I sometimes
dream of an ideal photographic journal, maybe one distributed on microfiche so
we can all afford it. In my imagination it is assembled in somebody’s garage in
the Midwest. It is a magazine devoted to successful work because that is all we
have time for; it is a journal notable for its tact and lucidity, and it is a
magazine full of pictures because they are the point. We might just take our
cue from Man Ray’s friends and call it Good News. And we won’t allow ourselves
to be labeled sentimentalists, because our title does not imply that good news
in the short run comprises the news or even most of the news. In
fact, we may note editorially that our attention to good news is evidence of
our pessimism, our belief that good news is rare and we cannot afford to
overlook any of it.
Robert Adams, Beauty in Photography (1981)
Robert Adams, Beauty in Photography (1981)
INTRODUCTION
This journal is the answer for sharing work in printed form. Frustrated with popular contemporary ways we seek to find and create a platform for photographs and texts to exist in a physical shape. Our aim is to use this platform to distribute photographic work to an audience that appreciates print. One whose representatives want to hold it in hand, touch the pages and store it in their library. We want to talk about photography, discuss it with guest authors and collect it all between the covers of a fine magazine. Although photography remains the main focus of the publication it could be considered as a prism or a backdrop for all other topics. We believe that many of the ideas are just as easily applicable to other fields and mediums. This goes the other way around as well. You could also consider this magazine as a research report. We are all learning from this.
This second issue of GOOD NEWS is created by Damyan Doumanov and Jahan Saber with contributions by Nina Maria Allmoslechner, Kamen Kyutchukov and Emilia Martin.
WHAT’S INSIDE?
More than 140 pages of writing
and photography. Here is the list of what’s inside:
p.04
PHOTOGRAPHY IS DEAD,
LONG LIVE PHOTOGRAPHY
A contradiction, an important debate or a page supposed to be ripped out?
Yo
u decide. p.08
SEND LAWYERS,
GUNS AND MONEY
Hunter S. Thompson is as much a legend of our time as the characters he left us with. From riding with the Hell’s Angels to fear and loathing all across the US - his legacy reaches into the deepest ditches of our souls.
p.12
CUTOUT ADVENTURES:
MUHA COLLAGES
The sound of tearing paper is not a sound of destruction, but of creation. An interview with Kamen Kyutchukov takes us through his fantastic universe of paper collages.
p.36
THE ITALIAN CONNECTION
Four days in Italy between flights. Two classic examples of poliziotteschi movies. And a manhunt across Milan’s soaked streets.
p.70
CINQUANTA
CINQUECENTO
A short but tender love story about a 50mm lens and one of Italy’s most important 500s - the Cinquecento.
p.74
INTRODUCING:
NINA MARIA ALLMOSLECHNER
From Iceland to Tyrol, an interview with Nina Maria Allmoslechner reveals insight into her photographic practice as she explores womanhood, body image and movements, as well as mental health and lens-based memory representation.
p.88
VALLEY OF THE SHADOW MOON
Walking through forests, the trees bend and creak as though whispering a secret tale. A blend of photographic landscapes and fiction.
p.101
AEROGRAMME
How many of us remember the times when mail used to fly? And when was the last time you wrote a letter? Perhaps now is a good time to do it, after reading this.
p.109INTRODUCING:
INTRODUCING:
EMILIA MARTIN
When a rock falls from the sky is it a relic? This and other questions are answered in the letter and interview with maker, thinker, photographer, writer, researcher, feminist and sound artist Emilia Martin.
p.124
COMBINATION OF THE TWO
Great ideas conveyed through simple means creates the most impactful work there is. Dust off your lens and sharpen your pencil as we explore the relationship between photography and writing.
p.134
ON PROCESS
Does it matter how we do things? From your morning cup of coffee to developing film - you might be surprised it does!p.138
BLACK AND WHITE FILM DEVELOPING GUIDE
So you know how to do it yourself.
p.142FEAR AND LOATHING:
FEAR AND LOATHING:
THE THIN RED LINE
A savage journey to the heart of camera design in the 20th century where the thin red line begins. From wars to dictators - they shot it all.