Lov'yer by Marta Kochanek

Lov'yer / Marta Kochanek
 
The history of humanity has recorded hundreds and thousands of romances and mésalliances of all kinds. The world witnesses love between people of all nationalities and races. This planet gives room to those attracted to people of the same, opposite and both genders. It is how this world is constructed. It is how it always was.

Love is what motivates us in life. Brain science tells us it is a drive-like thirst. The ancient Greeks called love, “the madness of the gods”. Modern psychologists define Love as the strong desire for emotional union with another person.


We dig deeper and deeper into brain science, physics and psychology to understand what drives us to name our emotions, to describe feelings. We are desperate to find it; to experience, cherish and keep it. We succeed and we lose. Some people beg for love, some pay for it and some are just lucky to find their second half in this big and richly-populated world.


People love. People cheat. People judge. People are brutal. People search for attraction and attention, sex and lust, deep union and long-term partners.
 
We find love to be inspiring. We look for lovers to make it all fresh and intense again.


For my new Lov'yer project, I portrayed seven relationships that are formed by both the majority and minorities of the whole population that occupies this world. I contrasted old and young, curvy and slim, black and white, straight and gay. Following my research I found it fascinating to observe and read about lovers, cougars, sugar-daddies, gigolos, adorers, secret admirers and cohabitants. I realised that what happens to be silly to the majority can be normal to a minority. What is obscene to millions can truly be a blessing to the others. What can be a blessing to one group of people; can also be a motive for hate or crime for the others.


One of my first discoveries and sources of inspiration was the Ain Sakhri lovers’ figurine, which is the oldest representation of a human couple making love in the world. It is 11,000 years old and is very significant. If we were to translate my surname from Polish to English, it would only mean Lover. The word is recorded from the earliest English writers in the 8th century. As for the title I purposely chose an obsolete (Middle English) form of lover.



#love #relationship #romance ##judgement #rejection #gay #straight #old #young #curvy #slim #challenge #personalproject


Credits:
Executive Producer / Marta Kochanek
Production Manager / Evie Branka
Production Assistant / Barbara Gibson and Adam Fray
Photography Assistant / James Beddoes
Photography Assistant / Ian Jones
HMUA / Gemma Howard - Masters
HMUA / Zaneta Swiatlowska
HMUA / Joanna Stokes
Stylist / Danijela Vunduk
Talents /
Joseph Ladlow / Loula Gather / Sarah Powell / Will Keetch / Nicola Griffin /
Raife Connolly Maddox / Ian Hencher / Adam Lee Mroz / Steven Voss /
Ifeoma Obi / Theodore Griffiths / Dammie Howe / Lizzie, Tony and Freddie Bayliss


Marta Kochanek

Lady Di grab shot, Wimbledon 1980

Wimbledon: Center Court, 1980; Bjorn Borg vs John McEnroe. It was cited as the best Wimbledon final by ESPN’s countdown show “Who’s Number One?” and “one of the three or four greatest sporting events in history” by ESPN personality Mike Greenberg. A young lady Diana was there in the audience also and I took this fleeting shot.

© Philip Chudy 1980

I had been there the day before also – the first day of a photo assignment for Denstu, Japan. My task was to photograph a range of behind-the-scenes/historically significant people behind the tournament. Sure, I had had regular fun too. I watched a few matches in between photo sessions but I had also wondered into places where the general public would never go. I was exposed to the overpowering aroma from some of the 27000 kilos of strawberries, annually consumed there – and I was breathing, still capable of exposing film.  Now it was a mere 15 minutes before the final: I was being screamed at by the television crew onto whose camera position I had just climbed.

I have no idea how things are nowadays, but back then there was room in the cramped stadium for only two action TV cameras. The match feed for the entire world originated from these two contraptions. So, at that very moment, that was one of the most sensitive spots in the entire country.

I had been given the highest level permit be there for 2 mins for ‘just a brief shot’ of a female umpire, who was to climb to the umpire’s seat, sit for 30 seconds for the shot and then climb down again. I think it must have been Catherine McTavish, who had made history the year before. She was the tournament’s first female umpire.

The TV crew were now beside themselves with fury at me: “get down get down get don’t touch anything, get down now!“ – And I was still waiting for my subject mount the platform. I was impervious to their yelling and meantime, I glanced to my right and saw Diana Spencer (Lady Di) in the audience and thought to fire off 2 token frames. This made them even angrier. Finally my umpire subject was seated. I took my assignment shots and fled the mayhem.

I have it burned into my memory – the TV crew, still throwing insults at me even as I descended the lowest rungs of the ladder, out of sight into the bleak bunker-like interior of the media room. Here I would be locked in till the end of the match. The camera crew had made sure that nothing would distract them from their single minded match coverage. No one was coming in and no one was going out till it was over.

My sole consolation was that back up the ladder were some very jazzed up TV camera operators whose day’s work had only just begun – – but they were no longer yelling at me any more and that was nice.

I was not to know that this would be a final which would ‘go down in history’ but at that point is was ‘a final’ after all and now that my own assignment was over, I wanted to see it.

But, here I was trapped, mere feet from where the players would be playing. And what is more – “there are no windows in this bunker”. No windows looking out in ‘any’ direction. And to make things worse, nearly no furniture.  Two rickety old director’s chairs and a ‘tinny’ 14” black and white television on an upturned wooden box. That is all.

The sound of the crowd beginning to react to events was modulated by the thick concrete walls and another figure sauntered out of the crummy bathroom. I was not alone in this prison and I recognized the face.

My fellow inmate was none other than James Hunt who won the Formula One World Championship in 1976. Hunt who was one of the jet setters of the time, with a massive reputation and just as big a paparazzi following.

He had just given up racing cars and was beginning a career as sports commentator. Why he was there I just don’t know. But, we were locked alone in that room for that long and exciting match.

We just ‘had to have’ communicated over that tiny TV.  I would not have forgotten if he was reticent, as that would be notable and run contrary to his public persona. Evidently I was not impressed by stardom – – I cannot remember a single article of conversation.

I had nearly forgotten I had ever taken that photo and only rediscovered it in 2010.

Philip Chudy www.philipchudy.com

London 020 337 11854
San Francisco +1 415 203 3030


The Tuscan Chef

Photographic Project - The Tuscan Chef

I have spent several weeks over the last 20 years over seeing old Tuscans traditions on my farm in the mountains north of Lucca and have got to know the local farmers, cacciatore (hunters), food producers & restauranteurs. In November 2015, i was harvesting our olives and fell out of an olive tree which was on a steep terraced slope and ended up in hospital for ten days with 2 broken arms with plaster casts from my finger tips to my shoulders. I was unable to answer a phone or write an email, let alone prepare myself for a forth coming week long shoot for Dolmio - AMV BBDO.

Whilst spending hour after hour lying on a hospital bed I thought I should contact a friend & really good chef, Aurelio Barattini at a wonderful family trattoria, www.anticalocandadisesto.it and we should produce a book on his trattoria, his farm and photograph some of his families old recipes.

Not only is this a great project to work on, it also helps keep the folio fresh and working on location rather than in the studio takes you out of your comfort zone. The senses are immediately stimulated by things you see around you and stories you hear. Aurelio is a very passionate man and helped organise the shoot with local suppliers.

We left the trusted Hasselblad behind in the studio & armed with a Canon 5D, a few reflectors & natural light my assistant, Dave & myself started shooting. Every day was pure pleasure & so exciting returning to the studio to go through the 5000+ files/ trip and see what we had captured. Italians are so friendly and are natural models who love being in front of the camera. 

We set out to produce a food book, a collection of beautiful photos, stories-behind-the-photos, and hand-me-down recipes based around one Tuscan family. Behind every image there is a wonderful story; a legacy which will be handed on to future generations; a story about Tuscany, an exceptional chef, a special family, and recipes created over many generations. We went on forays into the mountains with Aurelio, head chef and “dad”, and discover the pride, pleasure and astonishing knowledge and expertise of local farmers and artisan producers. We met inspirational people in hidden places. As young men move away to the bright city lights and fat pay packets we need to capture these moments right now!

Chef, Aurelio Barattini. Plate of Cinta Senese, rare breed pork sausage & beans with a glug of olive oil #TuscanChef

In Italy there are various types of eating establishments. There are the ristorante's, with their white table clothes, trattoria's which originally were for the tractor drivers, therefore producing more wholesome food, then Osteria’s & Pizzeria’s. Italian food is simple and seasonal, so often some of the cheaper, seasonal food is as good if not better than the more expensive. Italians appreciate good food, it’s in their blood and food is treated with respect.

The main dining room, with castagna (chestnut wood ) tables, beams and panelling. Having eaten in the restaurant lots of time, it is always so serene & calm despite it being full every day #TuscanChef

Home-made summer pasta dish of aubergine & fresh ricotta ravioli with sweet cherry tomatoes. I chose not to go in too tight with the crop but preferred to capture the atmosphere of the surroundings, the dining experience, the chestnut wood, warm walls #TuscanChef

Pappa al pomodoro #TuscanChef

Head chef, Aurelio #TuscanChef

Sformato, a light eggy vegetable anti pasta with anchovies #TuscanChef

Renzo, local olive farmer and estate owner #TuscanChef

Marco, olive picker #TuscanChef

Side beef ribs #TuscanChef

1.8kg Bistecca cooking on Aurellio’s olive wood-fired grill #TuscanChef

Local butchers under their sign which reads ‘A little fat does you good’. #TuscanChef

Cinta Senese sausages cooking on the grill. This special grill uses olive wood because it is the hottest burning wood. He has added a fan to suck away the smoke so the flavour is the meat and not the smoke #TuscanChef

Marinating baccala, salt cod #TuscanChef

Roasted baccala #TuscanChef

Artisan bakers #TuscanChef

Baker, Emmanuelle portrait #TuscanChef

Butcher #TuscanChef

Stracetti with wild boar ragu #TuscanChef

Aurelio’s farm, Maolina  #TuscanChef

At 5am every morning, as the mists hover over the verdant Tuscan hills, embracing the walled city of Lucca, Aurelio’s heart leads him up the track to his late father’s farm ‘La Maolina’. “I have the heart of the wild boar” he announces fiercely, proudly. “Look at the sunrise… quick, let’s capture it; this is the best time of the day!” Standing proudly, Aurelio, with a sweep of his arm, embraces the neat rows of vineyards slowly but surely emerging magically from the soft, white wisps of night-time slumber below. “This is where I feel the presence of my father, not in the cimitero - cemetery. I feel him in the wine we create, in the oil we produce, in the sweet, ripe tomatoes we grow… this is where my young sons can run free. This is life! What more could anyone want?”


Ladies who lunch - staff lunch. I love this picture as the ladies together were so calm & respectful to each other. There was none of the rage & anger you hear about in London restaurants.  #TuscanChef

Fratelli - brothers Lamberto & Aurelio  #TuscanChef

Aurelio with the cinghiale (wild boar) he shot in his vineyards  #TuscanChef

Food is treated with so much love and care. I was amazed when a local electrician knew exactly where in northern Italy the coffee blend originated from.  #TuscanChef

Madonna  #TuscanChef

Having spoken to lots of Book agents I can see the food book demand is generally with a celebrity chef’s name on the title, as they are easy to sell and often tied up into a tv deal. However, it isn’t so easy to find a publisher featuring a chef or restaurant without this celebrity status, where sales are not guaranteed. Publishers are too cautious and won’t take the risk. Today, cookery books now generally begin with a well known food writer, food bloggers with a huge following or chef rather than a photographer. After much research I can see the photos are often secondary or even taken by the writer. With the books becoming less pictorial the standard of printing stock has fallen in an attempt to keep prices down.

To see more from my Tuscan chef project please click the link on my website http://www.hughjohnson.co.uk/#Portfolios/Tuscany---new-project/ Hopefully later this year, I will find a writer and the project will become a reality, a book titled The Tuscan Chef. Until this point we will continue shooting more photos,  of Aurelio’s two boys, the Vendemia (wine harvest), new and seasonal recipes.


Best wishes, Hugh
Hugh Johnson

International Photo Awards double winner 2015,16,17 
International Colour Awards 2015, 16, 17 winner - Still Life x2, Food, People
American Masters Cup winner double awards 2015
Pink Lady Food Photographer of 2014, 15,16 best food portraiture
AOPhoto awards 2014 best still life, best commissioned series 2013 best short film - Lurpak
Campaign magazine 2 best campaigns 2014
Luerzers Archive top 200 photographers worldwide  

+44 (0) 7789 931 644
TW & IG: @HughNTJohnson
Agent: mark gibson 07768 696 227