01/24: Yuri Avvakumov - MiSCeLLaNeouS

02/24: Ilya Utkin - melancholy

03/24: Igor Palmin - in PARTS

04/24: Yuri Palmin - ChertaNovo

05/24: Boris Tombak - Gt ILLUSION

06/24: Alexander Ermolaev - FRAGMENTs 58/00

07/24: Sergey Leontiev - the TOWER

08/24: Igor Moukhin - MOSCOW light

09/24: Valery Orlov - ForbiddenCity

10/24: Oleg Smirnov - Hero_City

11/24: Michael Rozanov - FLYOVER

12/24: Anatoly Erin - v. GLAZOVO

Anatoliy Yerin was born in 1936 in the village of Selivanovo, Belgorodsk Region. His first photographic experience came in 1954 when he began his studies at Moscow Institute of Municipal Engineering. He had his first exhibition in 1957, and from 1960 he worked with publishers, newspapers and journals, including APN, Sovietskoye Foto, Raduga and Lyubimaya Kniga.

In 1964 he joined the Novator photographic club, and became acquainted with Khlebnikov, Soshalskiy, Ignatovich, Ivanov-Alliluyev, Artyukhov, and Shterenberg. In 1965 he got to know the work of Andreyev, Ulitin, Yermin and Perevoshchikov, and took his first pictures with a soft-focus lens.

Anatoliy Yerin has taken part in numerous exhibitions both in Russia and abroad, and has written several publications on photographic technique, and among the most recent are Secrets of the Fisheye, FotoVideo, September 1999, and Not at All a Simple Lens, FotoVideo March/May 2000.

Pictorialism or art photography, as is well known, appeared at the end of the XIX century when impressionism was fashionable, when Claude Monet, of whom Cezanne said: "Only eyes, but my God, what eyes!" continually painted Rouen Cathedral, and now a hundred years later the photographer Yerin repeatedly shoots the Old Believers' Chapel of Saint Spirit, of the XVIII century in the village of Glazovo on Kenozero lake. At different time of the year and the day, and under different conditions of the surrounding nature.

The pictorial space possesses a special quality - the open perspective is compressed within it to almost a palpable sculptural density - not volumes in space but space as a volume. The eyes of the photographer are objectives and lenses, and Yerin's favourites are the fisheye and the meniscus lens, which facilitate an impression of plein-air painting to be transferred to the paper and the viewer.

Most of us know Rouen Cathedral from Monet's paintings, and not from tourist brochures, and most people will never get to the village of Glazovo, which has just three houses and a chapel. We simply trust the artists that that's how it is. The old belief. (Yu. Avvakumov )


13/24: Dmitry Konradt - Wells'n'Walls

14/24: Alexander Slyusarev - conSEQUENCES

15/24: Valery Sirovsky - Cathedral_City

16/24: Semyon Faibisovich - my WINDOWS

17/24: Richard Pare - Russian Constructivism: a Province

18/24: Evgeny Nesterov - FACTORY

19/24: Vladislav Efimov - On the Leninist Path

20/24: Katia Golitsyna - sideSTREET

21/24: Vladimir Kupriyanov - OUTLINES

22/24: Dennis Letbetter - MOSCOW/2

23/24: V. Nilin - W C

24/24: Carl de Keyzer - ZONA

25/24: Marina Tsurtsumia - the VAULT

26/24: Sergei Chilikov - difFERences

27/24: Natalie Jernovskaya - ACADEMY

28/24: Alexei Shulgin - MONTAGE

29/24: Andras Fekete - Establishing Shots

30/24: Vladimir Antoschenkov - MASONRY

31/24: Academy of Architecture - MARKhI

32/24: Igor Chepikov - Resort City

33/24: Alexey Naroditsky - MAR ino

34/24: Igor Lebedev - SPBaroque

35/24: Alexander Brodsky - unDeveloped

36/24: Alexander Djikia - Upper Point