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Name- Franklin Obregon
Age- 24
Where are you from?- Born in Caracas, Venezuela. Raised in Richmond, VA.
Your equipment- Olympus Stylus Epic for the most. Nikon dlsrs, Mamiya c330, Fuji Instax, Canon p&s other times.

Influences and photographers you like- Influenced by everything that I consume. All that I see, eat, hear has an effect on what I shoot and how I shoot it. It's all an attempt to encapsulate the feeling of the moment as to not forget. I have really bad memory so being able to look at a photograph and remembering how happy/sad/etc I felt at the time is key.
Photographers that I enjoy are Patrick Tobin, Noah Kalina, Jonathan Leder, Ana Kras, Lina Scheynius, Pierre Wayser, Martin Parr, Chad Moore, Chip Willis, Dimitri Karakostas, Lukasz Wierzbowski, and Michel Comte.
A little about you- There is a divide in the work that I produce, film vs. digital, the look and the overall effect. The film stuff has a narrative because it's essentially my life. I like film more because of the grain, the tonal range, and the fact that I won't really know what a photo will look like until I get it developed.
The digital is a once-in-a-while type of thing nowadays. The digital stuff that I shoot I feel is more clean, creamy. It's a whole different monster. Usually it's mostly used when I'm shooting models.
I am in the process of putting together a couple of new zines. I have one out now thru PogoBooks. Go check it out.

franklinobregon.net/
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ALL PHOTOS BY FRANKLIN OBREGON

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Name- Ada Hamza
Age- 27
Where are you from?- Ljubljana, Slovenia
Your equipment- Olympus XA3, Olympus mju II, Chajka, Nikon F801...
Influences and photographers you like- I'm influenced by many things, from French New Wave to graffiti artists. Photographers I like the most at the time are definitely Aurélien Arbet and Jérémie Egry, Mark Peckmezian, Hasisi Park, Bobby Doherty, Ana Kraš, Katarina Šoškić and many other talented young photographers.
A little about you- I really really need to finish my law school.

Flickr page
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ALL PHOTOS BY ADA HAMZA

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Name- Adam Revington
Age- Born in 1990
Where are you from?- London, Ontario, Canada
Your equipment- Nikon EM, Nikon Lite Touch Zoom 120 AF.
Influences and photographers you like- Watching films, and thinking/writing things over helps. I enjoy the works of Dennis McGrath, Nan Goldin, Ari Marcopoulos.

A little about you- I'm going to school for film.

cargocollective.com/adamrevington
Flickr page
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ALL PHOTOS BY ADAM REVINGTON

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The smell of fixer is one of my oldest memories of photography and my dad’s Nikon SP and the black Besseler enlarger would eventually become part of my own path into photography. Robert Levin was a writer at heart, and didn’t flatter himself with comparisons to the pros of the day, who happened also to be his professional associates and friends, but took some pleasure in his creations. As an editor, he assigned Henri Cartier-Bresson to photograph Dr. Anthony Pisicano, a local Long Beach pediatrician, and the Frenchman visited or house. Weegee passed by the house once, and Life’s Bill Ray photographed our family for a Life Magazine. Bob’s photography books were among my earliest photographic influences, although the truth is that I came to photography in my 20’s, and that his friendship with Howard Chapnick of Black Star, who also lived in Long Beach, was a major door-opener for me.

When my father passed away in the early 70’s I was given two large boxes by his secretary at Redbook Magazine, containing thousands ofj prints, negatives and personal papers from his childhood in the Bronx, where he attended Dewitt Clinton High School amd eventually the City University of New York and then Columbia. Like many of the upwardly mobile Jewish families living in the Bronx, the Levins had begun a slow migration to Long Island. For Alfred and Frances Levin and their two boys, Long Beach was the preferred summertime residence. Alfred was a jewelry salesman, first travelling in the South and than opening up his own business in the Jewelry Exchange on 47th Street. America was both affluent and expanding, and young adults were mobile and interested in things like Kodak Brownie cameras, which were extremely popular and easy to use, and made photography available to the growing American middle class. The first section of pictures taken in Long Beach, of Bob and his friends were made with one of them.

Robert served in the military during World War II as a writer for Stars and Stripes, the army’s newspaper. But he returned to Europe after the war with my mother, Martha, and spent a year, writing and photographing extensively, this time with a black Rollei twin lens reflex camera. These photographs are among most interesting, moody still-lifes and landscapes, often inspired, or so she jokingly insisted, by the direction of my mother, who had studied art history, and considered herself to have the finer eye of the two. In fact, she took full credit for his ability with the camera.

After returning to New York, Robert freelanced as a writer for men’s magazines like Pageant and Coronet, writing detective stories and doing interviews with celebrities like Elizabeth Taylor and Jacqueline Kennedy. The young couple lived in Long Beach in a rented apartment, and looked foward to a bright future in a country of expanding opportunity. I was born in New York City in 1950, and with my sister Peri followed two years later Before settling in and buying a house with a GI Loan, my parents decided to return to Europe, and the four of us we sailed off to France pn the Liberte. We lived in England, France, Spain and Italy, and my dad continued to freelance for the men’s magazines. typing off manuscripts and mailing them off to his editors in New York. By this time he had purchased a Nikon 35mm camera which had become the rage in photography and was aware of the work of Cartier-Bresson, as he was of the progressive writers like Jean-Paul Satre, and of course the American Henry Miller, and in our little family he had a opportunity to document what was a very idyllic and transformational time. He liked street photography, but some of the most compelling images are clearly of his own family. I don’t remember him posing any pictures, he was definitely a bit of a lurker. He rolled his own film, and developed much of it in a portable darkroom.

The family returned to Long Island so that I could begin school. We bought a Levitt house in Long Beach, and eventually Bob would take an editorial position in Manhattan at Redbook Magazine and commuted by train or car from Long Beach. The photographs from this time period are less candid and more representative of special events, a school play or graduation, or a family gathering. Eventually he was able to purchase a larger home in nearby Lido Beach very close to the water and it is here that the photographs tapered off. A divorce, a new life in Manhattan, made photography more of an afterthought, and less of a passion. There was less time, and certainly much less time for the family on Long Island.
What has become clear to me, is that the camera and the photographs of the family represented a vision of what family life was supposed to be, rather than the reality of what it was, or what perhaps what my father was.

My own career as a photography, if you could call it a career, has roots in the work of my father’s pictures. My comfort about the camera, came directly as a result of its presence as an indicator of love. I started with the Nikon SP that was used for all of his European work, although by this time the SLR had become the magazine photographer’s workhorse, and I quickly gravitated to the newer cameras, for better or worse, and the eventual assignments that took me all over the world and allowed me more success than I ever thought possible as a professional photographer.

But looking back at my father’s pictures, what impresses me most is that some of the most meaningful images that we can take are of things that are of our families, our friends, our communities, and the moments of our lives that are worth preserving. All photographs are proof that something happened and a way to mark our time as we live our days, one at a time. The increased volume of images, from cell-phone cameras, digital SLRS and the like as easy to use as they are, doesn’t really change the reason for using a camera. And I can only wonder what the children of today will see forty years from now when looking back
at the images taken by their parents. Will they be nostalgic for the 2010s? Probably so,

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Name- Yosigo
Age- 29
Where are you From?- Im from San Sebastian, Basque Country. Now living in Hondarribia, a small town in the north, 5 minutes from France.
Your Equipment- Contax T3 and Nikon FM2 (35mm), Mamiya 7 II and Yashica Tmat (medium format), Polaroid SX 70 and Canon Eos 5d Mark II.      
Influences and photographers you like- Stephen Shore, Joel Sternfeld, Alec Soth, Martin Parr, William Eggleston...Spanish photographers I like: Xabier Ribas, Ricardo Cases, Joan Fontcuberta...Friends with talent: Salva Lopez, Ana Cuba, Emil Kozak...
A little about you- I work as a graphic designer. I have been shoting for years in digital, but time ago come again with film. I run a personal project in a diary format where I upload photos made with the Contax t3 about feelings of my daily life. Things, moments, places and people that have given me any kind of emotion. I love my city, San Sebastian, you have mountain and beach in the same place. Also I support Real Sociedad, its our team of football. we have spent some years in second division but the last year we were back to the spanish premier.

Flickr page
yosigo.es
yosigo.es/blog/
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ALL PHOTOS BY YOSIGO

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Robert Moses Beach iPhone

Lately, I’ve been hit with the photography bug. It usually happens to me once a year. It goes something like this: I get the bug, I research cameras for a week, I buy an expensive camera, I use it non-stop for a few months, the bug goes away, I sell the camera.

I’m a gear head, so when I become obsessed with something I immediately try to find all the best gear that I can get my hands on. It’s good because I get to learn and experience new things, but it’s also bad on my wallet. And when it comes to photo gear, there’s no stopping me.

Until recently.

After countless cameras, and years of searching for the perfect camera that would push my photos to the next level, I’m now a firm believer that the best camera is the camera that you have with you. Yes, a Hasselblad H4D-60 will blow any other camera away, but you don’t see many people in street with a $42,000 camera hanging from their necks.

I hated lugging around a big ass body, with a big ass lens and a hood attached to it. That was the primary reason why I would stop shooting: I didn’t want to carry around all that stuff. I used to carry around a Hasselblad 503, with a prism and metal hood. The damn thing weighted a ton—and it sure captured some amazing photos—but after a few hours of carrying it, I wanted to throw it in the garbage. I hated that feeling because it ruined the moment and eventually led me to feel unmotivated. The tool was getting in the way of my creativity.

Now I just shoot with my iPhone 4. I already carry it around, and the built-in camera is pretty damn good. When I see an interesting shot, I just pull it out and snap a photo. The joy and spontaneity of shooting is instantly back. I would love it if Apple added some advanced features to the camera app—like shutter and aperture control—and I do miss me some depth of field, but overall the phone produces some fine images.

I think I’ve achieved some good results with this little camera. I took the photo to the left with my iPhone. This guy did a fashion shoot with an iPhone 3GS. Granted, he used a great lighting system, but the images are still impressive. Check out these folks who took a great looking shot with a Canon Powershot SD630 and some basic lighting. Professional fashion photographer Terry Richardson does entire shoots with a Yashica T4 point and shoot and the photos look great.

Don’t get me wrong, it is much easier to produce a great photo with high-end camera. That’s why it’s even more impressive when a great photo is taken with a lower-end one. The talent truly shines in that case.

My point is, in any creative field, the tool isn’t important. It’s what’s behind the tool that counts. So, don’t stress about getting a Canon 1Ds Mark III or the latest version of Photoshop. Just create.      

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Name- Lucie Camp 
Age- 18 
Where are you from?- A small town outside of Boston. 
Your equipment- My uncle's old Nikkormat EL. 
Influences and photographers you like- Marlene Marino, Eleanor Hardwick, Olivia Bee, and so many photographers on Flickr. 
A little about you- I think life looks more interesting through a lens.
Flickr page
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ALL PHOTOS BY LUCIE CAMP

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Interviews and Talks Finbarr O’Reilly : Congo on the Wire (Cbc.ca: May 2010) Audio slideshow narrated by O’Reilly  on his Congo exhibition in Toronto

Features and Essays - Paolo Patrizi: A Notorious Fact of Italian Life (Bite! Magazine: May 2010)

Features and Essays – Bieke Depoorter: Trans Siberian Living Rooms (Bite! Magazine: 2009)

Photographers - Bieke Depoorter : website

Features and Essays - Masaru Goto: Thailand Divided (Photographer’s PhotoShelter archive: May 2010)

Features and Essays - Boston Globe: Protests turn deadly in Thailand (Boston Globe Big Picture: May 2010)

Features and Essays – Pete Souza: Obama White House March – April 2010 (Flickr: May 2010)

Articles - PhotoShelter: 10 Ways a Photographer Can Improve Business By Trusting Their Clients (PhotoShelter: May 2010)

Tutorials – MediaStorm: MediaStorm’s Guide To iPad Compression for the Web (MediaStorm blog: May 2010)

Grants - PhotoPhilanthropy Activist Award : Deadline 1 October  2010

BlogsErin Trieb

Tutorials - Stock Photo Rights : Helpful information about copyright and licensing stock imagery (Stockphotorights.com)

BooksPrinting in-public’s ’10′ book by Nick Turpin Publishing (Vimeo)

Photographers - Yohan Bonnet : website

Equipment - Nikon D3S Presents Baryshnikov by Seliger (Nikon USA: 2010)

Equipment - BJP: Leica Redesigns Its Summilux-M 35mm Lens (BJP: May 2010)

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