Martene Rourke & Sarah Faraday
Two photographers from London are taking part in todayâs âThe Swapâ by the name of Martene Rourke and Sarah Faraday http://theswap.info/mrsf.html
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@theswapproject
Martene Rourke & Sarah Faraday
Two photographers from London are taking part in todayâs âThe Swapâ by the name of Martene Rourke and Sarah Faraday http://theswap.info/mrsf.html

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Laura Plageman & Tabitha Soren
Two photographers from Oakland and San Francisco are taking part in todayâs âThe Swapâ by the name of Laura Plageman and Tabitha Soren http://theswap.info/lpts.html
Anne Kathrin Greiner & Torsten Schumann
Two photographers from Berlin are taking part in todayâs âThe Swapâ by the name of Anne Kathrin Greiner and Torsten Schumann http://theswap.info/agts.html
Anne Kathrin wrote âWe met at an opening in May last year, so we haven't actually known each other for a very long time. Still, this portraiture project was a great way to challenge ourselves and to work together. At first, we both felt a little awkward in front of the camera but it was also very interesting to find out how another person sees you, as opposed to how we'd like to see, or present, ourselves...so the task to figure out how our respective viewpoints and approaches could be best reconciled was a very valuable experience.Having worked more in the realm of street photography than portraiture, Torsten didn't have a specific idea from the outset and looked for an interesting moment that would present itself.In comparison, Kathrin already had some idea of how she wanted the final image to feel, aiming to capture Torsten at his most natural and relaxed.After we had overcome the initial sense of uncertainty in front of the lens, eventually we both became more relaxed and enjoyed being a bit more playful and embracing unforeseen possibilities, such as the surroundings and light. Both of us feel that we wanted to convey an interior emotion whilst also responding to (and incorporating) the exterior environment, to allow for a sense of self-reflection and presence in the final image.â
Liene Leonovica & Nora Vrublevska
Two photographers from Riga are taking part in todayâs âThe Swapâ by the name of Liene Leonovica and Nora Vrublevska http://theswap.info/llnv.html
Nora Vrublevska and Liene Leonovica study together at ISSP, a photography school based in Riga, Latvia. Participating in the Swap was an interesting opportunity. Nora says that being the subject of a photograph as opposed to the photographer felt odd because she much more enjoys being the photographer. Liene mentions that she is not used to being pointed at with a camera either, though she saw it as an opportunity to feel what her subjects usually feel. She adds that with Nora directing her she felt comfortable being a subject despite some thorns from the bush piercing her back. Before taking the pictures, they had discussed it only to make arrangements for location of the shoot. Both photographers enjoyed the process, and to create these portraits they were open to the process of working together. Liene did not have any plan for the shoot. In a way she just jumped in and kept her eyes open to see what the place offers. Nora says that she doesn't think there ever is a singular approach when photographing people. When asked if the two portraits relate to each other, Nora and Liene say that to them, because of the surrounding greenery, both portraits seem very intimate.
Grant Scott & Matthew Murray
Two photographers from London are taking part in todayâs âThe Swapâ by the name of Grant Scott and Matthew Murray http://theswap.info/gsmm.html
They answered some questions about their experience:
How do you know each other?
G: We are both senior lecturers on the Editorial and Advertising Photography BA HONS course at the University of Gloucestershire and we share an office.
M: Alongside my own photography practice I am a Senior Lecturer on the Editorial and Advertising BA/Hons Course at the University of Gloucestershire, I teach on a fractional basis, Grant is a colleague.
How did you feel being the subject of a photograph as opposed to the photographer?
G: Awkward
M: It didn't bother me, I'd feel pretty comfortable in a cafe with a cup of tea having a chat, whether I was behind the camera or in front of it.
Did you discuss the shoot prior to taking the images?
G: No
M: We only discussed where we would photograph one another.
Did you enjoy the process?
G: Yes, as it was so dark that I couldn't see Matthew at all. I could guess at what he was doing and why he had created the lighting set up but I had no firm idea. I liked that sense of not knowing.
M: Yes
Did you experiment with a new style of photography or did you reflect your normal approach?
G: I can only take pictures in one way and this is it. Its a visual language based on my background as an art director. I like to be in control of the environment and the light. Everything else is chance.
M: I shot Grant in the studio using a very minimal set up, pretty similar to how I shoot my portraits.Â
How do you think the two portraits relate to each other?
G: I have no idea as I have not seen Matthew's of me and I have not shown him his. I guess it will be two extremes of the way in which light is captured. I like soft, flat light, he's more dramatic.
M: I don't know how they relate as we both made a point of not showing the finished portrait to each other.

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Alban LĂŠcuyer & Laurent CheĚheĚre
Two photographers from Nantes and Paris are taking part in todayâs âThe Swapâ by the name of Alban LĂŠcuyer and Laurent CheĚheĚre http://theswap.info/allc.html
Sara Morris & Sue Parkhill
Two photographers from London are taking part in todayâs âThe Swapâ by the name of Sara Morris and Sue Parkhill http://theswap.info/smsp.html
Emli Bendixen & Emma Nathan
Two photographers from London are taking part in todayâs âThe Swapâ by the name of Emli Bendixen and Emma Nathan http://theswap.info/eben.html
Amiko Li & Rachel Herman
Two photographers from Chicago are taking part in todayâs âThe Swapâ by the name of Amiko Li and Rachel Herman http://theswap.info/alrh.html
Alison Turner & Brandy Trigueros
Two photographers from Long Beach and Los Angeles are taking part in todayâs âThe Swapâ by the name of Alison Turner and Brandy Trigueros http://theswap.info/atbt.html
They answered some questions about their experience:
How do you know each other?
Alison: I met Brandy at the Julia Dean School of Photography, which is now the Los Angeles Center for Photography. Â We ended up in a few classes together and I knew we would be friends right away. Â Since we met four years ago, she has been one of my closest friends. Â I look forward to each time we are together. Â I know it will be full of laughter, creative brainstorming and inspiration.
Brandy: When Alison and I met we became fast friends after making each other laugh heartily. We still share this laughter and camaraderie as if weâve known each other since we were kids.
How did you feel being the subject of a photograph as opposed to the photographer?
Alison: Â I hate being the subject. Â Whenever someone points a camera in my direction, I hide anyway I can. Â I did this just because it was for Brandy. Â There are very few people I trust to take such an intimate photo of me.
Brandy: One of my most recent series involves narrative self-portrait work so Iâm (mostly) comfortable being the subject. I have to let go of any self-consciousness even when I may look ridiculous or comedic as in a Buster Keaton skit while making a self-portrait. However, Alisonâs quick-handed style of shooting and our close familiarity and kinship instantly put me at ease.
Did you discuss the shoot prior to taking the images?
Alison: Sort of.  I did my shoot of Brandy for my Equivalence series so I knew what I wanted and she knew the overall âlookâ of the series.  As for what she wanted to do with my imageâŚwell, lets just say that she mentioned several scenarios that she wanted to lean towards.  All of them required dresses, wigs, props or anything fantasy related.  I didnât say no but maybe a slow, âooookkayyyyâ was heard. I trusted that she knew what she wanted so I went with it.
Brandy: A favorite pastime of mine is perusing flea markets and thrift stores. Originally I wanted to make a zeitgeist portrait of Alison transporting the viewer to another era. However, I took a more naturalist approach and photographed her while we were spending time together at Mono Lake.
Did you enjoy the process?
Alison: Our shooting styles are so different from each other. Â I shoot fast. In fact, I think we were finished in less than 10 minutes. Â Letâs just say that she is a bit more particular about her shoots and takes more time with them.
Brandy: Yes! Any time spent with Alison is a joyful one. Her uneasiness in front of the camera as well as our different styles of shooting was a good challenge for me. Iâm much more methodical and like to sculpt an image while letting happenstance come into play. It made me work much quicker than I normally would.
Did you experiment with a new style of photography or did you reflect your normal approach?
Alison: Â Her portrait was taken with my iphone with the hipstamatic app to match my other portraits of my (http://alisonturnerphoto.com/equivalence) Equivalence series.
Brandy: Normally my image-making involves some brainstorming, oftentimes a bit of vintage styling and costuming and/or some sort of prop which we played with a little. In the end I chose an image that reflected both Alisonâs intimacy with the outdoors but for me had a strange stillness and oddity to it.
How do you think the two portraits relate to each other?
Alison: I think we both were willing to be vulnerable with each other and do things we wouldnât normally do with just any other photographer. Â Since we are so close, it made the shoots fun. Â I would do it again in a heartbeat.
Brandy: I completely agree with Alison. I am so thankful for the opportunity youâve presented us with and to be able to collaborate with my close friend.

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Jaime Permuth & Richard Bram
Two photographers from New York are taking part in todayâs âThe Swapâ by the name of Jaime Permuth and Richard Bram http://theswap.info/jprb.html
They answered some questions about their experience:
How do you know each other?
RB - While weâd known of each other and our work for some time via Facebook, I think the first time Jaime and I met in person was at an opening in Chelsea. We recognized each other from profile photos, nodded, shook hands, exchanged pleasantries and went our separate ways. However, in March 2012 we both found ourselves in Houston for FotoFest and ended up spending time together, sharing work and stories of Mexico and Guatemala over meals, between appointments, and became friends in the process.
How did you feel being the subject of a photograph as opposed to the photographer?
RB - While I much prefer to be on the back side of the camera, Iâm fairly used to being photographed. What I have to fight against was trying to âhelp' Jaime by assuming poses looking a certain way, making stock expressions, the sort of look that my wife calls my âIâm having my picture madeâ face - you know, putting on this or that mask. Itâs as hard for me as it probably is for anyone to drop that mask and allow something real through.
JP - Some days it's less painful than others. And it's not a bad thing to be reminded every so often of how it feels to be seen by a lens. The thing about being photographed is that -even if you don't relish the experience- you'll be grateful to have the image once the moment is gone.
Richard works in a very intuitive way, responding to life as it unfolds, and the photograph is taken before you even know it. Nothing better than that.
Did you discuss the shoot prior to taking the images?
RB - Not really. My picture of Jaime was made completely spontaneously one afternoon in a tea shop in Harlem. Weâd gotten together to have a chat about nothing in particular; the warm afternoon sun came in and made everything glow. As we were talking I knew I had to say "hold it,â pick up the camera and shoot about ten frames of Jaime right then. This is definitely the best of the lot.
It was a year later when I dropped Jaime a note to ask if heâd be the other half of the swap and he agreed. We really didnât talk about it that much other than to lock down a date and time. At his suggestion, he came downtown to where I live in the Financial District. The light is always interesting as it moves around through the canyons of Manhattan. When he came in, he said "the light is really nice and we should go out right now!" So we went for a walk around the neighborhood, trying this or that as he spotted a pool of light here, a reflection there, a different background, thenn we walked over toward the 9/11 Memorial Pools. As we walked by the just-completed 4 World Trade Center building, he noticed the sun going into the stark modern lobby as well as the reflections in the glass and asked me if he thought the security in the lobby would give us trouble. I decided that they wouldnât if we were quiet, fast, and didnât ask permission. (If you ask, the answer will almost always be âno.â) He told me where he wanted me to stand, I went in to the spot by the window, he directed me from outside and I did my best to follow instructions. This is the result of his vision.
JP - Haha, yeah that's right. Light dictates and we follow. Wall Street is one of my favorite places to photograph in the city. Light is refracted from many directions by the gleaming buildings all around and people are caught in the crossfire. The streets are frantic but interspersed with random pockets of almost pastoral quiet. This happens to be Richard's neighborhood and I wanted to photograph him there.
It's hard to take a bad picture of my handsome colleague, but this image -with the street inside- seems particularly memorable. Our minor transgression - "occupying" that interior corner of a private building - added a small and energizing challenge to our shoot.
Did you enjoy the process?
RB - In a word, yes. In more words, yes, very much.
JP - Nicely said, Mr. Bram.
Did you experiment with a new style of photography or did you reflect your normal approach?
RB - I Â spent many years as a portrait photographer with my own studio, but the most memorable portraits Iâve made, both for me and for my subjects, have been spontaneous, just like the photo of Jaime: a whim, a bit of serendipity. Now, I always have a camera with me, and I mean always. iâll be talking to someone and suddenly Iâll notice a certain look or gesture, a shaft of light, an interesting background. Up goes the camera quickly and click.
JP - I like to define the general parameters of a situation and then stay loose and go with whatever is there in the moment. A good portrait can never be anticipated or replicated: it's that person, on that given day, in that particular time and place. Go back to the same spot, with the same person at a different time and on a different day: you'll get a completely different photograph.
How do you think the two portraits relate to each other?
RB - The glib answer is that that theyâre both horizontal, color, and the subject is looking to the left of the frame. The serious answer is that they are both casual portraits, even though both photographers exercised quite a bit of formal rigor while composing the frames. they also both express a lot of each of our characters in the final results. This to me is crucial to any sort of good portrait, whether made in a controlled studio setting or in nominally casual circumstances. Jaime and I are both very serious men, especially about our work and the ways we choose to observe and record the world. This doesnât preclude having a sense of humor, though, and I think there is just enough in both pictures to give a subtle hint that we both like to laugh.
JP - As Richard mentioned, his was the first portrait and it happened spontaneously in the context of a leisurely and friendly conversation in Harlem, where I live. I responded by matching his choice of lens -50mm- and by asking him to join me in a walk through his own neighborhood, keeping the context of a shared experience among friends.
Olivier Despicht & Xavier Cornu
Two photographers from Lille are taking part in todayâs âThe Swapâ by the name of Olivier Despicht and Xavier Cornu http://theswap.info/odxc.html
Kat White & Ursula Fuchs
Two photographers from Sydney and Melbourne are taking part in todayâs âThe Swapâ by the name of Kat White and Ursula Fuchs http://theswap.info/kwuf.html
Alex Yates & Caroline Hancox
Two photographers from Norwich and Royston are taking part in todayâs âThe Swapâ by the name of Alex Yates and Caroline Hancox http://theswap.info/aych.html
Angie Smith & Jenny Hueston
Two photographers from Los Angeles are taking part in todayâs âThe Swapâ by the name of Angie Smith and Jenny Hueston http://theswap.info/asjh.html

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Laura Pannack & Lydia Goldblatt
Two photographers from London are taking part in todayâs âThe Swapâ by the name of Laura Pannack and Lydia Goldblatt http://theswap.info/lplg.html
Hannah Mentz & Michaela Verity
Two photographers from Capetown are taking part in todayâs âThe Swapâ by the name of Hannah Mentz and Michaela Verity http://theswap.info/hmmv.html
They both answered some questions about their experience taking part:
How do you know each other?
M: I met Hannah at a school of photography that I was working at, at the time. We both enrolled in a short course on Lomography and have kept in touch since.
How did you feel being the subject of a photograph as opposed to the photographer?
H: I definitely felt quite exposed and out of my comfort zone, but at the same time, I completely trusted Michaela who was very inobtrusive whilst she was photographing me. M: My first instinct was to run into the forest and never return. It was extremely uncomfortable. I thought that I could will myself to relax, to forget about what was happening and to enjoy the scenery⌠alas.
Did you discuss the shoot prior to taking the images?
H: Only two things - the location ( we agreed to use Newlands Forest which is a very special place in Cape Town) and using our medium format cameras. M: We really only decided on a location (Newlands Forest). Other than that it was a sort of given that we would both choose to shoot on our analogue cameras. I think that we both share this sort of aesthetic (as opposed to digital imaging) and it was the only way weâd want to be represented photographically.
Did you enjoy the process?
H: I did after I got over my initial fear! It was actually fun to work alongside another photographer and to dust off my beautiful medium format camera again. I enjoyed being part of a more collaborative process - often photography is a solo thing and to work alongside a creative and talented photographer was a pleasure. M: Yes. Apart from my temporary paralysis, by the end of it I felt very relaxed, perhaps just excited to see the processed photos!
Did you experiment with a new style of photography or did you reflect your normal approach?
H: It was more like stepping back to the kind of portraiture I really enjoyed doing. More slowly and with more concentration. M: I just did what comes naturally to me. At that particular moment the last thing I wanted to do was over-think anything, I was just eager to take photographs after a long absence from the medium.
How do you think the two portraits relate to each other?
H: I think the portraits reflect a mutual trust and show something real and soulful about both of us. I also like that the portraits are both black and white - it ties them together. We both started immediately using our photos as our new profile photos so I think that's a good sign of how we feel about our Swap experience! M: Iâve always felt that Hannah and I have a similar sensibility when it comes to taking photographs, as well as perhaps in the way we relate to the world. The two portraits show this quite clearly I think. Some might say that we are shy women⌠We are I suppose. We are also both very young at heart. (Hannah even looks like her young son in hers!) Looking at the photographs now I see that they both show childishness, an insecurity. Looking beyond this and into our eyes I see worlds there that we both inhabit, imaginary sanctuary.