Magazine – Night Time Stories by Markus Henttonen

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Special Edition
June 2017
12 photographs
34 pages

Markus Henttonen (Finland)

Printed copy
21×14.8 cm
Hardcover, perfect binding
Euro €13.50



Night has come to the city. The sun has just set, there’s still a blue glow in the sky. It’s hot; red curtains billow in the breeze through the open window. Only one flat in the opposite building has the lights on. You can see a man in a red shirt doing something in the kitchen. Man with a Red Shirt is the quintessence of Markus Henttonen’s series “Night Time Stories” – little people in the great nocturnal city where even the everyday is like a film.

Night levels a complex city into a dark surface replete with visually fascinating details and human stories. Photos of night shift, washing clothes in the launderette, working long days, being lonely, meeting friends. Henttonen presents townspeople in their private moments when they appear to be lost in thought, or perhaps tired from their shift or with a broken heart.

Essential to “Night Time Stories” is that the main role is not played by the city itself. Henttonen’s cityscapes are not quintessentially photos of New York, Berlin or Rio, but scenes from a metropolis that remains virtually anonymous. In Henttonen’s opinion recognizing the actual place and emphasizing its nature removes attention from what’s essential. In “Nightscape” images from different parts of the world, the huge clusters of skyscrapers rising into the darkness confuse and force one to think about what is going on in all those hundreds of apartments and offices.

“Night Time Stories” are characterized by a deep, penetrating melancholy that is more a wistful sadness than an oppressive tragedy. The moods are lingering and static, like film sets. “Night Time Stories” are strongly narrative in character. Most of them are built round a specific place and the people and events in it. The ultimate narrative is largely left for the viewer, as Henttonen only makes suggestions.

Even though what’s happening in front of the camera is not perhaps completely true in the photo, there is no doubt about the feelings it conveys.

Kaisa Viljanen
Original full text appeared in Markus Henttonen’s book Lonely But Not Alone (Musta Taide, Finland, 2011)



The photography of Markus Henttonen is storytelling, cinematic and poetic. His timeless and beautiful images of landscape and people have a special atmosphere and lingering moods. Markus has a prominent style that is at the same time sensual and honest with a tiny hint of melancholy underneath.

Barcelona is the city where Markus´ artistic career really started. After graduating from Turku Arts Academy in Finland he moved to the city and finished his first personal art project «Paral-lel City», which was published as a book and exhibition in 2004.

Since then he has shared his time between art and commercial photography working with numerous editorial and commercial clients and having his works shown in over 100 solo- and group exhibitions throughout Europe.

Markus has released 3 monographs, most recent «Twisted Tales – Road to Hope» worldwide via Hatje Cantz. Lately his works have been exhibited in major International group shows alongside renowned artists such as David LaChapelle, Pierre & Gilles, Mitch Epstein and Robert Polidori.

Markus currently lives and works between Berlin, Barcelona and his native country Finland.



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23 June – 7 July 2017

2013 – 2014


The Project
This series of 12 is part of a project investigating an old main road, the “Strada Regina” (literally “Queen Road”), which leads along the west coast of Lake Como, Italy. It was historically part of a long stretch of road, which, since the Roman age, had brought forth a commercial link through which the Lombard tradesmen maintained business relations with the merchants beyond the Alps. Today, the “Via Regina SS340” (State Road No. 340) is a traffic jammed coastal road, which, starting from the city of Como, hits Ponte del Passo (Municipality of Gera Lario), the most northern point of the lake, for a length of about 60 km, following some stretches of the old commercial road and sometimes running parallel to it.

The study of the peri-urban territory is an essential part of my photographic research. Attention is focused on aspects which are mainly lateral, marginal, and minimal, of a landscape that has been so “often seen” that it has become, by this very fact, elusive.

The photographic method used – which favours the square form – helps me to (con)strain and (con)fine the vision, facilitating an attempt to decipher a landscape which is made up of disordered structural textures and a mixture of natural elements and human imprints.




The movement of the lakeside region, that of sedimentation, is the poetry of Fabio Tasca. In his documentation of the SS340/SS340dir route, masses are pushed together, one against the next, buildings are stratified, creating a growing tension which eclipses the rarely seen lake.

Tasca shows us a movement towards a place, a perennial departure where there is a constant confrontation with a truth that presents itself as compact and peremptory, both as an obstacle and an opportunity for knowledge. From this perspective, we have in front of our eyes forms shaped to look like barriers, narrow perspectives given by deep diagonals, bare textures of grey cement, buildings with small windows. Presences unaware of their own minimalism, in our everyday lives showing themselves more as sculptures than places.

By depicting the tensions between masses, Tasca, aside from referring to the movement of accumulation, also affirms a resistance between two dimensions: on one side sedimentation, on the other the impulse to go beyond one’s own destination and the need to cast one’s nets elsewhere.

Visual planning and research occurred during a period of reflection. The oldest and newest objects along the historic route have offered to the photographer an unexpected challenge and given back fresh suggestions of great coherence, while still demanding the necessity of decision. We are talking about rethinking the landscape or projecting a utopia that is always belayed by the results.

Photography is a partial reinstatement of reality and, within the limits of the part that it is able to reproduce, has always been a tool of investigation and knowledge: it acknowledges the complexity of the region, both architectural and most of all anthropological.

Since its beginnings, from the middle of the 1800s until now, photographers have always and faithfully documented those changes from which there is noreturn: from Eugène Atget to Walker Evans, from the New Topographics (Lewis Baltz, Robert Adams and others) to Luigi Ghirri.

Fabio Tasca, prior to taking up any specific stance, always follows a critical trajectory. He is witnesses to the constant changes, to the urgent and necessary dialectic between our environment and us. He is aware that in the relationship between the region and us, even as it becomes constantly more touched by the hands of man, the terms of our identity are still well defined, that our future is preserved, and that we take stock of how we plan it.

Gian Franco Ragno
(Photography historian and publicist)



Born in Milan, Italy, in 1965. He received a degree in Slavic philology. He works as a photographer and translator in Como. During the early 90s, he began to work as a photographer for a few national newspapers. This was the beginning of a personal journey, which brought him to discover architectural and landscape photography.




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Twentysix Abandoned Catalan Gasoline Stations


[click cover to preview photobook]

2017 / 1st 210mm edition
Limited of 50

26 photographs
60 pages
210×210 mm
Hardcover, perfect binding

Euro €23.50


[click cover to preview photobook]

2017 / 1st 294mm edition
Limited of 50

26 photographs
60 pages
294×294 mm
Hardcover, perfect binding

Euro €43.00



You know, gasoline stations always bring life to small towns. You’d always have someone pumping the gas, buying things at the shop or just stopping by to say hello and have a little chat with the employees.

But at some point the farmers’ co-op decided to build their own station so they could get cheaper fuel and from then things went downhill. I could not compete with their prices at all. In the end, the guys from the oil company came here and stripped all the place down and now I’m left with the remains.

According to the law, I’m not allowed to use this place for any other kind of business because the underground gas storage tanks are still there and it would be way too expensive for me to remove them safely…

So you say you’re taking these photographs for a book? I bet you’ve found a few more stations like this!

Former Station Owner
Torregrossa, Lleida, November 2016



Xavier Aragonès (b. 1979) is an amateur photographer living in Terrassa, Spain. His main area of interest is the landscape, either natural or man-altered. When taking photographs he claims to be drawn to capturing atmosphere and suggesting possible narratives rather than telling a straight story. His first photobook, O.O.O., was published by Camera Infinita on February, 2017.



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Western Dioramas

16 – 30 June 2017

2008 — ongoing

The project is a continuing snapshot of the American West and the space it takes up in my consciousness. The seemingly limitless physical space makes us view it as transformable, disposable and unforgettable. This leads to many interesting overlaps, both spatial and temporal. There is often a visible intersection of the past and present and a wary line where the open meets the inhabited.

I am also interested in how elements inhabit the space within the frame. Every object has its own place and looks as if it has been placed there for just this picture, like a diorama in a museum. Each image like a momentary still life of the continuing history of the American West.



William Rugen spent 20 years as a fisheries oceanographer before turning to photography in 2008, when he hit the road with three cameras, one month of free time, and absolutely no concrete plans. This became the beginning of his first fine art project, Western Dioramas, a continuing survey of the American West. He’s now pursuing similar open-ended projects, each driven by subject matter and unified by the use of color and strong graphic elements. William lives in Seattle, USA.




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Project Cleansweep

8 – 22 June 2017

2012 – 2015

Taking its name from a Ministry of Defence report issued in 2011, that assessed the risk of residual contamination at sites in the United Kingdom used in the manufacture, storage, and disposal of chemical and biological weapons (CBW) from World War I to the present day.

Looking beyond the risk assessment to the ways that landscapes are psychologically charged by their history. Examining the sites of the official investigation and many more including sites used for both CBW activities during the Cold War. Following traces that lead, predictably, to military bases and government facilities and, more surprisingly, to grocery stores and holiday parks. The images take us into the country lanes of Dorset and Devon, the Peak District, the woodlands of Yorkshire and out across the open rolling countryside of the Salisbury Plain, Wales, the remote Scottish Highlands and the Irish Sea. When over 4,000 sq km of the landmass was appropriated for military use in the 20th century.

Marking the influence of military activities upon British landscapes and provoking deeper consideration of their lasting social and environmental impacts. Locating unexpected vistas that challenge conventional understandings of place.

They also remind us that war is domestic, one that employs thousands of people in production processes that are surely akin to activities in other industries.
The places pictured here become interstitial; they seem to exist between past and present, public and private, civilian and military. Here, too, the pastoral myths of the bucolic British landscape — of simple nature, a golden past — are disrupted by material realities embedded in the landscape itself.



McGrath is a photographic artist based in Cork City, Ireland. His photo works look at transitional spaces, in-between places where architecture, landscape and the built environment intersect, where a dialogue – of absence rather than presence – is created.

Recent exhibitions include Espace Lhomond Paris Photo, New Irish Works, PhotoHof Salzburg, Gallery of Photography Dublin, Photo Biennale Thessalonika, Centre Des Beaux Arts Brussels, Voies-Off Arles, Venice Biennale of Architecture, Archisle, Carlisle Photo, Landeskrone Photo, Kaunas Photo Days, Singapore Photo Festival, Photo Week DC, Yokohama City Museum, Glucksman Gallery and the Copenhagen Photo Festival.

McGrath is the winner of the AIB Arts Prize, the European Now Award, a Solas Award and has recently been nominated for the Prize Pictet 2016. He is also the winner of the inaugural RAC Photography Award 2017 (selected by Martin Parr).




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[click cover to preview photobook]

2017 / 1st edition
Limited of 100

37 photographs
58 pages
29.7×21 cm
Hardcover, perfect binding

Euro €23.00 + shipping





An autographed edition from the author makes the book a little more special. It creates a bond between the author and reader and becomes a wonderful addition to any collection.

That connection will become even stronger as you will also be sent a numbered and signed printed photo (the one just below), taken from the book, and dispatched by the artist himself.

Limited to 10 editions only, each signed book comes with an enclosed A4 297x210mm photo, numbered and signed by the author, printed with professional archival quality using pigmented ink on Museo Silver Rag 300gr coated cotton rag paper.

Destination (shipping included):
To whom to dedicate the book?


Berlin is one of the most visited cities in Europe, which means – in our age of peak digital imagery – it’s also the most photographed: especially its major sightseeing icons such as the TV Tower, the Brandenburg Gate, the Reichstag… Yet you won’t find any such sights in this book, since Markus Lehr patiently and deliberately set out to discover an alternative side of the city; one that’s devoid of traffic and tourists, clubs and culture, and represents instead the beauty, peace and stillness of the night.

“Insomnia” comprises a selection of these images taken between 2013 and 2017. Characterised by the compelling synthesis of mood, light and texture that defines Markus’ work ever since, they reveal the city as it is rarely seen – a place where churches, supermarkets and petrol stations are deserted, their isolation exacerbated by the lonely glow of neon and the sodium glare of streetlights. Billboards advertise their wares to no-one; tunnels wait patiently for vehicles; even the cultural treasures of the Museum Island sit empty and forgotten. Markus shows how the city’s infrastructure is democratised at night.

“The size of the city and the diverse cultural and historical background makes Berlin special for night photography,” comments Markus. “I try to construct scenes that reflect the complexity of the location, which is why there are no people – any face or person makes the viewer focus on that instead of the scene. I would rather show the effect of what people are doing instead of the moment when they are there.”

Although there are no people in these images there are tell-tale signs of human activity. Trains streak by the lens like ghosts, creating a dynamic tension between the silence and the sudden rush of transportation, and lights beam tellingly from the interiors of buildings. The natural world creeps in too: trees, bushes and swathes of grass foreground and frame the images, all rendered somewhat unreal by the cinematic quality of the lighting.

The stillness of the photos that lends them a quietude and elegance that’s refreshing and thought-provoking in an era of trigger-happy digital photography. Their patient execution invites the viewer in to relish their intimate details and filmic ambiance. “We are living in a complex world and these images try to embrace it. “There is this rule for photography, that you should reduce a scene and composition to the bare essential,” says Markus. “I am trying to do the opposite.”

Paul Sullivan
April 2017



Markus Lehr studied communication at the University of Arts in Berlin and has been working in the field of marketing and new media ever since. Several notable publications have featured his work and he published his first photography book in December 2013. Markus has also showcased his work at solo and group exhibitions in Berlin, Munich, Paris and Wolverhampton.



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Modern Ruins

1 – 15 June 2017


Across Western cities, there is an increasing obsession with producing manicured landscapes. Standing in contrast to these aesthetically and socially regulated spaces are the neglected sites of industrial ruins, places on the margin which accommodate transgressive and playful activities. Providing a different aesthetic to the over-coded, over-designed spaces of the city, ruins evoke an aesthetics of disorder, surprise and sensuality, offering ghostly glimpses into the past and a tactile encounter with space and materiality… It is precisely their fragmentary nature and lack of fixed meaning that render ruins deeply meaningful. They blur boundaries between rural and urban, past and present and are intimately tied to memory, desire and a sense of place.

Edensor, Tim, Industrial Ruins – Space, Aesthetics and Materiality, 2005.



Markus Lehr studied communication at the University of Arts in Berlin and has been working in the field of marketing and new media ever since. Several notable publications have featured his work and he published his first photography book in December 2013. Markus has also showcased his work at solo and group exhibitions in Berlin, Munich, Paris and Wolverhampton.




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The Best 12 Photos of May 2017

Done in close collaboration with Camera Leaks – a leading Tumblr blog dedicated exclusively to photography. With more than 1,200 followers and more than 12,500 posts it’s the daily source for contemporary photography, both for the works of emerging and established artists.

In the beginning of each month Camera Infinita picks the best 12 photos (like good old 12-exposure film rolls) posted the month before on Camera Leaks . The result is outstanding, as it comes from the following photographers:

Adam Birkan
Francesco di Marco
Gaëtan Rossier
Géraldine van Wessem

Larry Niehues
Larry Sultan
Rob Stephenson
Sinziana Velicescu

Stéphane Goin
Tasos Aivalis
Tom Westbury
Xavier Aragonès


© Larry Sultan


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Magazine – Green Street by Mitch Karunaratne

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Special Edition
May 2017
12 photographs
34 pages

Mitch Karunaratne (United Kingdom)

Printed copy
21×14.8 cm
Hardcover, perfect binding
Euro €13.50

The small Norwegian monotown of Ålvick, 2 hours to the East of Bergen, holds many stories. It is a ‘company town’, with a rich industrial heritage, having been the home to heavy industry since the harnessing of hydroelectric power in the region in 1905.

Houses here were located, designed and painted according to status – Green Street and Yellow Street, housed 4 families of workers in one house and nestle at the top of the mountain side, where air quality would have been poorest. The same sized houses on Red Street housed families of clerks, 2 families per house. At the base of the mountain, with the best air quality and largest properties, the detached houses are painted white and were reserved for managers and foremen only.

The industrial community changed this small farming community dramatically in the early 20th Century. The power plants and associated industries have come and left, but the town has remained largely unchanged.

Exploring the importance of place in our cultural make up, how place holds histories, tells tales and shapes socio economic realities is explored through Green Street.



Mitch Karunaratne is attracted to places that hold stories in the land, where the land shapes and helps give us a sense of identity and belonging. She received a MA in Photography from University of Brighton in 2012. She has exhibited widely both in the UK and abroad, most recently in Norway and Italy. She is a founding member of the MAP6 collective – travelling and creating collaborative projects with the group.





Two of the photographs found in this issue of Camera Infinita Magazine Special Edition are available to order as a Limited Editions prints for Collectors. These contemporary photographic artworks are curated and sold exclusively online by Camera Infinita. To order, simply click on any of the photos below.


There are 3 print sizes available:

  • Small: 30×21.4cm, limited to 10 editions
  • Medium: 40x28cm, limited to 5 editions
  • Large: 90×61.4cm, limited to 3 editions

All our gallery-grade prints are accompanied by a Certificate of Authenticity, identifying the edition particulars: edition number, size, medium and production date. The Certificate is signed by the artist.

We have partnered with The Print Space, the famous and trusted professional photo lab, based in London, England. Prints are dispatched within 48 hours, and delivered to the desired address worldwide. To guarantee the prints arrive in perfect condition, they are carefully rolled into a protective tube, cushioned with protective paper and bubble wrap, and secured at both ends to ensure a tight and safe seal.

These Collector’s Editions are printed using the following professional archival quality process:

  • Digital C-type
    Chromogenic print. Silver based real photographic prints. Continuous tone.
    Fuji Matt papers. ZBE Chromira printers.


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An Empty Valley

23 May – 7 June 2017


Not far from the iconic city of Carrara, in the heart of the Apuan Alps, and uncommonly for Italian expectations in this field, the history of this valley and its force break down any stereotypes about the world of marble, about quarriers and those who live there. This history merges images and imagination and results in sometimes bitter yet never banal narration, which provides an alternative, new, discouraging point of view. The rays of sunshine barely reach out to here, let alone the first pages of magazines and the flashes of photographers. Here, all voids are filled. Filled with stories about courage – that of an abandoned valley and of those who still live here, among all its wounds, contradictions and natural limits. On one side this tough nature hardly allows space for man-made constructions, yet on the other side it lets quarriers reach its very heart with their apparently unnatural lengthwise cuts, which in fact follow the geological patterns of marble layers. The antagonist here, if there is one, is history, which is always such a severe teacher: think of the industrial revolution, whose – mainly negative – effects have deeply affected the valley, and think of the massacre of about a hundred people. This is why it is of little importance that this place is barely reached by the rays of sunshine, because here I could actually arrive. And I came back. After all, here one could well imagine to be able to look at the sea from the ‘Dolomites’ or to walk on the austere lunar soil. One may also find a shepherd writing poetry, or a quarrier with a university degree; and even meet a hunter who prefers using his legs for trekking to using his rifle for killing, or a sculptor considering his solitude an opportunity.



Ettore Moni is a Parma (Italy) based photographer, documents contemporary visions of urban landscape and personal project with a large-format camera (4×5).




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