The Making of Boogie’s Demons Project

Serbian photographer Boogie, known for his street photography from all over the world, has been working on a series of wet-plate collodion portraits in his hometown of Belgrade over the last few years, a project that he calls “Demons”. I had the chance to see the fascinating process of making this work up close in 2011 when I was photographed in his studio’s courtyard for an earlier version of the project. This year Boogie took delivery of a new custom-made 11×14 inch wet plate camera and he is pushing forward with new portraits (and still lifes). You can see a lot of the new pictures on his website for Demons.

He recently posted a link to this great behind-the-scenes video made by Stud 7 and Sima Film in Belgrade, which reveals somewhat how his massive camera works and the complicated chemistry that goes on to make the pictures happen. A cool little video that shows off Boogie’s process. The Tom Waits soundtrack and mad scientist vibe fits him too.

SEE New Perspectives Masterclass

In 2010, fifteen young South-East European photographers and three masters met in Berlin for the SEE New Perspectives masterclass, organized by World Press Photo and Robert Bosch Stiftung. After the first meeting in Berlin all of the photographers were given a grant to photograph a story within the region but outside of their home country.

The resulting projects are now being exhibited in Belgrade, Serbia (on display until December 14 at the ARTGET gallery on Trg Republike) after debuting in Sarajevo, Bosnia and Herzegovina in October. The show will soon move to Zagreb, Croatia and Berlin, Germany. The exhibition features an interesting concept of displaying oversized “magazines” each devoted to one photographer’s project, with only one image from each project along with the photographer’s name on the wall.

You can see all of the stories produced in the masterclass on the SEE New Perspectives website as well as more information about the organization of the project.

The photographers are:
Andrei Pungovschi, Romania
Armend Nimani, Kosovo
Bevis Fusha, Albania
Dženat Dreković, Serbia
Eugenia Maximova, Bulgaria
Ferdi Limani, Kosovo
Jasmin Brutus, Bosnia and Herzegovina
Jetmir Idrizi, Kosovo
Marko Risović, Serbia
Nemanja Pančić, Serbia
Octav Ganea, Romania
Petrut Calinescu, Romania
Sanja Jovanović (née Knežević), Serbia
Tomislav Georgiev, Macedonia
Vesselina Nikolaeva, Bulgaria

And the Tutors are:
Regina Anzenberger, Austria, artist, curator, photographer’s agent, gallerist
Silvia Omedes, Spain, president at Photographic Social Vision Foundation
Donald Weber, Canada, photographer VII Agency

I asked my old friend Jasmin Brutus, a Bosnian photographer who was part of the masterclass, to paraphrase the statement he gave at the Sarajevo opening which expresses his feelings about the years-long masterclass project: “We [the participating photographers] all returned with nice small toolbox which our employers will never know how to utilize. So, I think experience in the masterclass is very useful for my personal projects and for my job is almost useless. I gained new skills and my old skills got enhanced. But, for me the most important thing is that I met a group of really great people and great photographers.”

Congratulations to my friends from around the region who were able to take part in this interesting project and many of whom were able to produce terrific photo stories that may otherwise never have seen light or been published. I encourage you to explore the work published on the SEE New Perspectives site or peruse the photographers’ own websites linked above.

The video below features interviews with all of the photographers about their work and experience in the masterclass:

SEE New Perspectives from Balkan Photographers from World Press Photo on Vimeo.

Dirty Season: a group project by new Serbian photojournalism collective Kamerades

Kamerades is a new collective of photojournalists based in Belgrade who have come together to help develop independent photography in Serbia and to work on group projects documenting contemporary stories. They are currently working together to photograph the Serbian presidential and parliamentary elections, which will take place on Sunday May 6, 2012. These six photographers are contributing their own hard-edged and sardonic vision of the Serbian electoral process and how it reflects Serbian society. They call the project “Dirty Season”.

I think it is an important step for this group and Serbian photography in general to work on such collective projects, with financial support, and to have a community of like-minded photographers working together to get photographs published in their own voice. It is not easy, especially not here, but I admire their energy and efforts. With this in mind I had a few questions for the Kamerades crew about their formation and backgrounds. Given the timeliness of their new project with the elections this week, I chose not to show a portfolio of their work but this current electoral group project which I am so excited about. It is an incredible portrait of Serbia during this election cycle.

Kamerades is Saša Čolić, Nemanja Jovanović, Milovan Milenković, Nemanja Pančić, Marko Risović and Marko Rupena. As a group they regularly post to the Kamerades Blog including updates to the Election story, which they present without captions or credits.

So how did this group of photographers come together? Where did you meet?

Jovanovic: Marko Risovic, Milovan Milenkovic and I participated in a photography lecture supported by World Press Photo back in 2009. That was the first time that we showed some of our work to a group of people larger than three. I was swept by Marko [Risovic]’s Legionnaire story for example and one thing led to another. Milovan suggested that we meet and talk about doing “something” for Serbian photography, even if it means taking only baby steps. After two years of meeting in various pubs and places that would be too generous to call restaurants, speaking and inviting over 20 people to join us, this is what came out of it.

Pancic: Milovan Milenkovic and Nemanja Jovanovic initiated the idea that after our work when we have free time, we can meet at the pub and discuss our work. At first point it brought together a large number of photographers, but over the time there were six of us remained and those were the most persistent ones. During this period, which lasted some two years, we have become a collective. It’s started to affect in a positive way to all of us as photographers, but we also became close friends. In the end we decided to launch a website that allowed us to show our work to the public.

What backgrounds as photographers do you have? Freelance, agencies, newspapers?

Jovanovic: Probably every possible background you can think of! In Serbia, you don’t get a paycheck doing and specializing in only one kind of photography.

Risovic: All of the guys in Kamerades collective were working for Media outlets at some point. At the moment few of us are trying to freelance. In Serbia. Can you imagine?

Pancic: Some of us are working in the agencies, some try to be freelancers, and some in the press.

Was there a moment when this group came together and decided that it was time to work collectively? What was it? What gave you guys the idea to work together?

Jovanovic: Yes. The idea was not so clear in the beginning, but it was there all along. From start we were determined to “push each other forward” and to try to do what we like for no other reason. No money, no awards, fame or glory were important, only escaping our everyday routine which included participating in the inevitable decline of journalism, photojournalism and photography in Serbia. The collective came as a logical solution.

Risovic: Being colleagues, working next to each other for years, we were silent witnesses of degradation of photojournalism in Serbia. We realized that sitting and despairing doesn’t lead us anywhere. So, we decided to pursue some action, and besides hanging around, talking and drinking in the pubs, we tried to be constructive. As Nemanja said before, it was a process, but it was clear from the very beginning that we all have common goal.

How did the website come together? What are you hoping to accomplish with the website (that is, to sell work? to share pictures? promoting yourselves, promoting Serbia, just looking bad-ass, etc.)? Where did the design and logo come from?

Jovanovic: It took some time. We are not experienced in that kind of stuff, so we were learning the basics, step by step. We were lucky enough to be 6 people with completely different interests, knowledge, personalities, approach in photography, but we somehow clicked perfectly together, and it resulted in the fact everybody got their part of job. Mostly Sasha who whipped and pissed off rest of us (or, took the piss out of the rest of us), and Milovan who did logo and design details after approximately nine million e-mails and discussions about the same issue. Also, we had a lot of help from friends, like our colleague Darko Stanimirovic who did the website. A lot of people gave different advices, Matt Lutton among them [ed: happy to help guys!], Donald Weber from VII agency and our friends photographers, designers and editors from Serbia and abroad.

Selling our work is every photographer’s job of course, but with this portfolio we mostly seek attention and hope to sell something in the future, maybe to get some assignments that would suit our style/wishes. And looking cool is one of the goals, of course! We are pretty much terrible musicians and we couldn’t be rock stars, so we took cameras. Chicks love it!

Pancic: As I said before, the website has come as a result of our meetings during the past two years. One idea that keeps us together is that we want to show our work to world around us, we believe that as a collective we have a better chance to get more publicity and through joint actions provide us new projects. Logo design came from a smart push by Milovan Milenkovic, multitalented and good looking guy.

Risovic: Basic thing that bothered us from the beginning was the fact that when you simply google documentary photography and Serbia together, you don’t get any of the serious websites with representative work. There are great documentary photographers and photojournalists in Serbia. Believe us! We hope to change this with our website. And to look badass, it goes well with the fame.
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