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MARCO TENAGLIA
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POLINA PLOTNIKOVA
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WILFRED WESSEL BERTHELSEN
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CLAUDIO ALLIA
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MAXIM BABENKO
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LAURE MAUGEAIS
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MAXINE HELFMAN
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FEDERICA GIORDANO
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MARCO TENAGLIA
MARCO TENAGLIA BLACK & WHITE FASHION PORTRAITURE
Italian photographer Marco Tenaglia is known for his unconventional black and white fashion portraiture.
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is bold and intriguing photographic vision is the result of a mixture of both contemporary and classic styles, inspired by masters like Helmut Newton. Tenaglia’s women aren’t classical expression of beauty. Often photographed in recurring poses, placed in luxury or decadent settings, they show a strong personality and a sort of cold sensuality. His photographs are balancing on this fine and sometimes tricky line between fashion-beauty-glamour and erotic-sexytrashy, resulting in an elegant and sophisticated black and white photography with a timeless quality and the perfection of imperfection. Renowned for being easy to work with, Marco ensures a comfortable, friendly but always professional atmosphere for every production. Based in Rome, he works worldwide for mostly magazines and fashion brands, as well as selected private clients.
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POLINA PLOTNIKOVA
POLINA PLOTNIKOVA PAST PERFECT
I am a Russian-born UK-based photographer. My photographic style developed through my love and knowledge of art. Modern technology equips you with some amazing tools that the artists of the past could not even dream of – but the main task is essentially the same: to draw the viewer in, so that they can share your vision and tune into the emotions that you are trying to convey.
One of my favourite subjects is flower photography.
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he approach to flower photography that I take is somewhat similar to that of a portrait photographer – for every flower and plant that I photograph, I always try to find its unique look, study its mood and character, and ultimately unlock the hidden beauty of my models. A successful flower portrait attempts to discover something unique in a flower, something hidden or not necessarily obvious at first sight. Also, a good floral portrait – unlike a purely botanical illustration – would always trigger a thought or an emotion in a viewer’s mind. I work in my home studio. Studio flower photography is great for a perfectionist – no one fidgets or makes faces, your models do not talk back to you, no sudden gust of wind or some other quirk of ever-changing weather can spoil your shot. But, by the same token, you cannot count on something interesting that just happens all of a sudden – it is all up to you; the choices are infinite, and the final result is entirely in your own hands.
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WILFRED WESSEL BERTHELSEN
WILFRED WESSEL BERTHELSEN FIVE MINUTES Can you tell us a little about yourself? 48 years old. Born in Bergen on the west coast of Norway. Grew up on the countryside on an island 5 miles North of Bergen. And I still live her with my wife Janicke and the dog Frodo. I have 2 kids, Iselin and Elisabeth, 20 and 23 years old. And the have already moved out.
How did you get interested in photography? When I was studying in the USA in 1986, I bought my first camera in Hollywood. But it was not before the cameras became digital, I really started to get serious. I have never been any interested in darkroom work, but now when I can upload the images to my mac, and instantly start to process the stuff, then a different world was opening up to me, and I loved it.
Have any artist/photographer inspired your art? Yes, Micael Kenna, Ansel Adams and Sebastio Salgado. And my Norwegian mentor Morten Krogvold.
Could you please tell us anything about your technique and creating process? Hmm.. Try to make it simple and clean, less clutter the better. Lines and repetition is also important. I use mainly Lightroom, light, contrast and curves. I rarely use Photoshop.
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Describe your ideal photographic situation When everything falls into place. Light, the object and impact of the image.
How much preparation do you put into taking a photography? When I travel, there is of course a lot of preparation. But when I shoot, it all happens on intuition. Sometimes when I plan to much, I rarely get the image that I hope for. What’s your useable-to-unusable ratio when you review images from a shoot? If I take 100 shots, there are maybe 2 to 5 images that is ok. And maybe 1 that is more than ok
What quick advice do you have for someone who wants to improve his or her photography skills? SHOOT!!! Practice and do not give up. Do not use to much time looking at all the great pictures on the net. Try to find your own style.
From time to time many photographers find themselves in a creative rut or uninspired to shoot. Does this ever happen to you and if so how do you overcome these phases? Yes, it happens to me to. Try not let it stress you. Take some time off from your shooting. To me it helps to spend time alone in the nature, and let your mind wonder off.
What future plans do you have? What projects would you like to accomplish? To get better at what I do, and hopefully get more publicity from my work. I have several other project going on. I will complete my project “Precious ice” and that includes another trip to Antarctica in November this year. And hopefully have a separate exhibition in 2015.
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CLAUDIO ALLIA
CLAUDIO ALLIA EVERYDAYDREAM Mathare valley is a large settlement which has about 500,000 inhabitants crammed into tiny wattle, tin and cupboard shacks in a hilly area that looks to be less than a square mile. It is reportedly the second biggest slum in Kenya after kibera.
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iving conditions are appalling. Mothers with 6 to 8 children reside in tiny, dirty-floored shacks (no bigger than the average bathroom). The tin roofs leak and the floors turn muddy when it rains. These shacks are jammed next to each other, filling every available space. Latrines are few if any and no space to build any. Open, foul-smelling sewerage ditches flow by the edges of the huts. Children in Mathare are everywhere, undernourished but astoundingly full of life. A lot of teenagers and men seem to be jut hanging about. Some of these men live with the women, but usually on an intermittent basis, often abandoning them in times of crisis. It is estimated that only 5% of the adult population in the slum are legally employed at any one time. Nearly everyone subsists through the informal economy. For most, it is easier to survive working in the informal economy than through paid employment, since wages for unskilled labour are so low. Wages are about 1200 Kenya shillings a month (about US$40.00), of the said salary Ksh. 300 are taken out in taxes. The slumlords charge the residents up to Ksh. 800 a month (minus electricity which costs Kshs. 300 per month). The valley vigilante security group extorts a “security fee” of Kshs. 50 and if not paid will confiscate the family’s firebox (used for cooking). To travel to and from their place of work, bus fares usually costs at least Kshs. 20 per day. Add it all together and see what is sum total. Nothing is left for food, so most people simply can’t afford to be employed in the formal sector. With high
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LAURE MAUGEAIS
LAURE MAUGEAIS WAITING FOR THE SNOW TO MELT
For some it is the intended experience of having an adventure. For others perhaps it is their Plan B, or C or D, after all the alternatives have failed. Regardless of how one comes to ďŹ nd oneself living in a mobile home, cut-o by snow for the duration of the harsh winter, it is a predicament which one usually does not intend to repeat.
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here are some however for whom it is simply their choice of lifestyle, not a fall-back solution at all. They have given up the material goals and comforts of our consumer focused world and have embraced life on the road, traveling seasonally from one job to another one.
Independence such as this nevertheless comes with its own hefty challenges, surviving the harsh winters is probably the greatest. The extreme cold of the Alps during winter freezes pipes and the energy generating solar panels that normally power this lifestyle with such efficiency struggle to provide enough heat or light even for these tiny homes.
It takes a special character to survive autonomously in the mountain during this part of the year. In a handful of municipalities there are camping areas that may provide basic facilities such as additional electricity, toilets and, when it is not frozen, a source of clean water. But these services, managed by local city councils and centers of social actions, cost money and are, for the truly autonomous, an expensive luxury. Even if these seasonal travelers decide to stay and pay the rent, they remain cut off for a few months, snowed-in, anchored in place, their nomadic wanderings frozen for a time.
She did not know these persons before working with them, she went knocking on their door. They accepted her and trust her.
She is available for assignment in UE and internationally. She actually speaks fluent French and English. She can understand Spanish and Serbian.She would love to integrate a collective of photographers.
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MAXINE HELFMAN
MAXINE HELFMAN HISTORICAL CORRECTION
Inspired by flemish painting, “Historical correction” reinterprets these ild masters from a more contemporany point of wiew, our world and cultures are changing so quickly we are witnessing the collision of past and present. When you look at paintings from periods of art history, the depiction of the populations shift, our world has become so diverse that different cultures are visually harder to define.
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lthough my photographs are “invited realities”, they are about real issues. Populations shift, gender and race are redefined, past definitions are challenged and the faces of cultures ans customs change. My works depicts those changes. About Maxine Helfman
A self- Taught, late bloomer. After spending years as a stylist and art director, the only way to truly realize her vision was to get behind the camera. She has since been shooting commercially for advertising and editorial clients, while pursuing personal projects. Her work has been recognized by PX3, Ipa, Foto DC, Flash forward Boston, Critical mass, British journal of photography, Photonews as well as the permanent collections of Santa Barbara museum of art and museum of fine art Houston.
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MAXIM BABENKO
MAXIM BABENKO EUROMAYDAN
The protest started as a gathering of a few thousand students demanding that Ukraine sign an Association Agreement with the European Union, after the government had announced that work had been suspended on this agreement just before the Vilnius Summit of November 28–29, 2013.
For Ukraine, signing the Association Agreement would have marked a decisive step away from the centuries-long orientation toward Russia and the east, first consummated in the seventeenth century when the Ukrainian Cossack leaders signed a treaty with the czar of Muscovy. The eastern part of Ukraine was ruled by Russia for most of that time until independence, while the western part spent many years governed variously from Vienna or Warsaw as part of the Austrian Empire or Poland. The disparate lands where Ukrainians lived were finally united under Soviet rule after 1945, but the tensions between west and east remained.
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FEDERICA GIORDANO
FEDERICA GIORDANO FASHION & PORTRAIT
My name is Federica Giordano, I’m 23, and I’m an emerging Fashion & portrait photographer based in Italy. I always love the idea of freezing memory, capturing the beauty of places I visited and people I met. And this is how my love for photography is born.
At my 18th birthday when I received my first camera as a gift, I started developing this passion.I’m addicted to portraiture: human face and body have a strong power and I can express any feelings through that. Most of all I love fashion portraits. I try to see beauty in every person I meet and place I visit. I let everything around me inspire my works.
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