The autumn BLUR brings a rich diversity of photographic styles and techniques. As you may have already noticed many times, we try to be unpredictable. The best way to succeed in doing this, in my opinion, is editorial freedom. In this issue, our editor Michael Kirchoff particularly excelled, as usual, with excellent choices for your Instantion and Wide sections, and he chose very interesting photographers for Wet Plate and Open. But BLUR wouldn’t be what it is without the rest of the team, which I once again sincerely thank for their efforts. We can never point out their names enough; they are Maurício Sapata, Petra Nenadic, and Michael McAllister.

Robert Gojević, founder and editor in chief

CLOSE-UP Anton Belovodchenko, Russia


“What attracts me most to photographing nudes is the game of light and shadow, the depth of which I can get of texture of the skin. Alternating black and white, straight and curved lines.“

PROJECT Jane Long, Australia


“The Dancing with Costică series initially came about when I decided to brush up on my retouching skills. After finding the Costică Acsinte Archive on Flickr, I became fascinated with the images and their subjects. I wanted to bring them to life. But more than that, I wanted to give them a story.”

WET PLATE David Emitt Adams, USA


“The deserts of the West have special significance in the history of photography. By the time I became an adult, I began to see that the Arizona desert was far different from the scenery once photographed by Timothy O’Sullivan in the 1860s. I have explored this landscape with an awareness of the photographers who have come before me, and this awareness has led me to pay close attention to the traces left behind by others.“

INSTANTION Frederic Turro, Spain / France


“La Montagne Noire” is a series of landscape photographs made with instant black and white film. Dark environments and bold frames tend to evoke the surreal world of film; however, the subjects are familiar places next to where we sometimes go in a distracted way, without suspecting what they may conceal."

PLAYSTICK Julio Fernadez, USA


“Many times I’m not looking to make a clear and sharp rendition of a scene. Like making a photograph of a memory. That’s when I like using low-tech cameras, because of the soft focus and vignetting. I also like the fact that I can bring one of my plastic cameras into the ocean without the worry of dropping it in the water. This selection of photos was made using a Holga, Asiana or original Diana camera with 120 roll film.”

PINHOLE Gregory G. Geiger, USA


“... In dreams, time is non-linear and space is free from logic. I am trying to enter that space by using the pinhole camera, which creates a place where shapes bend in a way that only happens in madness and in dreams. The process can take long moments of time and compress them into single moment—eight minutes into a single second."

TETRA Nathan Wirth, USA


“Recently, I have been studying and integrating into my work Japanese traditions of Zen, rock gardens, and calligraphy—as well as the transience, impermanence, and imperfections of wabi-sabi..”

WIDE Kent Krugh, USA


“When I select and emphasize the individual tree, my intention is to open a gate and allow the viewer to listen and explore; and perhaps relate to the central figure in ways not before understood or realized.“

OPEN Nick Veasey, UK


“To create art with equipment and technology designed to help big brother delve deeper, to use some of that fancy complicated gadgetry that helps remove the freedom and individuality in our lives, to use that apparatus to create beauty, brings a smile to my face.“