DEVIN BLASKOVICH

I think that I've always been very traditionally and formally driven within the constructs of concept creation, and like many, have always battled with the ideas of perfectionism and originality. The overbearing tendencies of worrying about whether you're making something unique and not just some formulaic and disenchanted reproduction of a photo shoot you subconsciously pulled from another publication or campaign six months ago is the biggest way in which confidence can wane.

I think it's vital to both look around you towards your contemporaries as well as into the histories of photography, as you will shortly come to find out that most things produced in the contemporary circuit now have been perfected prior fifty to sixty years back. This knowledge that everything has already been done, most of the time much better than what you see coming out of the current batch of young photographers "hot" this season, can free you from the shackles of the pressure of creating your Magnum Opus and also provide a point of departure in which case you can approach an older concept with the education to be intentionally referential as apposed to blindly making work that is subconsciously derivative.

 

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In order to get the most out of a subject, I constantly attempt to work out of intention. The biggest disconnect I see when working with a team or a model is the translation between concept and actual creation. An image series can be simply about the interaction between the photographer and the model, in which case the facades of fashion and form can be abandoned for simple imagery and emotive expression. But, it is imperative that the concept is presented as that. Toting some heady metaphysical concept onto a blank photo series of a model in a dress (or more common, in nothing) does not add validity to the work, it just creates discord as most of the time the concepts don't translate into the imagery and for a simple model test, many times the concept is lost into the headlines and Instagram captions and not picked up by the model or the imagery.

I try to define a concept for a photoshoot aesthetically first, and move from light and colour form to lay down the foundation of pose and movement patterns for the model to help coincide and compliment the lighting and clothes for the intended purpose. I try to communicate the concept as an open ended question to the model and team so that during the pre-production they can think about their intention and how they will respond, in which case their aesthetic and artistic choices can add further layers onto the work itself.

 

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I have actually recently finished a year long phase in which I didn't photograph any women or people in general, and focused simply on medium-based abstract expressionist photographic work and still life. Coming out of that, I was able to consider new visual potential with photographs including women, and it has given me this insatiable drive for creating images focusing on them this last year into now.

For [selecting] models, it's definitely on a case by case basis, with intention between the model being the emphasis on the shoot or the model complimenting a specific project created with another collaborator to emphasize certain ideas or proportions. For collaborative projects with other artists it really depends on how we can add to each other, as I believe that sometimes certain projects split between artists can more so divide the work than compound to make something better than the sum of its parts.

 

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I'm always open and willing to shoot whatever is put in front of me, but personally I've been very attracted to the minimalist large silhouetted clothes that's been really prolific in the designers based in Japan and Barcelona lately. I think the clothes themselves present less of an issue by itself but it depends on who is wearing it and what kind of set it's being photographed on, especially on instant film where the latitude for shades of grey is significantly less than negative film.

 

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One of the most challenging aspects of my work but one that I am truly grateful for is: The propensity to experiment with the medium. Most people call me daft for almost always requiring to shoot large format and complexed mediums for sometimes simple photo shoots, but thanks to sponsors and persistent hard work, I've been proud to call it something that is vital to my workflow and am grateful that it is something that I have garnered recognition for.

 

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I think that this new resurgent film photography ecosystem, although sometimes ignorant and at many times debilitatingly trite, has paved the way for the continuance of film as a medium of expression for years to come. I believe as well that similarly to the backlash of digital as a new aged media to cause this counterculture occurrence of grainy, antiquated low fidelity photography, there will be some sort of equating trend that will level out the balance between not shooting super clean and bland digital and not shooting stupid grainy terribly colour balanced front flash "youth culture" photography to make a very effective and beautiful cohabitation that will cause a shift to the elevation of subject content against the purely formal aggravation's held now.

 

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The end of civilization will be caused by: Resistance to change due to the male ego.

 
















01 // Uncredited
02 // Paige Jimenez // paigejimenez
03 // Aspen Maye // mayeaspen
04 // Sophia Tatum // sophia_tatum
05 // Uncredited
06 // Paige Jimenez // paigejimenez
07 // Uncredited
08 // Uncredited
09 // Sophia Tatum // sophia_tatum
10 // Uncredited
11 // Sam Swan // swan_sam
12 // Paige Jimenez // paigejimenez
13 // Uncredited
14 // Uncredited
15 // Sam Swan // swan_sam
16 // Paige Jimenez // paigejimenez

 

Devin Blaskovich // devblaskovich // devinblaskovich.com

 

JUNNNKTANK is an online zine which has existed in one form or another since 2006.
For over a decade, the focus has been on highlighting the efforts of inspiring individuals and artists from around the world.

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Submissions are always welcome to junk@junnnktank.com.