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DESCRIPTIONYet is a triannual photography publication which is moved by the wish to launch a magazine with no genre, media or style limits. Our goal is to show editorials by talented photographers from all around the world telling stories though their images.
ISSUE 0121 december 2012
Photo by Fonkeu-Nkwadi Njelle
from the series Being black
shirt on the wall
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Matteo Rizzo Giulia Giani
Davide MorottiMassimiliano Rossetto
YET magazine is an online four-monthly photography publication which showcases editorials and photographic series by worldwide artists.
YET is a magazine about photography. Photography is the main charac- ter, the aim is to show several kind of photography without any restrinc- tion of genre, media or theme. All the photographers invited by the edito- rial team are free to develop a project, to tell their stories. YET wants to go through the artists work, discovering what is behind, why and what they want to tell with their series.
Photography is the result of combining several techni-cal discoveries. We believe these process must be shown as a result of the artist statement. Every picture, taken with this or the other media, is something very deep inside the one who shot it. Thats the point.
YET magazine borns to give a visual voice to these stories in order to spread them. We will showcase both estabilished and new photographers. A photographer is someone who can control time and space, who got the vi-sion and manages to put it onto images. What we want is to tell about the person behind his creations starting from the story he tells through his images.
Photography on YET is free from any graphic, crop, symbol and edit- ing. The series showcased are exactly how the photographer created them. We base our work on some ethic rules created from the firm belief that photog-raphers work must be shown as it is.
Anna Di Prospero
Anna Di Prospero
Anna Di ProsperoAnna Di Prospero
Anna Di Prospero
Anna Di Prospero
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To be as transparent as glass. This simile draws the attention to the most notable virtue of this material: its transparency! The mere fact that glass is the result of a fusion and solidification process, that creates intermo- lecular bonds between silicate sand and potash or soda, does not really enrich my point, it would have only led me astray. The etymology of the word is a praise itself to its merits. fr. veires, veire, voire, verre lat. VITRUM / VID - TRUM / VID - re vedere, that is seeing through. Other manifest features, hard and fragile. If we were to shuffle through the titles of a glass bibliography, transparency and undisputed fragility would pop up. And then I recall Herman Hesse and his glass beads: Naturally, they wont swim! They are born for the solid earth, not for the water. And naturally they wont think. They are made
for life, not for thought. Yes, and he who thinks, whats more, he who makes thought his business, he may go far in it, but he has bartered the solid earth for the water all the same, and one day he will drown.
To unfold an image Id rather start from this sentence: essence of those who live outside the realm of knowledge. To look through, metaphorically and figuratively. We see all and we always watch though something, a pair of glass- es, a window, a school of thought influencing us, the very lens-es of our camera and our eyes before them. Dimmed by our past but open up to the future, sifted and sifting through...what we want to see and what we truly look.
With Anna Di Prospero
& the redaction
Text by Ilaria Crosta
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This series of images is part of a one-week vacation to Lanzarote that I and my former girlfriend took in the early spring of 2011. Lanzarote, part of the Spanish Canary Islands and popular destination among Ger- man, British and Irish tourists during summer holidays, primarily caught my attention because of its obscure landscape and because of my interest in visiting this tourist destination during off-season.
After a few days driving and exploring the island, I got to the point where I was more and more looking for the un- known in this busy destination. Seeing this strange natural landscape and visiting the tourist hotspots on the island, especially the ones in the national park, I got the slight im- pression that they lacked images of wilderness. In contrast to the national parks I formerly visited in New Zealand and Sweden, this place with its camel rides and guided bus tours through volcanic landscape, seemed to me almost like an attraction park for nature enthusiasts.
The fact that it wasnt permitted to photograph inside the national park and use these images for an exhibition or publications, got me to the point where I sought for similar encounters in different places. Places maybe less travelled, but with the same certain sense of emerging absurdity.
Lanzarote, similar encounters
By Markus Lindfeld
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G I AN N IC I P RI A N O
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Echoes How much do I know about the impact of those expe- riences and feelings that with time turn into memories that slowly slip deep in my inner, uncontrollable and unknown garden of scars, fears, anxiety and pain? These submerged memories, that float as ghosts to the point
of being ignored and apparently forgotten, would shift from being a truthful and tangible reality to an allegory I would define as time passed by. Allegories are my way to anchor those memories that would otherwise drown in the tempestuous realm of my unconsciousness, thus allowing them to cyclically come back to surface, to my consciousness through thoughts and perceptions, to re- mind me who I am and where I come from.
I came up with the idea of this short series last winter, as I came across Freuds View of the Human Mind:The Mental Iceberg, a topographical model which represents the configuration of the mind according to the founding father of psychoanalysis. The conscious, preconscious and unconscious levels of our mind are represented by an ice- berg, whose visible tip above the water hides a far greater mass under the surface of the ocean. Our memo-ries and stored knowledge live in our pre-consciousness, right un- derneath the surface, and are the link between our aware- ness and our own shadows that live in the form of impulses and primitive and uncontrollable drives.By Gianni Cipriano
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These images try to document and portray intimately the african diaspora of our times, deep within the fur- rows of the face lines and folds lie each a story which is similar in some way yet so unique.
My motivation in meeting and photographing these people in this way, is part of an effort to make aware of the difficulties of being an alien, to live in a country with a foreign language and culture, rejection vs accept- ance, positive as well as negative discrimination.
I share their plight and hence can best tell their story.
By Fonkeu-Nkwadi Njelle
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The photographs in the series, The Shadow Catchers Daughter, balance on the fine line between reality and the dream. I use self-portraiture to articulate personal narra- tives, which are often both nightmare and fantasy. Human and animal forms interact in unexpected ways to symbol- ize discoveries and conflicts in my intimate relationships. I use the blue cyanotype process to suggest an alternative space, such as a dream or memory.
This historic process obscures the subjects location in time and creates a backdrop for archetypal universal symbols. These images are toned with tea and wine to produce a range of additional warmer tones, making them seem more natural. I choose these substances for the acidic effect on the chemistry, as well as their influ- ence on communication and memory.
Although photography is normally considered a medium that represents the present, visible world, in my work I at- tempt to make visual what cannot be seen in place or time.
All images are toned cyanotypes, created from 2011-2012
By Emma Powell