_BLOG_Ena Rola Filma
Ena rola filma (One roll of film) follows the world of photography, stimulating creativity and lunching new ideas in production and practise. We hope you will find our articles, interviews, portfolio presentations, self-published magazines, etc. interesting. Someday we hope that this project will grow and we will be able to have our own gallery space.
We seek artists who would like to create a zine with us!
enarolafilma (at) yahoo.com
https://www.facebook.com/enarolafilma
Contributors and editors:
Aljaz Celarc, aljo.celarc (at) gmail.com,
http://aljazcelarc.org
Eva Pavlic Seifert, wedg.dookie (at) gmail.com
image by Dijana Vukojević from her tumblr blog
Dijana will be among contributors for new ERF zine! You can all collaborate, lets make the best zine!
Submit for ERF #7 collaborative zine!
As #5 and #6 ERF zines are in the making, it’s time to announce that we are taking submissions for another collaborative zine. Check out #4 ERF collaborative zine here.
New call for submissions for the #7 edition of ERF collaborative magazine is out! This time we encourage you to submit any photographs that aren’t a part of your portfolio. Together we will create a fictitious story with submitted photographs, so send as much photos as possible! The topic is your choice.
Send your submissions, questions and proposals to enarolafilma (at) yahoo.com. All images should be less than 1000 pixels wide, .jpg file format. Deadline is 31th of May 2013.
The zine will be published in June (edition of 100 copies). Artists featured in #6 ERF reserve all copyright of their work. The benefit of feature lies in the promotion of your work in the contemporary art world. ERF is a non-profit publishing project based in Slovenia.
Dear friends, if you are nearby come and see our ERF_collection exhibition on Thursday 16th of May at Slomškova ulica 3, Ljubljana, Slovenia!
Od 12.00 naprej bo na ogled zbirka neodvisnih fotografskih publikacij, ki sva jih zbrala urednika ERF Eva in Aljaž v preteklem letu, poleg tega bodo na ogled zini ki jih je izdala ERF.
Od 19.00 naprej sledi diskusija o fotografskem založništvu in samozaložništvu, kjer bomo v neformalnem ozračju razpravljali o tem, kako od ideje do izvedbe fotografskega zina ali druge publikacije.
S seboj lahko prinesete končane ali nedokončane fotografske projekte ali fotografije, za katere se vam zdi, da so primerni za objavo v zinu, lahko vam pomagamo z nasveti ali pa se dogovorimo o sodelovanju v kateri od prihajujočih edicij Ene Role FIlma!
Se vidimo!
RAZSTAVA: ERF_collection_ fotografske publikacije (12.00 - 21.00)
POGOVOR in DELAVNICA: Fotografska publikacija od ideje do izvedbe (19.00 - 20.00)
A while age we came across a beautiful blog of Tara Wray Melrod, American film maker and photographer. The simplicity of photographic style and narrative were overwhelming. We wanted to know more, so we set some questions to Tara.
Questions by ERF; Answers by Tara Wray Melrod
all images by Tara Wray Melrod
In general it seems your landscape photographs are inspired by the great American tradition of landscape photography, though your photos are in many ways different: Why do you use simple snapshots aesthetics?
I use a point and shoot so I think that automatically lends itself to speed and immediacy, or a snapshot aesthetic. There are themes such as animals and lonely spaces that I chase, but oftentimes I just trust my gut and shoot into the abyss. Special images often appear.
Why do you take photos from the car? How a photograph made that way changes the landscape; or even better: how did the automobile culture changed your approach to photography?
I live in a rural area so even going to get the mail is a 30-minute trip. I never leave the house without my camera, which is why a great deal of my work is taken from the driver’s seat of the car. I like it when the windshield is foggy or smudged and I like it when the car itself or the window is in the frame. I think about all of that when I’m composing a shot. And if I need to turn the car around to make a picture I know I’m on to something good.
How would you describe the quality of light that appears on your photographs? Do you think that the notion of light changes while driving?
I love love love fog! It just lends so much emotion to even the most mundane scenery. I’m always searching for nice slants of light or dramatic weather. The moodier the better. I love snow and ice and rain and especially frigid, partly cloudy days. I just feel so safe and still in the snow. I love early morning light and golden hour light and winter light and full moon on snow light and shadowy light. You can follow the light much easier from a car than by foot.
In what relation are your documentary filmmaker career and photography?
I feel like a really great photo is like a movie or story in that you can sort of go inside and live in it for a little while; maybe only a few seconds but it takes you somewhere. Sometimes when I’m shooting I feel like I’m actually location scouting for a really intense drama staring a young Sissy Spacek, where she’s running from some unknown entity, perhaps herself, and she finds solace in bleak, lonely places. Maybe I’m making micro documentaries with my photographs and macro documentaries with my films? Anyway, both forms are rooted my simple need/compulsion to record (and I suppose make sene of) information found in the world.
Which qualities of American culture and art are the most relevant for you? What influences you the most?
Comedy. I love Tina Fey. She’s my heroine. I think laughter is a great turn on and release. If I weren’t able to laugh I would want to die. Other influences/motivators include television, food, tumblr photographers and my children.
Boredom leads to disaster for me. I’m just going to keep shooting, even though sometimes it feel like nobody’s out there to greet my work. In a perfect world I would be regularly commissioned to shoot documentary essays for a variety of high-end clients, while continuing to work on long term personal projects, culminating in books, superior financial success and the love and respect of my peers.
Our best zine so far!
Available here for just 4 euro (app. 5.2 dollars). Please help us spread the word!
It’s here! The fourth ERF zine!
Contributing artists: ARSO (SLO), Jošt Bukovec (SLO), Aljaž Celarc (SLO), Klemen Ilovar(SLO), Milan Katić (SRB), Matevž Kosterov (SLO), Ginevra Shay (USA), Liga Spunde (LAT), Pawel Starzec (POL), Boštjan Uršič (SLO) and Yaniw Waissa (IZR)
Photography transformed into sublime image. Image production includes scanner footage, aerial photography, 3D images, auto-generated photography, movie stills, photo-booths, glitch photos, re-photographed photos, security camera and any other similar technique of image making. The most inevitable principle is the grotesque implantation of manipulation.
A5 sized zine (210 x 148 mm, 8.3 x 5.8 in), sixteen pages, four A3 posters.
Edition of 100
ERF fourth zine will be out next week!
Contributing artists are: ARSO (SLO), Jošt Bukovec (SLO), Aljaž Celarc (SLO), Klemen Ilovar(SLO), Milan Katić (SRB), Matevž Kosterov (SLO), Ginevra Shay (USA), Liga Spunde (LAT), Pawel Starzec (POL), Boštjan Uršič (SLO) and Yaniw Waissa (IZR)!
preorders at enarolafilma (at) yahoo.com
Ena Rola Filma call for submissions: Resolution is your choice!
The third colaborative Ena Rola Filma zinewill soon be released. All submissions that responds to the theme are appreciated. In forthcoming edition we want to explore the pictures that were not captured by a regular camera. Image production may include anything regarding scanner footage, aerial photography, 3D images, auto-generated photography, movie stills, photo-booths, glitch photos, re-photographed photos, security camera and any other similar technique of image making.
The most inevitable principle is the grotesque implantation of manipulation.
Editor’s notes:
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How do I capture an image?
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How does the medium alter the context of a single image?
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How to recognize the modification of an image into the photograph (and vice versa)?
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How to determine the status of an image as a work of art?
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How to fake or remake the image?
We are opened for proposals and questions at enarolafilma (at) yahoo.com. Resolution of images is your choice.
Ena Rola Filma is a non profit project which promotes contemporary photography. All visual and other materials are copyright of the presented artists. Publication editing and design are copyrighted by Ena Rola Filma.
image source: Agencija Republike Slovenije za okolje
New Zine: Vernacular monument - The Legacy
We are proud of our third zine this year, the second edition of Vernacular monument, titled The Legacy
Contributing artists: Mitja Berdajs, Jošt Bukovec, Aljaž Celarc, Dejan Kralj, Matko Mioč, Sara Erjavec Tekavec
zine, 52 pages, 3 postcards
digital print, saddle stitched, A5 size (8.3 x 5.8 in)
edition of 50
Vernacular monument is a project that offers opportunity for young authors from Slovenia to publish and promote their work. This edition is presenting our speculations about our legacy in the future. It is dedicated to the archeology of today, the state of presence, where this moment represents the past.
What will be left behind? Could you imagine the incidence of ephemerality of material things and ideas, if they are not spread widely? What will our descendants admire as vintage? Which medium will connect us with the future? Photography plays the key role For our generation. Therefore will it be as important as it is in the future?
“We are opening up an enormous new era in archaeology. Time capsules in the deep oceans.” John F. Lehman, Jr.
Limited edition of our new zine is sold out, some copies of normal edition are still available for purchase. Photos of the zine were taken yesterday, as a part of zine’s presentation shooting.
I wish I was alone, so I travel
This is the last remaining limited edition copy (with included B&W print). If you want it go for it!
New zine out!
We’ve poduced and published a new zine! I wish I was alone, so I travel by Aljaž Celarc
Available for purchase at our new fancy store, or by email: enarolafilma (at) yahoo.com!
zine, 32 pages, (A5: 210 x 148 mm, 8.3 x 5.8 in), 22 b&w photographs, 2 posters (A3, 420 x 297 mm, 16.5 x 11.7 in)
edition of 40, hand numbered and signed
digital print
7 euros + shipping
Limited edition of 10 zines available for 10 euros with different original B&W single edition darkroom print sized 14x21 cm (5.5 x 8.3 in). (Limited edition is SOLD OUT)
I wish I was alone, so I travel is a zine of photographs of my 2010 journey to Georgia and Armenia, where I wanted to climb the highest peaks mt. Kazbek and mt. Aragats. I also wanted to document the life of both countries. I was just a beginner with no idea what I was doing. During the summer of 2012, I studied the photographs that I made on the trip. It felt like I was emotionally blind at the time, since I missed my loved one so much. I learned that one associates with landscape and people nearby: if I don’t have a home I am s stranger.
Help us spread the word if you like what we are doing!
What will be left behind? Could you imagine the incidence of ephemerality of material things and ideas, if they are not spread widely? What will our descendants admire as vintage? Which medium will connect us and the future? For our generation, photography played the key role. Will photography in the future be as important as it was? Will digitalization defile us from our own memories?
Aljaž Celarc shoting for Vernacular monument II: Landscape of thorns zine, that will be published by Ena rola filma. You can participate!
Landscapes of thorns video contains various Illyrian grave mounds, quarry, construction sites, stone disposals, abandoned construction sites.
video by: Minea Čakeliš Gavran
aljazcelarc.org/
Vernacular monument II: contributions!
Be sure not to forget about Vernacular monument II. Some of us already started photographing, writing essays and drawing for the Vernacular monument II zine.
Click the link above and contact us by email: enarolafilma (at) yahoo.com, if you would like to contribute and be featured in the zine. There are only two preconditions:
1. It is vital that your contribution fits with the main (flexible) idea of the zine
2. Your contribution should be a complete body of work. For example in case of photographs you should provide a photo essay or series consisting of at least three images. If you apply drawings, essays… you can apply a single piece.
This is a non profit project. Be sure to contact us, we’ll be happy for any question, remark or a comment.
enarolafilma@yahoo.com
Let’s speculate about the future!
Some provocative thoughts on the genesis of virtual world and function of photography in it
(A short article of long title.)
The times that invented photography were a vibrant ones in terms of rapid technological and economical development and also in comprehension towards reality and the world around us. Photography caused a new understanding of space – time relationship. When people were looking at photographs, they understood the images as a faithful representation of reality. That caused a creation of new phenomena: virtuality.
As reported in many sources, people were afraid of new realism that quickly emerged. It required a vast amount of time to pass before people felt confident with photography. Photography flourished in the 20th century. Everyone took pictures and thus everyone became a photographer. With the invention of digital image everything changed. Process of producing images became so easy that there are just a few serious photographers left. In contemporary photography image is not the goal as it was before. Nowadays the key is the understanding of contemporary photography concept and it’s process.
