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magCulture Meets Scenic Views

magCulture Meets Scenic Views

Our series of Instagram Live conversations returns with Louise Benson, co-founder of Scenic Views, joining us on Tuesday 22 September.

The photography magazine describes itself as ‘A Journal of Overlooked Interiors’, highlighting the everyday and ordinary, looking beyond ‘cool.’

As we wrote about the first issue, ‘It does little to explain itself on the cover, though you might assume from the offbeat black and white photo of a retro kitchen that it is an art, or indie interiors mag. And you’d be correct – Scenic Views falls somewhere between the two. The magazine focuses on everyday interiors that have been ‘overlooked or forgotten’, and the quirky vernacular of its logo emphasises this.’

You can see some selections from issue two below.

magCulture Meets Scenic Views
Watch the video, recorded via Instagram Live on Tuesday 22 September here.

Issue two has just been released, and again features six distinct stories:

The issue opens with a 20 page selection of Timothy Hursley’s reportage of Nevada’s legal brothels, from the late 20th century. Hurlsey describes his shots as a form of rebellion against his work ‘shooting beuatiful homes.’

The following selection of cocktail images are a sad reflection of the highlife and glamour usually associated with them.

The magazine’s co-founder Lorena Lohr shares a series of bathroom interiors, strangely bare now everywhere associated with cleanliness is stuffed with hand sanitiser and wipes.

Christian Lorentzen writes an unfliching report on his father’s experience as a US truck driver in the seventies, delivering bananas in huge tractor trailers on the newly built interstate highways. This inverts the magazine’s stance somewhat; instead of a paeon to the CB radio/mascot-decorated interiors of the truck cabins we hear of Lorentzen’s desire not to follow in his father’s footsteps.

We do get bespoke vehicle interiors on the next photo story, Federico Radaelli’s extraordinary collection of trucks (from the Channel crossing) and cars (from Japan).

The final, sixth story looks at exteriors, Mike Baynes’ photorealist paintings of mundane buildings and details. Produced as miniatures, at 4" by 6" they’re the same size as traditional photo prints. There’s something very soothing about the high degree of detail he applies to such subjects.

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