4, 20008 Hamburg, Gormany Phone +49/0)40/226211260 Fax +49/(090/226211270 IssN0087:2077 wwe t-ontine de Etta mail@ls-online de EDITOR-IN-CHIEF avrHoRS Inas Fayed, Frank. Lahstater Christian Canjlle, Carole Nagar, Geof Rowley Luisde Vega ART DIRECTION ‘Brigtte Schaller PuoTOGRAPHERS Peter Bauza, Ernesto Bazan, DESIGN (Glovanni Del Brenn, José Colén, Alessandeo Argento / Deputy Art Direction Choatne Dury Peoria EDITORIAL OFFICE ‘TRANSLATION (Caria. Brdmann, Katrin fwaneruk, ‘Anne Saupe, Osanna Vaugha, Bernd Lusa, Simon Schwarzer OlafStefams, ‘Katrin Ullmann PHOTO EDITOR ‘carol Karting ‘Reproduction: Alphabeta Gabi, Hamburg MANAGEMENT BOARD Printer: Optinal Media Gabi, Rabel / Maite Prank Lobster, Anja Ulm Paper IGEPAProfimatt Allartclesand illustrations contained in the sagitine ae subject ta copyright law. Any use bepied ‘the mareow limits dlined by copyright la, and without the express permission of the publisher, {sforbidden and willbe prosecuted Leica ~ registered trademark “Lees Order Number: 91867 M ‘TheM Magazine isalsoavalableas an app atthe Apple Tunes store (08) and at Google Play and Amazon (Android). wwe magazine photographyLEICA. DAS WESENTLICHE. i Bio sa feet his‘ me ft Cea @ LEICA - HANDCRAFTED QUALITY The fine art of precision engineering made in Germany. Leica hasbeen making history for dacades - with cameras that have always been ahead of thei times. Ts ly. 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