Bieke Depoorter was born in Kortrijk and graduated from KASK in 2009 with a series on Russia, which won the Magnum Expression Award and the Photo Academy Award for GUP magazine. Of this series, Oe Menia, Depoorter writes: ‘For three periods of one month, I have let the Trans-Siberian train guide me alongside forgotten villages, from living room to living room. Some Russian words scribbled on a little piece of paper allowed me to be welcomed and absorbed in the warm chaos of a family. Accidental encounters led me to the places where I could sleep. The living room, the epicentre of their life, establishes an intimate contact between the Russian inhabitants. In this room, they sleep, eat and drink, as well as cry. For a brief moment, I was part of this. Their couch became my bed for one night. This way, I experienced transient, but very powerful, shared moments. We communicated without words. We understood each other somehow’.

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Ilse Leenders lives and works in Rotterdam, The Netherlands. Leenders was recently awarded the 2nd Prize Conceptual Jury Vote in Viewbook’s Photostory competition for her series, Tokyo Monogatari. Of this series she says,’Tokyo Monogatari is a personal project inspired by the typical aspects of the daily contemporary life and the traditional cultural heritage of Tokyo. The atmosphere of the city is visualized by the synthesis of these different elements. The series expresses at one side the habitual rituals of the citizens of Tokyo nowadays and at the other hand the exaggeration of bodily shapes drawn in the ancient manga sketches of Hokusai, shown in the movements of the performers in Noh- and Kabuki theater and the ‘hidden’ puppeteers of Bunraku in a photographic manner’.

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Kevin Miyazaki is a photographer working out of Milwaukee, Wisconsin. Some of his clients include AARP, Departures, Food & Wine, Fortune, GQ, and The New York Times. He is represented by Redux Pictures.

In your series Camp Home, you effectively created evidence, as you say, of people held in the Japanese internment camps in WW2. This project has an interesting back story. Could you explain what spurred you into wanting to create this body of work of photographic evidence of these places?
‘My father was born and raised in Tacoma, Washington, and his family was sent to two different internment camps during WWII. The first was Tule Lake Relocation Center, which was located in the northernmost tip of California. I made a visit to the site a few years ago, while driving from San Francisco to Olympia, Washington, expecting to find a plaque or historical marker. I did find a marker, but also learned of the history of the region following the war.

‘The land was divided up into homesteads, and given to returning veterans to start farms. These were young men, mostly from the West Coast, who had fought in the Pacific and in Europe. They arrived to the area to start their new lives, after the Tule Lake camp was shut down and all the Japanese American families had left. Buildings from the internment camp – the barracks in which the families lived – were given to the homesteaders to aid their new start. So the farmers, who had nothing but a piece of land to begin farming, used these buildings as houses and outbuildings.

‘Many raised families in them, and continue to live in the structures today. I’m interested in the transformation of the buildings and aim to capture the essence of human presence and habitation. During the war, interned families were not allowed to have cameras, so there’s a gap in the collective Japanese American family album. My photographs reference time spent and lived with the walls of the structures, both past and present’.

What is your process for finding the places to photograph, and how is your idea generally received by those who may occupy the spaces you’re looking to make images of?
‘I drive the countryside looking for the buildings, which are easy to identify by their scale and dimensions. I simply knock on doors — and overwhelmingly, people are gracious and curious about the project. I’ve spent hours in kitchens and living rooms sharing family stories. This aspect is really important to the project, in my mind — the coming together of people with very different and uniquely American family histories’.

Given your heritage, it seems this project has an especially personal connection for you. Have you come across any locations, scenes or even details that gave you significant pause in this project?
‘My father was 13 when he entered Tule Lake, so I think the elements which reference adolescence (a basketball hoop, bb guns, a trophy) hold a special meaning. But in general, I think most Japanese Americans of my generation feel both connected and distant from the internment story.

‘Our parents usually didn’t discuss the internment in great length, and we weren’t always as curious as we should have been. So in some ways, I feel an ease of distance from the emotional aspect of the family history. On the other hand, it’s quite powerful to think that I could be standing in a building that my family once lived in’.

Do you have any finite hopes or goals for this project or is this more of a matter of personal exploration for you? Is there any work left to be done and if so what challenges do you see in filling it out?
‘There are still buildings to be photographed and people to be met, and I’m overdue for another trip. As far as goals, it’s important to me that the work is seen on the West Coast, where many Japanese American internees still live. I’ve been fortunate to have pictures from the series exhibited in group shows at the Rayko Photo Center in San Francisco and the Photographic Center Northwest in Seattle, and I hope to find other venues in the future’.

Your projects are created with digital 35mm gear. The type of thoughtful and inherently still images you are making seem like the perfect subject matter for a camera that allows you to slow down and make only 1 or 2 images. Why not large or medium format?
‘Indeed, all my work these days is made with 35mm digital cameras. In the past, I had shot with medium and large format film cameras for both my editorial and personal work. After switching to digital a few years ago, it took me a while before I felt like I could make the same types of pictures.

‘With film, I picked up a specific camera with unique physical features and limitations, which I knew would put me in a specific place while making pictures. But with digital (35mm, since I can’t afford medium format), I’m trying to make a variety of pictures — both personal and for clients — all with one camera. I’ve come to peace with that, though, and feel like I’m making the same pictures I would have made say, with 4×5. The technical advantages with digital help this project specifically, as there are sometimes issues with the amount of time I have to shoot, and with light levels and quality (I’m shooting all natural light for Camp Home)’.

Given documentary photography’s general tendency to portray moments, human relationships and intimacy, why have you chosen to make this series one of essentially still objects and inanimate scenes?
‘I’m interested in what space and objects can say about the people to whom they are most intimate. In Camp Home, I’d like viewers to understand that these buildings have a long, and somewhat complicated history, if perhaps only under the surface — not unlike the history of our country in the last 60 years. But photographing places and things void of people is a theme common in all of my personal project work. I’ve been working on a new set of pictures called Within Reach — small, intimate details from around my house. I think if you begin adding up all the small details, you’d start to get a good picture of who I am’.

Were there any personal barriers you had to overcome in embracing your still life work?
‘When it comes to making personal work, I think it can be difficult coming from a background of assignment-based editorial work. In editorial photography, you’re always problem-solving. You’re given a starting point, from which you then make the best of the situation, for the integrity of the story and publication.

‘Making personal work, you’re free from that given starting point, so anything is possible — which can be both liberating and frightening. In my fine art work, I always try to remember that I own the project — the original idea, the pictures, and everything associated with it. I’m not creating photographs in order to meet a deadline or please a photo editor, so I have complete freedom to succeed or fail on my own terms’.

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Born in 1959 in Daun in the Eifel region, Frank Schultze studied photojournalism in Dortmund with Adolf Clemens. Since completing his studies in 1992, he has worked for all the important German and International magazines and newspapers, including GEO, Stern, Spiegel, Times, Focus, Brigitte, Natur, Das Magazin, Weltwoche, and Die Zeit. He was awarded first prize for socially conscious photography by the Association of Charitable Organizations in 1996 and has participated in many group and solo exhibitions. Of this work, Naval Boliviana, Schultze writes, “In 1879 Bolivia lost the Saltpeter War against Chile and thus its entrance to the sea. Stubbornly the poor country maintains a war navy’.

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Claudius Schulze currently lives in Antwerpen, Belgium and Istanbul, Turkey. You can likely find Claudius on a photo stalk elsewhere in the world when he’s not training his once-feral black cat. With his love of a fresh falafel sandwich, he especially enjoys photographing in the Middle East. He has lived in Amman, Jordan, studied Political and Islamic Science in Hamburg, and at the Sabanci University in Istanbul he studied graphic representations of violence in mainstream photojournalism. Claudius is fluent in German and English and has proficiency in Dutch, Arabic, and Turkish. Some of his editorial clients include Neon (Stern magazine), Brigitte Woman, Chrismon, Frankfurter Allgemeine Sonntagszeitung, taz, and Süddeutsche Zeitung. He is represented by the Hamburg-based Agentur Bilderberg.

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Toby de Silva was born in England in 1972 and studied photography at Falmouth School of Art followed a few years later by an MA in Fine Art Photography at the University of Westminster. Based between London and Tokyo he travels extensively to document the bizarre, the macabre, the sublime, the hideous and the humorous. Of this series, The Perfect Place to Die, he says, ‘Situated at the base of sacred Mount Fuji, the dark, grotesque and eerily silent forest of Aokigahara has for many years been Japans most notorious suicide destination. Often depicted in Japanese literature as haunted and deathly, it was described in Waturu Tsurumi’s The Complete Manual of Suicide as ‘The Perfect Place To Die’. The 3500 hectare forest is founded upon volcanic rock, which juts and plummets with uncertainly in all directions and is littered with the personal effects, clothing and mechanisms of suicide of its many victims, along with bouquets of flowers, shrines and food offerings left in their memory. It annually yields in excess of 60 corpses, many of which are removed in the regular body hunts which infamously leave behind the miles of colored tape which are used as guides to mark out the areas that have been surveyed and to direct recovery teams to the newly discovered remains’.

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Francesco Giusti lives and works in Rome, Italy. He recently won 1st Prize in the Viewbook Photostory competition for his documentary series, SAPE. Of this series, he says, ‘In Congo-Brazzaville SAPE is an old passion that has never stopped, not even during war years. At the arrival of the French in Congo at the beginning of 9oo, the myth of elegance was born among young people working for the settlers. In 1922, Andre Grenard Matsoua, well-known for his resistance to the settlers, was the first Congolese to come back from Paris well dressed like a true French “Monsieur”, and greatly admired by all his fellow citizens. Today’s members of the SAPE consider themselves as artists and are respected and admired by the whole community. The members of the SAPE take a touch of glamor into their humble environment with their refined style and faultless clothes. Everyone has his own repertory of gestures, marking him from all the others. Elegance is not the only important character. In fact, a true member of the SAPE is a gentleman and a pacifist. Every weekend the members of the SAPE, with their eccentric and amusing nicknames, gather in bars and fashionable dancing halls and parade in the streets among amused children and the applause of passers-by. These extemporized and spontaneous parades are the expression of a urban culture looking for new reference parameters and codes such as non-violence and elegance. They reflect the wish of young people in particular not to be left apart by society’.

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Brad DeCecco lives in Brooklyn, grew up in Massachusetts and photographs rock stars, ranchers, and athletes around the world. His environmental portrait work earned him the PDN 30 award for the 30 Best Emerging Photographers of 2007. He has also directed and worked as cinematographer on both documentary and commercial projects. Communication Arts recognized his work in 2007 with the Jury Prize for Cinematography. Last year, his first foray into music videos, Red, premiered as a selection for Music on Main at the 2008 Sundance Film Festival. His first feature length documentary film, Serpent in the Rock, will premiere in 2011. Some of his clients include The Washington Post Magazine, Lexus, Time, Popular Mechanics, People, Smithsonian, ESPN and Universal Records.

What made you decide to start this project and how much time was spent at the Love Ranch Brothel?
‘The nine hour drive from Las Vegas to Elko, Nevada is a desolate 500 mile stretch. I was heading to an interview for a documentary and decided to push across the entire state in one day. Hours passed where I saw nothing but sand, sagebrush and sky. A few hours into the drive, I saw a large, hand-pained sign with blinking red lights and a giant arrow that stood in stark contrast to the uninhabited landscape. As I approached, I could see the sign read “The Shady Lady Ranch.” In a hurry to make it to Elko, I made a mental note to find out what this was later.

‘I learned that “Ranch” is the term used by the legal brothels in Nevada. Far from herding cattle or horses, these houses range from a single wide trailer with a few bedrooms to full-service spas with suites, pools and grand pianos. I was immediately interested in exploring these environments through the lens. My personal work tends to focus on American sub-cultures that are out of public view.

‘Most of the owners were welcoming and invited me to come and shoot. I decided with the access I had gained, it would be an amazing opportunity to create a unique body of work. Most of the articles and photos I could find about the ranches in my research were either base and grotesque, talking condescendingly about the girls and the details of their services, or blatantly sensationalistic. I wanted to explore this world with a humanistic and personal subjectivity that produced an honest and informed portrayal of the lives of the women working there and the staff that takes care of them and the customers. I’ve spent a total of three weeks at four different ranches over the last eighteen months. I’ve spent the most time at The Love Ranch so far, however’.

How did you obtain access to the brothel and what was your level of access?
‘My friend Molly is a writer at a Las Vegas newspaper and she’s done stories about the brothels. I called the owners myself that she knew and sent them samples of my work and an outline of what I intended to shoot and I got a great response. The only restrictions I had were: no photos of clients unless they specifically wanted to or asked me, and no photos of any girls who didn’t want to participate. Once the girls and staff witnessed my work ethic and my respectful and inconspicuous manner, everything went smoothly’.

Were the girls wary of having their photograph taken? How did they react to you initially?
‘About half of the women I speak with want to participate in the book. Many of them are mothers or have other jobs and have concerns about family, friends and co-workers identifying them. They come from around the world. On my last trip alone, I shot girls from Seattle, LA, Indiana, New York, Colombia, Germany, Mongolia and London.

‘The first day at a new house is usually tentative. Understandably everyone is hesitant with me at first but without fail, I strike up a few conversations, shoot some portraits and by the end of the day, word has traveled around the house that I’m enthusiastically doing good work … and that I’m not a freak. By day two everyone is totally warm and engaging, even if they don’t want to be photographed. I’ve been told several times of their eagerness at being portrayed not as sex workers, but just as they are-people who’ve often traveled great distances to work at a job in rural Nevada’.

?You captured the girls in their normal day to day life, which appears rather normal. Was this something that you expected to find?
‘I honestly had no idea what to expect, which is what I love about personal work. Each brothel has it’s own rich visual aesthetic so I try to capture the girl’s lives as they unfold against these unique backdrops. I think a major reason for this project’s success is it’s deliberate honesty. Since it’s self-generated, I have as much time as I want to shoot. It’s nice to have the time to get to know everyone and contemplate what scenario will best communicate what I want to convey.

‘I did a lot of more formal sittings to get familiar with everyone but it was the moments in between that struck me-when I’d walk through the kitchen or pass through the parlor where everyone was hanging out doing crossword puzzles and reading. Like the shot of Sunny drinking coffee in the kitchen.

‘I was on my way to get something from the car and I saw her there and I was like “Wait! Stay there, I have to go get lights and my camera”. The more conversations I had with them, the more I realized that most people think of them simply as prostitutes. But they spend hours on Facebook, make toast, go shopping and watch TV hungover — the same mundane crap that we all do. I’ve been really amazed at people’s surprise at seeing this side of their lives.’

What are your intentions for this series and is this an ongoing project?
‘I plan on going back once or twice more. I’m currently looking for a publisher to put this out as a book. I’ve collected some pretty awesome stories that will serve as small bits of text as well. I’d also like to have a show with these images at some point’.

You recently bought Jet Blue’s “Free and Unlimited” travel voucher for anywhere Jet Blue flies and sent out an email to Photo Editors where you offered your services with almost no travel expenses involved. How did this go over and can you talk about some of the more interesting assignments you received on the back of this?
‘I got a great response to this promo. I shot two stories in Tampa, Florida for Cigar Aficionado about the last factory that hand makes cigars in America, I went to North Carolina and Missouri for a story about the best jobs to have in a recession for Money Magazine, I was in Austin, Texas to profile an organic pancake mix company and I shot a few days of a documentary in rural Ohio. And then I took my one free week and went back to the brothels’.

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