Photographer: Gretchen Heinel
Based in: New York, NY
This photograph was taken in February 2013. I don’t, by any stretch of the imagination, consider myself a fashion photographer. However, I do like to work with clothing and accessory designers, and often I’ll get inspiration for an entire shoot just from looking at one particularly unique bit of wearable art. In the case of this shoot, the bird wing wrist cuffs were that bit of inspiration. I put together a shoot based on ritual and evocation and levitating spirits. Since I shoot film and don’t know a whole lot about post-processing, I had to rely on practical effects in order to have our spirit/demon/angel/creature levitate convincingly. I collaborated with hook suspension artist Miss Gisella Rose (pictured), so that the issue of suspending an individual off the ground wasn’t so much an obstacle to overcome as a chance to add another layer of depth and dreaminess to the shoot. In this photo, there’s a little snow on the ground – Gisella is such a trooper, she was hanging up there for approximately 40 minutes in freezing weather, completely nude. I love that lady.
Photographer: Klaus Pichler
Based in: Vienna, Austria
This is a photo of my girlfriend in a hotel’s hallway in Odessa, Ukraine. We made a trip to the Ukraine three years ago and we stayed in this hotel for some nights. This was one of the hotels you can still find in Eastern Europe where the grandezza of the old days blends with the functionality and tastelessness of comunist days, resulting in a feeling which is comparable to a pre-Perestroyka movie version of ‘Shining’. We thought that a bed sheet ghost would fit perfectly to these uncanny hallways, and one night, when we were sure that all of the merciless heavyweight parlour maids had left the building, we staged this picture.
This was shot in the lot of an abandoned airport in the area I live. I met with my friend Paul who often models for me and we waited until it got dark. We grabbed a flashlight and all the cameras and started shooting all over the place.
Photographer: Milton Stille
Based in: Vancouver, BC
This is Converge, circa October, 2002, in Milan, Italy. I spent six hours on a train both ways to get to this show and back. I was completely unversed in anything photography at this point, I just brought the first digital camera I’d ever owned with me to the show. If you look to the left, you can see Kurt is playing his guitar in a chair. This is – from my understanding – because he had broken his wrist when the band got in a rather unfortunate van accident the previous day. A roadie helped him with some of the more technical parts of “The Saddest Day”, but none of this stopped the band from putting on one of the best and most intense shows I’ve ever been in attendance for. I don’t hesitate to make this statement more than ten years later.
The show took place at the AZ (short for Autonomes Zentrum/autonomous center) a place I’ve been a regular visitor to since I was 15-year-old punk rock kid. Although my taste in music has changed over the time, the venue has remained the same comfortable place and survived all attempts of officials to shut it down. The room for shows itself is placed in a former horse stable with bare brick walls, dark cobble stone floors worn down by centuries of use and almost no natural light. Hexis added an insane amount of artificial fog to the scenery, turned of all lights (except for a massive strobe battery placed behind the drummer) and created the perfect setting for a horror movie. The following assault on eyes and ears was short, intense and the most difficult photo conditions I had so far.
Photographer: Darryl Reid
Based in: Ottawa, Canada
A year ago I told The Impossible project I’d do a review of their film for a blog I have. They sent me four packs of film to test out. On Halloween while hanging out at a friends house we decided to take some drunken Halloween pics with the Polaroid film. My friends house has what we call the doom room. Its a tiny basement room that is dank/dark as fuck. When they moved in they found a bunch of Tarot cards shoved into the cracks of the walls and ceiling of the doom room. This is taken in the doom room with Polaroid 600 film.
Photographer: Sunve Sunvemetal
Based: Weimar, Germany
“It’s quite a little time ago but a friend turned on his favourite CD mix and I coincidentally listened to Nargaroth for the first time in the form of the song Abschiedsbrief des Prometheus. The melody, melancholic rhythm and above all the text really caught me. When I was at home, I searched for some more stuff of that band. If you know Nargaroth (and live in Germany/Austria/Switzerland), you can assume it wasn’t long till someone chewed my ear off with all the stories encompassing Ash, the front man behind the band. Firstly, I didn’t listen with half an ear. If you learn one thing in the music business, almost all the artists behind ingenious music are total crap: alcoholics, machos, whatsoever. I wondered how someone who may have done all that superficial shit could write such deep and serious lyrics. Far away from the boring run-of-the-mill black metal satanism and depressive misanthropy.
“Some months later, I blundered upon a really long interview with Ash, read it and wondered even more. The reading fit to the discerning lyrics. To make it short, I gained my own impression at Meh Suff Festival in Switzerland. How? If you take (live) pictures seriously, you keep an eye on every detail in facial expression, on every move the artist does on stage. You can’t imagine how much one person tells you about his or herself in these situations – if you’re just attentive enough. What did I find out? Folks, make up your owns minds. But one thing I can state for sure: There are not many artists, showing a deep impressive performance by honestly showing their true selves on stage, capturing the audience and transporting a bunch of energy to the crowd, just through their charisma and not because of some studied acting, detailed arranged equipment or bombastic pyro effects.
“Conclusion? Rarely have I seen such an authentic performance. Because authenticity and deep honest emotions are the only one thing I want to catch with my camera, this picture from 2011 is still my favourite. Even though I’ ve a lot improved in skills, technique and camera equipment since then.”
Photographer: Jorge Silva
Based in: Porto, Portugal
On the first edition of Amplifest – a still relatively new festival in my hometown, who will have the third edition this year – Justin Broadrick did a double stint headlining the first day of the festival with Jesu and then, the second day, as Godflesh.
While Jesu were playing I noticed a light, placed behind and above Justin, that, from time to time, was casting strong lightbeams on his head. As I was shooting right in front of him, the light came and I was able to get the shot I was envisioning. It always amuses me the fact the I shot Justin as Jesu with a halo!