Credits
Photography NADIA RYDER
Fashion NIMA HABIBZADEH and JADE REMOVILLE
Make-Up KUMIKO ANDO Hair KANAE KIKUCHI
Model LEX from Premier
Designers
My main passion is street photography. On what makes this genre what it is, I’ve heard many sides, but to me, the main points are taking candid photos in public places. The essence is that they are not staged and on touching the emotions point to our existence.
Though not every photo in this collection belongs to the street genre, I feel like my relationship with it has influenced every image. They are the result of observation, of interpretation, and rely on impulse to the point where having a camera with me is a permanent practice. Even if I don’t take a photo for days, the greatest lesson street photography has taught me is that the best time behind a camera always comes with I least expect it.
Credits
Photography and words ERIC KOGAN
www.erickogan.com
www.instagram.com/erickogan
I moved a few years ago to the suburbs. Right away, I noticed lots of classic cars in front of houses and in repair shops near my house. I suppose I began to shoot them because I found them so romantic. When I see a classic car, I am reminded of old movies and TV shows. You can see all kinds of possible adventures in these vehicles which I can’t yet imagine in more modern cars.
All my photos I see and shoot while on the street. Right now, during this virus pandemic, I am still walking and shooting cars on my days off from work. Only the most abandoned cars are left now in lots, and I love to imagine the life that they once lived.
Credits
Photography and words BETHEL DUDT
www.betheldudt.com
www.instagram.com/beedotvon
At Summer’s end my wife and I packed up our Brooklyn apartment and drove north. Congested highways gave way to windy, forest-lined roads. We were trading in the bustle of the city for a slower life, upstate. The skyscrapers and swarms of pedestrians that have become such a motif in my photography were being replaced with rivers and waterfalls, barns and abandoned buildings. I wondered how my work might change now that there wasn’t as much action. I was prone to looking for subtle, relatable moments in the midst of madness.
Now there wasn’t madness at all. In quite a welcomed way, there wasn’t much of anything.
It’s a new story to tell.
One that’s vast, quiet.
One that feels like home.
Credits
Photography Niklas Bergstrand
Fashion Lani Elisé Dafter
Creative Direction Mateja Duljak + Lani Elisé Dafter
Make-up and Hair Marta Tayanouskaya
Discover more from this editorial in the Empowerment issue
Designers
I started with painting portraits. I learned how to mix colours, how to paint skin, fabric and hair. I have always been drawn to abstract painting, though. I experimented, but it felt like it was too soon, I didn’t know how to begin such a process. There’s so much in it. I like the confrontation in abstract work. It’s a good change of focus for me. I like both, very different, processes and techniques. I can get lost in both just as easy. At the moment I’m more focused on abstract work, because I want to explore more, it inspires me to not know where it’s going. For me, painting is the most obvious way to translate an ongoing pace, the world, its people and environment. It’s my language at the moment, it’s always there.
Designers
Ultimo Paesaggio Siciliano is a visual investigation on Sicily, shot exclusively on iPhone.
It is focused on the symbolisms and clichés that characterise the Sicilian culture, people and landscape.
