Segregation is rarely seen in a positive context, but it’s the first thing that comes to mind when presented with Igor Termenon’s photography zines. Titled simply ‘Girls on Film’ and ‘Boys on Film’ the names may not require much imagination but the zines themselves – curative projects featuring select photographer’s works – transport you from one place to the next with each turn of the page. The Spanish-now-living-in-Edinburgh editor has helped jump-start the careers of a number of upcoming photographers, despite being an accomplished photographer in his own right - which Termenon fills us in on below, alongside a preview of the new issue of 'Girls on Film' which comes out tomorrow.
Dazed Digital: What do you look for when selecting work for the zine?
Igor Termenon: I guess the work that is featured in the zine is the style of photography I like the most, really relaxed and not over staged. In each issue, there's a mix of both fashion and more personal photographs, but even in the fashion stories I still like to see that simplicity and connection between the model and the photographer.
I receive lots of submissions and it's hard to make a selection for every new issue, but I guess when I see some images or editorials I know for sure that they are what I want for the zine. I think I've kept a pretty similar editorial line since I started the zine over a year and half ago.
DD: You edit 'Boys on Film' too. Why separate boys from girls?
Igor Termenon: When I started editing 'Girls on Film' I didn't have in mind creating an issue only with boy portraits, in fact I didn't even know if there was going to be a second issue of 'Girls on Film', but the first issue worked really well and decided to go on. That's when I thought about creating a special issue only featuring boys photos and it was actually more successful than the girls issues so I decided to keep it and now I release 'Boys on Film' every two 'Girls on Film'.
DD: Do photographers have to submit work or do you go in search of it?
Igor Termenon: Right now most of the photographers that appear in the zine have submitted their work before. I'm in a completely different position than when the zine was starting and I had to contact photographers to ask them if they wanted to submit their work. The zine has grown a lot and, luckily enough, I receive a large number of submissions every month so it's easier to find some good photos from all the material I get.
At the moment, I don't usually contact photographers, but if I come across someone's work and I think it could work really well in the zine, I usually message them to ask if they'd like to submit some of their photos.
DD: What inspired you to first pick up a camera?
Igor Termenon: I started taking photos when I was around 20 years old. I started with digital cameras and changed to film cameras a while after that. Before I started taking photos, I was quite into fashion and always remember spending lots of time browsing through the editorials of fashion magazines. Even though I've started to develop my personal work in the last few years, my background will always be fashion photography.
DD: How do your Spanish roots influence your photography?
Igor Termenon: When I started taking photos I was still in Spain, so I think that the first locations for my fashion shoots and the way I used light really influenced my work. I don't know anything at all about technical lighting and I've always shot using natural light, I guess Spain being sunnier than the UK also helped.
I must admit that the UK has played a really important part in my current work. Since I moved here around four years ago, I've been obsessed with its architecture and especially the suburban landscapes. They're currently a major influence in my work.
DD: Shooting on film...does it not worry you that you might not get the shot you want?
Igor Termenon: As I said before, I started with digital cameras and I think learning how to take a photo using the digital medium really helped me to understand how light and other factors work. Every time I buy a film camera, I like to test it first but once you get used to it, I think it's pretty easy to know if a picture is going to turn out good or not.
At the same time, I think that maybe it's that uncertainty what makes shooting with film more exciting and makes me like it better than digital.