Kenneyrha Manuel

As the sunlight
touches her skin
her eyes start
shining brightly.

“Viola is a 22 year old Philosophy student, living in Milan. This story explores her lockdown stay-at-home routine.” introduces photographer Thomas Kuhn his latest photographic work to us. “I was in Milan for a different project, had just finished shooting and hit up my friend Viola Bianchi Michiel to catch up. I arrived at here beautiful small apartment in the city center located right under the roof. It was one of those last warm summer days, and the rays of the afternoon sun threw warm stripes of light across the wooden floor, softened only by the smoke of our cigarettes. Since I had my gear with me, I started shooting the scene. As we grew increasingly comfortable, she went ahead to continue her daily routine, and we were talking about random stuff, listening to records and rolling a bunch of cigarettes while I captured a few facets of her day.”

 

PHOTOGRAPHY – Thomas Kuhn @thomaskuhnph
MODEL – Viola Bianchi Michiel @violabianchimichiel

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The post One of those last warm summer days. appeared first on C-Heads Magazine.

Interview and words by Shristi Jaiswal

An amalgamation of feminine essence and serene natural ambiences, Aishwarya captures unfiltered photographs that reminds us of summer days and easy moments. Based in Chennai, India, the photographer loves to shoot fleeting instances of beauty and grace that highlight women in their best light. During our conversation she talked about her journey, inspirations and her love for documenting people caught in their regular rhythm of life, be it sipping a drink or breaking into easy laughter.

How drew you towards photography?

I’ve always been drawn towards creating or saving things that reminds me of a particular day, person or a memory that I’m scared will fade off my memory. I have a memory box where I collect leaves, shells, dried flowers and lots of other things that remind me of people I love or memories that are close to my heart. I think that’s what it was with photography as well. The idea of getting to save a few moments of someone’s life through my eyes is a gift I think I’m lucky I have.

Your pictures carries the most beautiful unfiltered lights, is there a particular reason why you chose to focus on the same?

I shoot only in natural light, not because I have anything against using artificial light, but because I’ve always worked with the bare minimum equipment. I don’t like carrying around too many things. I usually go to shoot with one camera body and a maximum of two lenses. I started working with sunlight and the more I shoot the more I realise how magical it is. There’s always so much to learn from light and the more I shoot the more I realise how it defines everything.

Are there any other art forms that you practise other than photography?

I paint sometimes. I feel like it’s one of the only times when my mind isn’t thinking about anything else but colours and textures. I find it very calming just to see colours blend into each other. I spend a lot of time just mixing colours on my palette.

 

I’m glad I get to experience, see and save moments when women are completely themselves, lost in the middle of a song or caught while they’re trying to hide a little scar or mid-sentence when they break into a giggle.

 

You portray women in natural resonances and thereby give a truly raw and real perception of them. How does that coincide with your impression of feminine beauty?

I think my perception of how I see the woman I shoot has so much to do with who I am as a person and how I see myself. I’m glad I get to experience, see and save moments when women are completely themselves, lost in the middle of a song or caught while they’re trying to hide a little scar or mid-sentence when they break into a giggle. You don’t always get to witness moments as real as those so closely and I think that’s one of the things I consider a big privilege that comes with the job.

Do you like to experiment with your style or like sticking to a consistent style that you have created?

I don’t think I have a style that I’ve stuck to intentionally. I try to stay true to things that I believe in and I think that forms my style. For the kind of work that I do, I think it’s important to be able to have conversations with the people I’m shooting couple of times before I shoot them so it doesn’t feel new and intimidating to have me in their space. I also make sure I try to understand what they’re looking for to make sure we’re on the same page.

Do you think clothing plays an important part in determining the beauty of a photograph?

I think it does play a part in making them feel comfortable. We usually plan the clothes based on what works for both of us.

What does your typical shoot day look like?

Depends on what I’m shooting. If it’s a commercial shoot for a brand, I usually have the location and everything sorted a week in advance. If I’m shooting personal projects then it’s completely different. I don’t usually plan too much. I like to just see things unfold on the day of the shoot.

 

I shoot only in natural light, not because I have anything against using artificial light, but because I’ve always worked with the bare minimum equipment. I don’t like carrying around too many things.

 

What subject would you say is your personal favourite to photography?

Women. I think that’s what truly made me want to take this up as a full time job. There was nothing else I enjoyed as much. I started photographing my friends in college and they were my first and most favourite subjects. I still continue to create more photos of women than anything else. Most of my favourite photos are from shoots where I simply drop by at a friend’s place and we have something to drink, maybe listen to music and I get to document them in their space.

Who or What would you say inspires you a lot?

I don’t know if I can pick one person but one thing that I’m always inspired by is leaves and the rain.

How does your environment/ location affect the way you shoot?

Sometimes we plan the location based on the mood of the shoot and sometimes it’s the other way around; depends on who and what I’m shooting for. It definitely does play an important role because locations directly determine the kind of light I’d be shooting in since I work only with natural light. If I’m shooting indoors I prefer shooting in places that allow light to enter through windows or balconies.

What season would you say compliment your photography style the best?

I’ve been shooting a lot in the rain lately and I think I’ve been really enjoying it.

Any quote you want to leave us with?

I don’t know where this is from but it’s something I’m always thinking about – We are our memories.

www.instagram.com/aishwaryashok
aishwaryaashok.com

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The post An Amalgamation of Feminine Essence and Serene Natural Ambience. A Moment with Photographer Aishwarya Ashok appeared first on C-Heads Magazine.

Words do little justice when it comes to capturing the BAC Mono’s beauty which lies in its raw, powerful design. The new generation of Briggs Automotive Company’s supercar was debuted online following the cancelation of the Geneva Motor Show. The Mono, now in its second generation, is lighter and more powerful than its predecessor, seats one person, has a top speed of 170mph, goes from 0-60 in 2.7 seconds, and for some reason, is street legal in continental Europe and around the world.

Emphasizing on lightness and power, the BAC Mono makes the clever use of individual surfaces rather than forms. The two surfaces (silver and black) come together to give the car its clean shape while emphasizing lightness by splitting the visual mass and relying on crisp, sharp edges on the front and back, giving the feeling like the car was draped with a 2D material. It still retains a sense of organic design, with a prominent shark-nose to emphasize aggression, while efficiently guiding airflow not just to minimize drag but to also help cool the Mono’s 2.3-litre, four-cylinder turbocharged engine.

The single-seater still manages to meet road legality standards with an engine that passes stringent EU6D emissions regulations. It does so while weighing just 570kg despite numerous additions under the skin in line with European regulations. This is, in part achieved by BAC’s graphene R&D programs which it relied on to make the Mono R from last year, as well as new generative-design wheels created in partnership with Autodesk to maintain the highest performance standards while cutting down severely on weight.

The supercar comes with a price tag of £165,950, which roughly translates to 212,500 of your American dollars – a little on the costlier side for a road-legal car considering it seats only one… but come on, will you look at that beaut!

Designer: Briggs Automotive Company