Shanesaw

things that help make these

Shane Lynam. Photographer. Ireland.

Joris’ work is very easy on the eye.

selektormagazine:

Joris Vandecatseye

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Photographers A-Z

Selektor Magazine

selektormagazine:

Selektor Magazine Issue 2: Shane Lynam entre en production / goes to print

(FR) La version définitive du magazine a été envoyée à l’imprimeur hier. Le document InDesign d’origine avait été créé le 7 août. Deux mois et 10 jours de travail collaboratif sur la séquence, la mise en page, et enfin les nombreux diables cachés dans les détails. Un grand merci à tous ceux qui ont déjà pré-commandé un exemplaire, les expéditions commenceront fin octobre début novembre.

(EN) The final version of the magazine was sent to the printer yesterday. The original InDesign document was created on August 7. Two months and 10 days of collaborative work on the sequence, the layout and the many devils hidden in the details. A big thank you to all those who have already pre-ordered a copy, shipments will begin in late October early November.

Selektor Magazine

Some pdf layouts from Selektor Magazine Issue 2 , now available on pre-order

I added some new work, shot back in April, to the Burning Morena edit on my site. I plan to focus on this project during the early months of 2015 with a view to being in Slovakia for this year’s Burning Morena events. 

It’s been a back burner project for long enough, time to knock it into some sort of shape.

The full edit can be found here.

Connemara,Ireland
October 2014

Connemara,Ireland

October 2014

Dublin

October 2014

Dublin

October 2014

County Clare, Ireland
October 2014

County Clare, Ireland

October 2014

the-hairy-beast:

Shane Lynam

"When we look at his photographs, we never know if we are looking at the past or the future. His documentary fiction brings an awareness and drifts into a kind of reverie.

Selektor Magazine #2 Shane Lynam.

Thanks Alex!

"Ultimately, for every photographer the question to be addressed boils down to: “How am I going to make this my own?” – whatever the “this” in question might be. And I believe that in order to find an answer, one has to realize that there is that obstacle of obviousness that, unfortunately, photography comes with. It requires hard work, a lot of looking and photographing, to overcome this obstacle, so that, ultimately, the photographs will be more interesting that their subjects, transcending their obviousness."

— From ‘It is What It Is’ by Jorg Colberg (Conscientious Photo Magazine)

(Source: cphmag.com)

La Grande Motte, France
April 2014
New 50 High Seasons

La Grande Motte, France

April 2014

New 50 High Seasons

selektormagazine:

100 photographers on Tumblr

(FR) Commencé en février, le répertoire des photographes recommandés compte à présent 100 photographes. Pour fêter ça, les voici tous réunis dans un slideshow de presque 10 minutes, et n’oubliez pas les enfants, toujours créditer les artistes:

(EN) Started in February, the directory of recommended photographers now has 100 photographers. To celebrate, here they are all together in a slideshow of nearly 10 minutes, and remember kids, always credit the artists: 

Read more

(via mossfull)

mossfull:

Alec Soth: In terms of your work, there is this narrative element, this backbone. Like in your book you have these notes in the back, that gives a narrative scaffolding to the project, and I’m always battling with how much of a story to tell and I really respond to people that play with these issues. In your book, the main section with the pictures, it’s very musical, it’s very emotive, and then you get to the notes and it’s the narrative backbone, the tension between these 2 impulses is something that I feel in my own work.

Glen Erler: I always knew there would be notes and text to accompany some of the images; I did go back and forth with it, I didn’t know if I should have it there; it’s sometimes nice for the reader to make up their own mind. Even from a visual point of view, people asked quite a few times why I didn’t have the text with the images and I’ve always felt the pictures need to stand on their own, they need to be by themselves; if someone chooses to read about it, then they can. The images and text need each other; it was always part of the concept, but just not in the same place.

Read more at Paper Journal

September 2014
Dublin

September 2014

Dublin