205dpiIssue Apr’14

Edward FarleyIllustratorwww.edwardfarley.co.uk

This issueApr’14

We are photographers. Journalistic ones. We document, record and capture anything we find interesting, beautiful or captivating.

Sometimes our stories may seem strange or unusual, but we are the eye behind it all; and that’s what this magazine is all about.

From cakes to paralympics, graffiti to kickboxing, our editorial documentary style takes us around Cornwall, the UK and the rest of the world. Follow us and our collective of photographers as we capture our adventures, our remarkable stories and our everyday lives.

Who are we?

What’ve we been doing?This month is all about experimenting. We’ve got a photographer feature with a bit of a twist in this issue, with John Liot explaining his experiences with kit development. We’ve also been conducting extra interviews with big names who will potentially grace our pages in the coming months.

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Went to Fifteen, one of Jamie Oliver’s apprentice restaurants, to discover the passion behind the brand.

Spent a day at Falmouth Fire Station, observing the incredible hard work the job requires.

DanniHeron

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2.NaomiTurnock

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Introduces us to Nathaniel and Oliver, Plymouth’s personal Superheroes.

LaurenReid

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Talks us through his personal experiences with his essential kit and how it’s changed his career.

JohnLiot

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Went on a journey through Falmouth and beyond to explore the definition of ‘stranger’.

TylerO’Brien

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Travel documentary photo-grapher Antonio Olmos talks about working with hard hitting stories & more.

Feature Story- Mr Olmos

Real talk with Antonio Olmos

This issue we had a conversation with documentist Antonion Olmos. Recognised for his project ‘Landscape of a Murder’, Antonio has a vast portfolio. Mainly covering serious and topical stories, Antonio has documented Northern Ireland’s protests, alongside conflict in Intifada, and murders in the UK. In this interview, Antonio describes what it’s like to work alongside those who have been affected by death and also how he works in dangerous and hostile situations.

“You can work anywhere if you trust not only your common sense,

but also the subjects you are pointing your

camera at.”

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10. Feature - Real Talk with Antonio Olmos

Hey Antonio

With your Landscape Of Murder series, I’m wondering did you ever find yourself in a hostile situation? Especially with grieving friends and family? How did you deal with this?

There were a few times when people were hostile, usually relating to gang murders. Young aggressive males, angry at the death of their friend directed it at me; but I don’t think it was personal. Just anger. 95% of the time people were fine with my presence. I always asked permission from people grieving at a murder site. If they said no, (and some did) most did it politely and I respected that. If anything, I was surprised how most people said yes.

In the Palestine series you captured some incredibly intimate and powerful images. Did you go there with a commission and/or idea of what you wanted to achieve? Or was this more of an observational personal project?

It was my decision to go cover the second Intifada. I covered it for two years, and I was given work by

the Guardian, The Observer, and the Independent. A few magazines in America and Europe also commissioned me. But the work as a whole reflects the fact that, after a few weeks, covering violence becomes redundant. So I started doing street pics and portraits to balance the violence, and I think that definitely helped to make it a more observational personal project.

Within all of your documentary work there is an overwhelming sense of compassion and empathy for your subjects. Which has had the most profound affect on you and why? Or are they all equal in their own way?

I enjoy getting to know people and immersing myself in their lives. I like people, and I think my photography reflects that. Everything I have worked on has affected me deeply. Covering the Newbury Bypass Protest gave me a strong belief that we should take care of our planet. The protesters are way ahead of the curve and decades from now the ideas that the environmental protesters espoused will be mainstream. The Murder

project gave me a much better sense of relationship with the city I live in. I was profoundly moved by the struggle of the Palestinians, and that only could have happened by witnessing it first-hand. I think they are all important to me, and have made me grow not only as a human being, but as a photographer too.

You tackle a lot of sensitive issues throughout your work; the Northern Ireland Marching Season being a prime example. How difficult was it to gain access & trust within the community?

The conflict in Northern Ireland was very interesting to me as I had only been in the UK a couple of years when I started covering it. To me it seemed a throwback to the conflicts that engulfed Europe in the 17th century. My sympathies were with the Nationalist/Republican community but I found the Loyalist/Protestant community much more interesting. They didn’t trust the media but I stood out like a sore thumb with my brown skin and my Mamiya C330. I think they saw me as harmless and just let me get on with it. I always tell people that 95%

11.Feature - Real Talk with Antonio Olmos

13.Feature - Real Talk with Antonio Olmos

Words: Lois Golding

of the people in the world are actually very nice and this is the case in Ulster. The only time I have ever been called a Paki (I am Mexican) was in Belfast. I think history is not on the side of the loyalist community. I think this is why they fight so hard to hang on to their traditions, however archaic and ridiculous they seem to us.

How long did you stay in Newbury during the protest and were there any restrictions placed upon you during these times?

I worked in Newbury for 4 months straight. The only restrictions were police and security guard lines. I spent most of my time trying to dodge the police before they cordoned off an area, which meant guessing where the action was going to happen next and then camping out before the police got there. The protesters always helped me. They were happy for me to be there. The police… less so.

What do you feel the impact of the ‘Landscape of a Murder’ series has been? (see previous page) Was it something you’ve always had interest in documenting?

I hope the impact of “The Landscape of Murder” is to make people think again about their preconceptions of what murder and violent crime is. Most people think of gangs and knife crime when asked about murder in the UK. But domestic violence kills more people than gang violence, and mental health is a bigger issue than

drugs. While London has a low murder rate, inequality is still the biggest factor in the causes. I wasn’t interested in murder per se before, but when a young woman was murdered a few blocks from me, I was intrigued about how my neighbourhood reacted (or the lack of reaction). I was kind of shocked how anonymous that murder had been.

You have photographed across the world in hostile zones such as Afghanistan, but also a lot in London. Have you ever found a hostile environment in a place you wouldn’t always expect?

The only place I could not photograph in my life was Iraq. It was impossible to walk around without the protection of the American Army or British Army. Being a journalist meant no protection. This was the first time and maybe the only time I felt the place was too violent to take photographs. I suspect Syria and Somalia are similar.

But almost everywhere else I have been has been easy to photograph. Even Afghanistan it is possible to work in the streets without the protection of a western army. I generally believe it’s possible to work everywhere. As long as you’re outside of a full-blown war, you can work anywhere if you trust not only your common sense, but also the subjects you are pointing your camera at.

FifteenNaomi Turnock spoke to the Apprentices in Jamie Oliver’s

Fifteen restraunt to get an insight into what the programme is all about.

16. Naomi Turnock

As part of a one day project, I visited Jamie Oliver’s Fifteen Apprentice Programme. Not only did I get to see their successes in the kitchen, I was witnessing how the programme really did turn lives around.

Founded in 2002, the programme trains young apprentices to work in the hospitality industry. It gives young individuals who have little or no future prospects a taste of their own potential.

“I set up Fifteen because I believe young people have untapped talents, often hidden by problems in their home lives. These talents can be freed by passion for good food and meaningful hard work. Fifteen represents the way I would have loved to have been taught myself; it embraces many of the things I love and feel passionate about, not all in the catering industry but

also in friendship and family life,” said chef, restaurateur and TV personality Jamie Oliver.

The apprentices work under the guidance of professional chefs who inspire, organise, direct and ensure the Fifteen kitchen maintains it’s standards. They teach them everything from the basics of kitchen hygiene, routine and order, to preparing and creating outstanding dishes, cooking with the best quality ingredients to produce outstanding food.

One of the apprentices I met said: “Before the course I had been in prison. My mum is a great cook and my Dad was a chef before he died so it’s in my blood. I learnt loads and improved my skills. I discovered new things about myself: that I can deal with pressure, with new situations, and that I can work with all different kinds of people as part of a team. I have

made new friendships that I will never lose.’’

However the programme doesn’t end in the kitchen. A dedicated support team is always on-hand, from the initial interview stage, through to the annual graduation ceremony and beyond. Their individual commitment to each apprentice and insight into the challenges they face, helps the apprentices to cope with issues that could otherwise prevent them from staying the course.

Many of the new apprentices have no concept of routine. Timekeeping, getting up early and putting in long hours doesn’t come easily. Many of those who train at Fifteen arrive with chaotic lifestyles. From the start, they are welcomed into a busy, exciting and supportive environment that demands all their concentration and every bit of commitment.

The learning curve for new apprentices can be huge. It’s not surprising that a lot of these young people need help to adjust. Many have experienced challenges that prevent them from achieving their full potential.

Another apprentice said: “I am living proof of the power of Fifteen. I was one of the first apprentices. Fifteen sorted me out and gave me a trade. I now make my living as a chef.”

Fifteen was the first of Jamie’s charitable initiatives and the first step in fulfilling Jamie’s mission to educate and empower people through food. He seeks to do this through teaching, training and employment. Under the Foundation, there are three charity activities in the UK, the Fifteen Apprentice Programme, Jamie Oliver’s Kitchen Garden Project and Jamie’s Ministry of Food.

17.Naomi Turnock

Words: Carys Barriball

Falmouth Fire StationDanni Heron visited Falmouth Fire Station for a behind the scenes look at everything that it takes to work as

a Firefighter.

22. Danni Heron

There’s someone trapped inside their car after a serious road traffic collision, it’s your job to free them without putting yourself or them in any further danger. These are incidents faced by community fire crews across the nation on a regular basis.

As I was invited to spend the day with Falmouth Community Fire Station, a twenty-four hour emergency response team to the local area, it was clear that their extensive training sessions were invaluable.

The day begins with them practicing the incident above. Shattering car windows without sending glass everywhere and prying open doors and boots to gain access to a trapped and sometimes seriously injured

driver. The knowledge and teamwork of the crew is essential if they want to gain access quickly and safely.

With the exercise over they move on to preparing themselves and their equipment to go into a smoked-filled room, stimulating a house fire rescue. As they make their way through the rooms engulfed with smoke, the realism of the exercise is striking.

However, as the training exercises end and the crew head off for lunch a whole new side of the guys becomes apparent. Despite it’s harsh realities, they are truly passionate about the job that they do. It really demonstrated that it’s not job that’s extraordinary, it’s the people.

“People say to me -‘how do you do it?’

I just say - LOOK”

- Jane Bown

Plymouth’s superheroes

Photographer Lauren reid discovered pLymouth’s supernaturaL crime fighters...

On a gloomy Spring afternoon, I met with Nathaniel Green and Oliver Mason. They are both 19 and spend their free time making amateur superhero films calling themselves ‘The 1st Caped Crusaders’. The pair make and buy all of their costumes and they assure me that it is an expensive hobby. They not only use their costumes for filming but also go to comic book conventions around Plymouth and the surrounding areas.

Nathaniel and Oliver star in all of their movies and ask family and friends to help in filling the other characters positions.They do the majority of their filming around the town centre, in their own houses, even in fields and sheds. When I asked about the people’s reactions to them when they film in public areas, Nathaniel told me “I think people have just accepted that batman lives in Plymouth.”

See their Youtube channel here: http://www.youtube.com/user/The1stCapedCrusaders

28. Lauren Reid

“i think peoPle have just accepted that Batman Lives in Plymouth.”

Why 40 Is The New

50John Liot provides

us with our first ‘Photographer’s Insight’ feature. He explains his

recent personal experiences with the evolution of his

photography kit.

32. John Liot

finally called it a day when I could no longer trust the lens to focus without becoming stuck in infinity.

So I found myself in a tricky situation between paying to get a new 50mm at the aforementioned £250 price tag, or paying to get the original fixed again for about £100. Well, being a student I did neither, because £100 is loads of money and at the time the idea of finally being able to afford a pair of Air Jordans was more enticing than paying to fix something I already owned.

angle on my subject. This decision would be my literal downfall as I slipped off the rock face and into a small rock pool below. Thankfully though, my 50mm broke my fall.

I paid to get my faithful 50mm sent away to get fixed (a process I’d happily describe as laborious and painfully slow), but when it came back it was never the same. Although still useable initially, it didn’t feel as responsive or sharp as it had been. After several months of a constant degradation in performance I

I’d wager that at some point most photographers find themselves in the possession of a 50mm prime lens. For myself, and no doubt many others reading this very article, I adopted the Canon 50mm 1.4 fairly early on in my journey with photography. For what seemed like forever it was the lens I relied on so much for the majority of my jobs and projects. But then one day, everything changed. Being the adrenaline junky I am, during a beach photoshoot I decided to climb up some rocks to obtain a cool

33.John Liot

I knew I wanted to focus more on capturing people more naturally, (that coupled with the fact I don’t know how to pose people, so when they’re doing it for me it’s a bonus).

So the day I receive this lens, I’m walking around London and I notice that because of the semi-wide angle of this lens and the fact it’s build is so short I can shoot from the hip and capture shots of people without them noticing. All of a sudden a new form of photography has opened itself up

relationship I have with this comically small 40mm 2.8 pancake lens is the best one I’ve had with any kit I’ve ever used. My style of photography isn’t to be sly, as a 6’4” gent I find it hard to enter a room without being noticed, and find it especially hard to then take photos without causing a reaction. So I strayed away from candid portraits and focused on work within a studio or posed setting where my presence was as intentional as possible. Aware of how limiting this was for me after a while though,

It wasn’t until a project in London called for me to have a versatile lens that I decided I needed to get something sorted about my lack of a prime lens. By chance, a friend of mine was flogging a 40mm pancake lens for the bargain price of £80. Not having the luxury of renting gear from the stores at this point, I needed to actually outright own a lens so I thought, ‘well that’ll do for now until I can afford to get my 50mm replaced.’

It would come to pass that the

50mm had no trouble dealing with).

So the photoshoot went great, the 40mm performed above my expected perception and worked as well with strobe lit portraiture as with low-light fire lit portraits. With it’s generous field of view I was able to shoot in a much more documentary style for some of the images, capturing a lot of the surrounding area, but then also have the luxury of moving in close for traditionally cropped portraits.

The point of me writing this? For me, the 40mm was more than a handy and competent replacement for a highly rated portrait lens, it opened me up to a completely new style of taking photos and interacting with my subjects. Should you buy a 40mm immediately? I’d like to think anyone could have the success and enjoyment I’ve had if they open themselves up to it, but it’s probably realistic to think some of you may hate the lens. It’s easy to forget sometimes how personal photography is, and that doesn’t always mean personal in regards to what you take pictures of, but how you take those pictures. For me, I needed a lens I could rely on for 9 out of 10 photography scenarios I’d find myself in, and do well in situations I may not have been prepared for. When you have a kit you just feel comfortable working with you begin to take the steps towards mastering it; understanding it’s short comings to utilize it’s full creative potential.

There’s no going back for me at this point, the fun I’ve had with this lens is more than I’ve had with any other single piece of kit, and that’s why 40 is the new 50.

to me. Where as before, if I saw an interesting person near me and I went to take a picture of them, the sight of me lifting a camera up to my eye and then focusing the prominent lens attached was more than enough to have the person change their expression and become aware of my presence. Now though, I was in a position where I could literally shoot from under the person’s nose without them being aware.

Before the 40mm became a part of my standard kit I was so apposed to street photography, most likely due to the fact I couldn’t understand how people got the shots they did and I couldn’t do it myself. Now though, street photography is something I find myself doing as almost a therapeutic activity where I’m taking photos because it’s fun being sneaky and capturing candid moments without people realizing. The unexpected joy of being able to add a new genre to my portfolio would’ve been enough for me to have high praise for the 40mm lens, but it’s because the lens wasn’t one dimensional that I keep talking it’s worth up to everyone who asks. As a self-proclaimed portrait photographer I enjoy working in all aspects of portraiture, mostly for me this involves using additional light sources and multiple facets of strobe photography. Whilst still in London I had organized to do a photoshoot with a local fire performer, the shoot planned would entail shooting with very low lighting and also shooting with strobes. So I found myself wondering how the 40mm was going to handle itself as a straightforward portrait lens. Being a semi-wide angle there was the possible issue of it distorting the image at the corners, (something the

StrangersTyler O’Brien walked

the streets of Cornwall and around, to explore the true

meaning of ‘strangers’.

38. Tyler O’Brien

How do we know the background of these people? They could be strangers walking around a town where most people know each other; or rivals watching a game of hockey.

These few images are from a collection of work which I have recently done titled Strangers. I have been walking around Falmouth, Cornwall, and surrounding areas trying to figure out what a stranger really is. I’ve tried many angles to approach it, from spending a day in Falmouth sat on the cobbles of the street fastly approaching people as they walk past trying to get on with their day, to standing on a sideline of a varsity match were both teams hate each other. The results were varied. According to the Oxford English Dictionary, a stranger is “a person whom one does not know or with whom one is not familiar”.

I have tried to be subtle in my work and make sure in some cases that the person never notices me, as I am a stranger not someone they need to be friends with.

This issue’s stars

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John Liot‘Why 40 Is The New 50’07752 832068johnliot@gmail.comwww.facebook.com/john.liot.photography

Naomi Turnock‘Jamie Oliver’s Fifteen Apprentice Programme’07532303914naomi_claire@hotmail.co.ukwww.naomiturnockphotography.tumblr.com

Danni Heron‘Falmouth Fire Station’07447 927456dlhphotography@outlook.comwww.dlhphotographyblog.wordpress.com

Lauren Reid‘Plymouth’s Superhero’s’07907 569515laurenreid22@gmail.comwww.laurenreid22.tumblr.com

Tyler O’Brien‘Strangers’07454 329023tylerobrien360@aol.comwww.tylerjayeobrienphotography.tumblr.com

Lois GoldingEditor-in-chiefwww.somethingobnoxious.carbonmade.com

With thanks to..

Matt CoxLogo designer & sign writing godInstagram - mattcox904

Antonio OlmosSpecial feature interview & photographerwww.antonioolmos.com

Heather GoldingToby EllisWriting, support & assistance.

Production team

Tristan PotterAssistantwww.trisyp.tumblr.com

Tom SandbergManagerwww.tomsandbergphotography.wordpress.com

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Carys BarriballWritercarysbarriball@hotmail.com

To contact for requests, questions or more information:team@205dpi.com

All images and text published in 205dpi are the sole propertry of the featured authors and the subject copyright.2014 © 205dpi

Edward FarleyIllustrator

www.edwardfarley.co.uk