My enduring fascination with how different artists perceives and interpret the world is perhaps the bedrock of Viewfinder Chronicles. It is a curiosity born from my own journey with the lens, constantly seeking out those elusive moments where the mundane transforms into the profound, or where a singular image can speak volumes about the human condition. It is a perpetual quest to understand not only what is seen, but how it is seen, and why it matters. This deep seated inquiry is precisely why diving into FRAMES Magazine – Volume 19 felt like stumbling upon a meticulously curated treasure chest, a vibrant microcosm of what makes photography and art so utterly compelling. From the very first page, this volume promised, and delivered, a rich tapestry of visual narratives and profound insights that spoke directly to my artistic soul.

The magazine opens with a gentle invitation into a world of serene rituals, as Mark Edward Harris takes us on “The Way of the Japanese Bath.” His work is an exquisite blend of anthropological curiosity and aesthetic exploration, inviting the viewer into the unique cultural and spiritual dimensions of Japanese hot springs. His long term commitment to this project, spanning over three decades, from 1991 to 2025, speaks volumes about a deep, sustained vision, a true immersion in a subject that transcends fleeting trends. I found myself particularly captivated by the image of the bather at Kannawa-en Ryokan in Beppu, submerged up to their shoulders in the milky, almost ethereal water. There is a palpable sense of tranquillity, a quiet communion with nature, as the person’s back is turned to us, gazing out towards the rocky, vegetated bank. The description of the water turning “blue then a milky white” due to suspended particles creates a visceral sense of magic, a visual and tactile pleasure that Harris so eloquently describes. And of course, the contemplative gaze of the snow monkey in the hot spring at Jigokudani offers a charming, almost poignant parallel to the human experience of these thermal waters, a moment of profound recognition of shared simple pleasures. His project is more than documentation, it’s an invitation to experience a sacred cultural ritual through a deeply sensitive and appreciative eye.

Shifting gears entirely, Howard Schatz’s “Studies of American Football” presents an almost anatomical look at the diverse body types of professional players. His approach transcends mere portraiture, it is a meticulous study of function, design, and the raw physical poetry of athleticism. He dissects the human form with a clinical precision that is at once scientific and profoundly artistic, revealing the intricate beauty of bodies honed for a singular purpose. It made me reflect on the unseen forces that shape us, both physically and within our societal roles.

Then we meet Stephen Smith’s “A Glance Distilled,” an eclectic collection of black and white images that resonated with me on a deeply personal level. His profound ability to uncover visual poetry in overlooked places, to transform the seemingly mundane into the utterly profound through composition and light, is something I myself strive for constantly. His eye for abstract forms, textures, and surprising juxtapositions in everyday or weathered environments is truly masterful. The black and white photograph of the abstract stone forms, those two rounded, textured shapes with a dark crevice running between them, is a powerful example. It evokes a sense of monumental presence, as if these weathered stones are ancient sentinels holding forgotten stories. The “patina of weathered age” and “cleavage of incongruous forms” he mentions in the text are beautifully made, creating an image that is both unexpected and strangely familiar, a testament to finding immense beauty in the subtle textures of existence. It’s an unflinching look at the ordinary, elevated to the extraordinary.

Adrian Vila’s “A Journey of Discovery” takes us on a deeply personal narrative of landscapes that shaped his family, bridging memory and presence across continents. His poignant black and white photographs are steeped in emotional connection to place, environmental shifts, and moments of profound recognition. The image of the trees in O Courel, Galicia, Spain, silhouetted against a misty, overcast sky, carries an immense emotional weight. His accompanying text, recalling his father navigating those very mountains to deliver bread, infuses the stark landscape with layers of history, labour, and changing human relationship with the land. It’s a melancholic contemplation on transience and the beauty that appears from forgotten histories, a powerful reminder of how landscape can embody generations of human stories.

Finally, Kevin Painchaud’s “Documenting My Community” offers a raw, visceral glimpse into the power of photojournalism. As a photojournalist in Santa Cruz, California, his images are far more than mere documentation, they are immediate, empathetic windows into human experience, capturing decisive moments of crisis and collective action that carry immense emotional weight. The colour photograph of the firefighter engulfed in thick, yellowish green smoke, walking away down a dark, paved road, is a stark reminder of courage in the face of chaos. The scene is both terrifying and compelling, an unflinching look at the human element amidst natural disaster, capturing a powerful sense of both vulnerability and immense strength. It’s an electrifying image, cementing the raw reality and emotional truth that photojournalism can deliver.

Beyond the breathtaking visual journeys, FRAMES Volume 19 truly elevates itself with its “Conversations” section, moving beyond simply showing pictures to exploring the profound why and how behind the art. Paula Tognarelli’s interview is a testament to the dedicated stewardship of photography as an art form. Her journey, from the technical shifts within the printing industry to her impactful tenure at The Griffin Museum of Photography, champions emerging talent and showcases a deep understanding of both the craft and its evolving landscape. Her advice on portfolio reviews felt invaluable, particularly for anyone grappling with the challenges of showcasing their work, a concern I often meet in my own post production struggles.

Similarly, Del Barrett’s work with Hundred Heroines, a UK charity dedicated to recognising women in photography, is absolutely crucial from both an art historical and social standpoint. Highlighting the often under recognised contributions of women in photography is vital for a complete and fair understanding of the art form’s past, present, and future. Their pivot to online community building during the pandemic, including those inviting “boot camps” and virtual coffee mornings, proves an incredible adaptability and a powerful focus on connection, an inspiring example of overcoming adversity to foster community. It speaks to the ongoing fight for fair recognition within a historical context that has often overlooked vital voices.

The “Beyond” section, featuring Laurie Victor Kay’s “Beautiful Mess,” was perhaps the most intellectually stimulating from a contemporary art perspective. Her multi-disciplinary practice blurs the lines between photography, painting, installation, and digital mediums, using heavily modified photographs to explore profound themes of perfection, imperfection, and self-analysis. Her courage in using deeply personal experiences, such as medication, as a metaphor for broader human anxieties and the desire for “internal perfection,” is truly compelling. She pushes the very boundaries of what photography can be, using it as raw material for deconstruction and reassembly. The way she layers physical and conceptual elements, incorporating historical nods like the antique glass lens, showcases how photography can be a tool for deep introspection and artistic expression that goes far beyond the first capture, blurring the lines between creation and healing.

This volume of FRAMES Magazine is, in essence, a profoundly rich tapestry that showcases not only the results of photographic creation but also the diverse motivations, intellectual frameworks, and historical currents that inform the art. The inclusion of the “Context” section, detailing the gear and workflow for each photographer, is a fantastic addition for those of us deeply invested in the craft, it allows a granular appreciation of the technical choices made by each artist, reinforcing the idea that process is integral to outcome. This consistent thread of historical awareness, from Mark Edward Harris’s decades long project to Stephen Smith’s reflections on the “patina of weathered age,” and the direct conversations about photographic history and archiving, resonates strongly with the core mission of Viewfinder Chronicles. It is an issue that inspires both visually and conceptually, offering a profound sense of the enduring power and evolving landscape of photography.

For anyone compelled by the profound stories a single image can tell, or eager to delve deeper into the vibrant conversations shaping contemporary photography, this issue serves as a compelling invitation to explore more of what FRAMES has to offer, perhaps even by venturing further into their world at FRAMES Magazine – Join.

Regards

Alex