EYE Photo Magazine, Issue #1, 2017

#01 / 2017

www.eye-photomagazine.com 1

EYE-Photo Magazine is an independent, online magazine, providing a platform to talented and enthusiastic photographers from all over the world to present their work, regardless their genre, to an international readership.

All images and text, published in EYE-Photo Magazine are the sole property of the featured authors and artists and subject to copyright!

Without written permission of its legal owner, no photo or text can be reproduced, edited, copied or distributed in any form.

#01 - 2017

EYE-Photo Magazine © - all rights reserved

Founder, Editor in Chief and Art Director:

Cover photo by: Rafa Macías ©

Stefan Cimer

web: www.eye-photomagazine.com

email: office@eye-photomagazine.com

Because getting your work published DOES matter!

Would you like to be featured in EYE-Photo Magazine? contact us: office@eye-photomagazine.com

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FOLLOW US

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CO Nt e n t

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FRANK LASSAK

Helga Azevedo

Hawkeye39

Interview

Photo Artistic Photo Project R e v i e w

Carmelita Iezzi Photo Review

Krishnamurthy

Peter Ydeen

Ivan Kopchenov

Alexey F r ol ov

Photo Review

Photo Review

Photo Review

Photo Review

Mahesh

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CO Nt e n t Rafa Macías

Massimiliano Camellini

Carolina Dutruel

Richar Barnar

Photo Review

Artistic Photo Project

Photo Review

Photo Review

“Al di là dell’acqua” (“to the other side of the water”)

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Dalina Andrei

Eric Mรถrschel

Paweล Kufel

Photo Review

Photo Review

Photo Review

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This i features 1 on over 1 no adve Available fre

please su

Thank you v 8

issue 15 artists 180 pages ertising! ee of charge!

upport us

very much!!!

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FRANK LASSAK INTERVIEW

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Frank, thank you for taking the time to do

see a random situation on the street, I don’t

this interview with us!

bother to record it, but save the idea for later and construct something fictional around it.

Please tell us a little bit about yourself to begin with.

That is, because reality is so profane. I love

That's the toughest question right at the

to create what I call a kind of „meta real-

start. To cut a long story short: I'm trying to

ity“: a semi-transparent layer of what could

survive

be reality. That layer has an impact on how

as a post-modern cynicist x diehard roman-

viewers perceive the work. Thus, profanity

tic.

is overcome; things suddenly have a new meaning.

At what point in your life did you decide that you wanted to be a photographer?

Or, and that’s another method I often apply,

There was no such thing as a decision. I dis-

there’s a spark of inspiration – whatever it

covered photography as my medium of artis-

may be – that tells me: „Hey, what about a

tic expression, when I realized that I wanted

scene showing this or that?“. If the idea is

to find a way to spend my creative overload.

strong enough and the subject interesting

Photography came in handy, since I had

enough it will most likely end up in a picture

learned how to use camera and film while at

or even in a complete series.

university.

Yet, it was a step-by-step process – and not

In most of my works, I’m trying to show only

every step was made in a straight forward

80 percent of what the scene is about. There

direction. As an artist, you do reach a point

is always some hidden meaning that could or

where you question what you’re doing, and

could not be discovered by the viewers.

sometimes it’s necessary to change the path

That’s because I do not like to impose my

you’ve taken earlier.

view of the world, things or events on the

This happened more than once, I guess.

beholders.

Also, people should be given the opportunity

Tell us about your photography work. Is

to inhale the meaning of my works without

there a particular style or method you

being restricted by conventional patterns of

use?

interpretation or curation.

Almost all of my works are staged. Even if I

So, simply put, if someone sees a cat in the

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Interview with

corner of a picture, its fine by me – even

moronic neighbors, essential questions

though it was an owl, when the picture was

Who: my muse. And (for name dropping pur-

made.

poses) great artists, such as Cindy Sherman, Jeff Wall, Gregory Crewdson, Bettina Rhe-

How do you determine who will make a

ims, David Lynch, Bernardo Bertolucci, Alfred

good subject to photograph?

Hitchcock, and the list go on.

For an actress or actor to play a part in my productions he or she must meet three crite-

What gear do you most enjoy using at

ria: overall look and expression, acting abil-

the moment and why?

ity, positive chemistry. If that is the case, the

I only think about gear with respect to prac-

production will most probably be a success.

tical use. If a certain camera or film is better suited to do the job, I’ll use it (if it’s available

What (or who) inspires your work?

What: daily news, controversial topics, 12

and affordable).

h Frank LASSAK

What’s your favorite photo shoot you’ve

when the third season of the TV series „Twin

done so far?

Peaks“ goes on air.

Shooting a roll of film with Quentin Tarantino in 2016.

For your projects, how many people are normally involved in the productions?

Do you have a favorite project that you’d created?

There are quite a few people involved: actors

The series „Welcome to Twin Peaks“. It is still

and actresses, make-up artists, stylists, set

ongoing, and will be finished in spring 2017.

decorators, set assistants, lighting technicians, location scouts, retouchers, and any

So far, we’ve been able to finish four epi-

number of extras, if necessary.

sodes, aka pictures – from a total of ten. The series will be shown in an exhibition in April/

For a project that I’m currently preparing,

May next year, pretty much around the time

twelve actors and actresses will be seen in 13

Interview with “sleeping beauty”

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h Frank LASSAK

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Interview with one picture; several make-up and styling specialists are needed to prepare them for the shoot; two people are responsible for the light; there will be two set assistants and one photography assistant, who is going to handle the camera, while I will be directing the cast on the set.

What do you feel is the most challenging thing about photographing what you do?

Communication.

To have everyone who’s involved in a production do what they should do you need good communication skills.

Being able to express what I want, while people feel good about it and understand the message, incredibly helps to improve the result of our joint effort.

At the same time, being open to feedback from the team, is equally important.

What has been most valuable to you in your learning?

If someone wants to give you a good advice, take your time and listen to them.

What do you look for when scouting a new location?

That highly depends on the subject of the planned series or picture. In general, the location should be legally accessible, as I “snow white and huntsman”

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h Frank LASSAK don’t fancy arguing with police or security in the middle of a production, or even ending up paying a fine.

For example, finding suitable places to produce „Youborn“ took more than two years – for a series of five pictures.

I’d rather be patient and look for the best possible location instead of settling for lower quality.

Sometimes it takes a while, but in the end the result will be better.don’t fancy arguing with police or security in the middle of a production, or even ending up paying a fine.

For example, finding suitable places to produce „Youborn“ took more than two years – for a series of five pictures.

I’d rather be patient and look for the best possible location instead of settling for lower quality.

Sometimes it takes a while, but in the end the result will be better.

Once you have the idea how do you start to put everything together?

First, I’m presenting the idea to close friends and my muse, who are familiar with my oeuvre.

If they get the point of it,

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Interview with “mother huldas girls�

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h Frank LASSAK

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Interview with from the series “mixotarians”

I start drawing sketches of the scene. Thereafter, I consult specialists like make-up artists, stylists, casting agents, set decorators, lighting experts, retouchers, etc.

There’s a lot of teamwork going on, both in pre-production and postproduction.

Without those specialists, most of my works wouldn’t be possible.

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h Frank LASSAK from the series “mixotarians”

Have you ever been involved in arts in some other form than photography?

As an editor for Arte Magazine, I’m dealing with arts and related subjects every day.

Do you think talent for photography is something a person is born with?

You don’t need talent to make good photographs. All you need is creativity, inspiration and some technical knowledge.

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Interview with from the series “mixotarians”

Are there any special future projects or upcoming exhibitions, publications, you’re currently working on?

There are indeed. As already mentioned, „Welcome to Twin Peaks“ will be completed by spring 2017.

And at the same time, I’m working on my next book: „The Forgotten Land“. It will include a 22

h Frank LASSAK from the series “mixotarians”

number of photo essays that illustrate the demise of a swathe of land along the border between Poland and Germany – my first major series of unstaged works. I’m quite excited about it – and even a little insecure.

Do you have a good advice for our readers? Don’t believe the hype. Create your own art.

Frank, thank you very much!!

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Interview with “red riding hood”

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h Frank LASSAK

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HELGA AZEVEDO P H O T O

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P R O J E C T

“ URBA NSP A C E S ” Helga Azevedo is a Portuguese artist, living in the city of Oporto in Portugal. Born in Luanda in 1974, degree in Communication Design (1996)

by ESAD, certified Trainer (CAP 1998), Multimedia Production Course by "Alquimia da cor", expressiveness in Training Course (2006) by "Alquimia da cor" , Marketing and Advertising specialist Title (2014) by ISCET Technical- Scientific Council Vowel of APD - Portuguese Designers Association since 2016, Brand Designer since 1997 develops art direction, graphic production and branding for business partners oriented to the national and international market, having developed over the last 20 years projects with Portugal, Brazil, Bolívia, Angola, Russia and the United States. Alongside artistic activity in Communication Design, actively develops her artistic skills in Music and Experimental and Mobile Photography. It is currently a teacher at ISCET since 2014 where she teaches the Design Laboratory and Graphic and Audiovisual Communications Laboratory I and II UC's for the Marketing and Advertising Degree.

Introduction of the “URBANSPACES Project” UrbanScapes is a Helga Azevedo Brand and begun with the propose of continually register points of view of the autor helping and complementing her creative development as a Graphic design artist. Urbanscapes is an experimental project based exclusively on mobile photography; all photos are shot and edited exclusively on a mobile-phone (Iphone6s). the project is based in the exploration of perspectives, geometry, contrasts, colors and ambient, urban type, textures, details, etc and explores specially urban and industrial locations, and handpicked themes and challenges to transform in unique photography with art and soul.

An exhibition will take place in spring 2017 in Oporto City, Portugal. For mor detailed information please contact: urbanscapescollection@gmail.com 27

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Photography Links: www.facebook.com/urbanscapescollection http://urbanscapescollect.wixsite.com/urbanscapes http://vsco.co/guitazevedo

Professional Links: http://www.helga-azevedo.com/ https://pt.linkedin.com/in/helgazevedo

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H AW K E Y E 3 9 P H O T O

R E V I E W

I am an expat working in Tokyo. I am originally from the United States but haven't lived there for over 20 years and have been back only once or twice in all these many years. I miss the peace and quiet. Nothing else.

I grew up on a ranch in the mountains of Arkansas. No neighbours but lots of cows. Very religious family. Charismatic church, saving souls, the end times, Armageddon, the rapture, God, Guns, and Guts....that sort of thing. All very dark and scary for a kid but that was the way it was. I didn't know anything different so it was all quite normal to me.

My first contact with the outside world was a small shortwave receiver on which I could hear the BBC and other foreign broadcasts late at night. I couldn’t join in but I could listen. It blew my mind but it opened the world to me.

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At university I studied anthropology, archaeology and history. I used student loans to travel and work in Africa and Europe. I also lived and worked in Central America as an archaeologist for many years. The real deal. The jungle. Isolation. Snakes, spiders, jaguars, and monkeys.

Best way for a hillbilly to escape the brainwashing and to get a real education.

I joined the US Army to pay off my student loans after graduation. It wasn’t easy. In fact it was shit. But I looked at it as a learning experience, a different sort of education. Field work for an anthropologist. I survived with no pieces missing and that was a good thing.

I have only recently started taking photos. Since the 2011 earthquake and nuclear meltdown. Before the disaster I used to hop on my motorcycle and head up to Fukushima to escape the crowds and noise. Only an hour away from my home. Can’t really do it anymore as the places I used to go are covered in fallout. The water in the streams is poison. The trees have mutations. The birds have gone.

I had to find something else to do. My wife got me a camera and told me to get out of the house.

I went into Tokyo. A place I hate. Noise, crowds, no peace and quiet. However, with the camera in my hand I could focus on something else. I could look at the faces in those crowds. I could see something different. Like hunting but not with a gun. Somehow people are interested in what I see.

I’ve had no training. I don’t really understand the technical details and rules of photography and to be honest, I am not interested. I take photos of what I see. Simple is best. No photoshop. No expensive gear. I’ve got two lenses that came with the camera. No camera bags. No tripod. No vest!

I try not to bother anybody. I shoot discretely and hope nobody notices me. I want the photo to be a true record of what I saw. Sometimes, if I am lucky, I make eye contact for a few moments before the crowds separate us.

I like to shoot in Shitamachi. It’s the poor side of Tokyo. The side the tourists never see. The people there are alive. They don’t care about fashion or Pokemon. They are only interested in making it from one week to another. Their faces have character and depth. They have experienced life in all of its many forms. I only hope my photos do them justice.

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Visit Hawkeye39 at: tokyostreetphotographer.500px.com hawkeye39.tumblr.com www.youtube.com/watch?v=wt04nZ1ZVvE

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CARMELITA IEZZI P H O T O

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R E V I E W

Carmelita Iezzi is a conceptual photographer and professional graphic designer from Italy.

She started being passionate about photography on early age, with film and print on darkroom.

She always loves to experiment with different types of film and paper; she got a degree as a Photographer and Graphic Designer on Fine Arts School.

Carmelita is specialized in creative photography equally in black and white and color. In her work she prefer the use of natural light and strong contrast, she tries to convey a quiet stillness of emotion with a connection to her natural surroundings.

Her art creates a reality found only in her imagination but so unbelievably humane, between darkness and light and a mystery of life, which represent the thin line that separates the real world from the dreamscape.

Carmelita’s works can be described as imaginative, surrealistic and dreamlike.

Her photographs gained numerous awards. Quite a few of them have been published in magazines and books and exhibited in Rome, Santorini, Mykonos, New York and Paris.

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“blurred dream”

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“land of OZ”

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“melancholy” “the story”

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“spirit of winter” “entre la palabra y el silencio”

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“trees of eternity”

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“rainy monday”

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“serendipity”

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“I belong to you”

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“winter is over”

Website: www.carmelitaiezzi.com Instagram: www.instagram.com/karmephotography/ Facebook: www.facebook.com/carmelita.iezzi.photographyart/

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Mahes Krishnamurthy PHOTO R E V I E W Mahesh Krishnamurthy was born in Hyderabad, India, and has been working as a consultant in Jakarta, Indonesia.

He is an avid traveller and has visited more than 100 countries.

Mahesh’s passion for photography began ten years ago when he got bitten by the travel bug. In the initial few years, it was all about capturing the beauty of the world, featuring landscapes, cityscapes, and historical objects, but these days it is all about photographing people, to be precise “Natural Light Street Portraits in Black & White.”

Now Mahesh mainly focuses on taking close-ups of people from different parts of the world, preferring individuals in the back streets rather than the high street. “It gives me a lot of joy in making simple, ordinary, unimportant and everyday people on the street look dignified,” he says.

Although he takes pictures of people of all ages, Mahesh is partial to weathered, tempered faces, which show experience, emotions, and wisdom.

His biggest influence in portraiture is Bruce Gilden, and others like Lee Jeffries and Steve McCurry.

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Visit Mahes at: www.facebook.com/mahesh.krishnamurthy.980

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Peter Yd e e n

P H OTO R E V I E W

“stairs 72 behind the mall”

Peter Ydeen is primarily an Urban Landscape photographer who builds on the tenets established by artists such as George Tice and William Eggleston, whose work attempts to find beauty and romance in the mundane. Within Ydeen’s work is the constant attention to visual relationships shown with the interactions between light, geometries, patterns and tones. There is a use of balance, distortion, sweeping lines and vanishing perspectives which give a life and style that is both natural and distinct. The resulting images give an elegant animism to our surrounding world, whether it is the back of Walmart, the concrete Interstates, or just an arrangement of signs.

The work took on a transformation over the past two years, beginning with somewhat typical urban landscape subject matter. This evolved into more simple isolated compositions which were minimal in nature, often with single objects as the focus and large simple areas of tone and color.

Beginning in late 2014 and 2015, the photographs began to contain an element of animism.

Objects, like street lights, became almost lifelike. Lens Distortion and vanishing points helped to create a sense of movement, while subject matter like clouds; trees were giving a sense of lyricism.

In the fall of 2015, Ydeen began a series of night photos. Originally an exercise, it became an obsession. City lights illumine specific places and objects much in the same way you would light a still life of a theatre set. The artificial light sources created a whole new color wheel.

Keeping the sense of minimalism, balance, composition and movement found in the earlier shots; the night shots were fertile with the lyricism starting to develop in Ydeen’s daytime photography. Mostly taken in the small hours of the morning, the work has the beginnings of a story. Both of story of Easton, where Peter Ydeen lives, and of the world we have created for ourselves as told by the objects we made, isolated by the night but still illuminated by our own hand.

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Ydeen was trained as a landscape painter at Virginia Tech (BA), Brooklyn College (MFA – Fellowship) and Skohegan School of Painting (Scholarship). He has made his living with his wife selling antique African, Tibetan and Chinese art for the last number of years and has recently turned to solely pursuing photography as his artform.

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“two bridges”

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“allentown watertower”

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“lonely drive thru”

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“a yellow house and a lime green car”

“I am not a trinket”

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“speed limit 35”

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“route 33 signs”

“stairs behind the mall”

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“the corn pole and a lyrical cloud”

“back yard trailer”

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“Manfredi”

“I want to be a bike”

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“Boscov unloading”

“Boscov unloading night”

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“construction headquarters”

“construction headquarters night”

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“Richards square”

“God is love”

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“Yoccos”

“fashion hats”

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“forever young - fuente de la vida eterna”

“vogue couture - Paris, Pennsylvania”

Website: 500px:

peterydeen.com 500px.com/peterydeen

Kujaja: www.kujaja.com/en/peterydeen Instagram:

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Ivan Kopchenov P H OTO

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Ivan Kopchenov, portrait photographer from Russia (City of Chelyabinsk).

Ivan about his photographic work: “People are amazing. Everybody is unique and interesting in their own way. The main thing in photography is a mutual trust between the photographer and the model. Taking this in consideration, communication is an important and major part of any portrait shooting.�

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Visit Ivan Kopchenov at: Website: Facebook: Instagram: 500px:

ivankopchenov.ru www.facebook.com/ivankopchenovph instagram.com/ivankopchenov 500px.com/ivankopchenov

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Alexey Frolov P H OTO

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Alexey Frolov lives in the city of Samara, Russia.

He is a film and digital photographer, working in different fields, like portrait, fine art nude, editorial, conceptual, commercial and advertising photography.

Alexey mainly works in Samara, Tolyatti and other cities in Russia as well as abroad.

Additionally he teaches photography on courses, workshops and seminars.

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Visit Alexey at: Website: Facebook: 500px: Instagram: Flickr:

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Ra f a M a c í a s

P H OTO R E V I E W Rafa Macías, conceptual photographer based in Spain.

The artist about his work: “My career in photography started accidentally, when my wife gave me a camera a few years ago.

I discovered a new and unknown world and instantly felt in love with.

I try to create images I can identify with, in which I can express my concept and transpose my sense for beauty and harmony at the same time.

I love beautiful and unreal concepts, always looking for harmony between contrasts like darkness and light.

The most important things about my work are the idea as such and light as the main element.

Post production plays a major part in my work too.

Usually I work with prime lenses such as the 50mm 1.8 and 85mm 1.8

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Visit Rafa at: Facebook: Flickr: Instagram: 500px:

www.facebook.com/RafaMaciasPhotography www.flickr.com/photos/rafeta888 www.instagram.com/rafamacias_oroyplata 500px.com/oroyplata

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Massimiliano C a m e

P H OTO PROJECT - Al di lĂ d

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dell’acqua (“to the other side of the water”) Massimiliano Camellini was born in Venice (Italy) in 1964.

Since '90 he approached a reasearch photography, influenced by reportage. From 2001 he started to work about projects dedicated to the “instincts and dreams of mankind", finding out them in the contemporary times, as told by history, literature, and myth. His main works and publications belonging to this reasearch are Beyond the Cages (2001), The Flyers (2004), Duel (2006), New Arenas (2009), Laboratory Obsession (2010), 6 p.m., the working time is over (2013), Al di là dell'acqua (2016).

Several photography curators have cooperated with him, such as Charles-Henri Favrod, Jean Arrouye, Enrica Viganò, Georges Vercheval, Mara Granzotto, Lòrànd Hegyi, Manuela De Leonardis, Andrea Tinterri.

He exposed at Museum Historii Fotografii w Krakowie (Poland), Musée de la Photographie à Charleroi (Belgium), MAMAC Musée d’Art Moderne et Contemporain, Liege (Belgium), MIA (Milan Image Art Fair) 2013, 2014 & 2016, Museum of Photography, Seoul (Korea). On March/May 2015 the work 6 p.m., the working time is over has been exhibited at the Museum of Modern and Contemporary Arts of Saint Etienne (France), in the exibition "La suite du temps".

His artworks are included in permanent collections of several museums worldwide, among others: Museum of Fine Arts (Houston, USA), Collezione Maramotti (Reggio Emilia, Italy), Museo della Storia della Fotografia Alinari (Florence, Italy), Galerie Municipale Chateau d’Eau, Toulouse (France).

He is an Associate of the Royal Photographic Society, and Director of its Italian Chapter (CIRPS).

He is represented by Artistocratic (Boulogne, IT), Bag Gallery (Pesaro/Parma, IT) and Amy-D Arte Spazio (Milan, IT).

For more information www.massimilianocamellini.org https://m.facebook.com/massimiliano.camellini

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On 6 July at 6 pm at the Museoteatro della Commenda di San Giovanni di Prè, Piazza della Commenda 1, Genova, the inauguration of the exhibition “Al di là dell’acqua” by Massimiliano Camellini, curated by Andrea Tinterri and with staging by Nicola Pinazzi. The exhibition, which will run until 8 September 2017, has been organised by BAG Gallery (Parma - Pesaro) in collaboration with the MU.MA - the Museum of the Sea and Migration, the Association Promotori Musei del Mare e della Navigazione, the Museoteatro della Commenda di San Giovanni di Prè and the Cooperativa Solidarietà & Lavoro, and with the patronage of the Municipality of Genova, the Genova Chamber of Commerce, the Zeigeist Group Association and the Italian Chapter of the Royal Photographic Society.

A photographic project which took place over a period of four years and which examined the interiors of a large number of cargo ships belonging to companies from various nations. Taking his cue from the literary influences of Novecento by Alessandro Baricco, Camellini presents the work and rest areas of small cities which for most of the year are at sail on the oceans, far from dry land and its rules. The project consists in identifying - through objects, symbols and small tokens - the attempt to reconstruct a daily life that has been lost, a sense of stability within a constantly moving platform. The subjects of the photographs are the command areas and objects, but also, and above all, the private areas, the cabins, the beds, flanked by sidetables full of memories, tables set for a new meal, corridors which divide the rest periods of the temporary inhabitants. A labyrinth of rooms to navigate, where a porthole or window can often be seen, but deliberately photographed against a strong backlight: it is impossible to understand the geographical location of the ship, something can be glimpsed, but the atmosphere is muffled. Camellini had deliberately separated the interior of the platform with all that lies outside, two different levels that are not easily reconciled. What interests the photographer is that which takes place within the city, the organisation of a new space, the adaptation to new rules, the reconstruction of a personal ‘shell’ in which to live. People do not appear in any of the images, but they are represented by the spaces and the objects themselves, which await their owners, a momentarily suspended presence.

The spaces of the Museoteatro della Commenda di San Giovanni di Prè, which is hosting the exhibition, look out over the old port of Genova, creating an ideal sense of continuity between the images from the project and the reality of the work, the hulks of the cargo ships and the sailors who are the subjects of the work. An obligatory port of call in a city such as Genova, which represents the significance of the changes that take place in a profession, in the work of sailors, and in this crossroads of trade and commerce. A dialogue between photography and reality, in a synergy where the confines between the two become ephemeral and deliberately ambiguous.

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ell’acqua” - BY MASSIMILIANO CAMELLINI The exhibition will be accompanied by an important book published by Greta’s Books which, as well as the images from the entire project, also contains a critical introduction by the exhibition curator, Andrea Tinterri, a piece by the anthropologist Fabio Dei from the University of Pisa, and a never-before published story by the writer Donatello Bellomo. An editorial journey which clarifies the complexity of a wide-ranging project of multi-disciplinary interest.

During the period of the exhibition there will be three events: - on Thursday 6 July at 6 pm, opening of the exhibition “Al di là dell’acqua”, presentation by Andrea Tinterri, exhibition's curator, with a performance of the pianist Mario Mariani; - on Thursday 13 July at 6 pm, a presentation of the book ‘Al di là dell’acqua” with the photographer Massimiliano Camellini, Professor Fabio Dei, an anthropologist from the University of Pisa, and the exhibition curator Andrea Tinterri.

- on Wednesday 7 September at 6 pm, a conference on the theme “The sailor throughout history” with the participation of Professor Luca Lo Basso, Director of the Workshop of Maritime and Naval History - DAFIST (Department of Antiquity, Philosophy and History) at the University of Genova.

Ingresso gratuito agli opening / Free entrance for opening and events Museoteatro della Commenda di San Giovanni di Prè, Piazza della Commenda 1, Genova Info: Bildung Inc. / BDG press / +39 338.1404626 BAG Gallery / bag.gallery.parma@gmail.com | bag.gallery.pesaro@gmail.com www.bag-gallery.com | www.massimilianocamellini.org

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Carolina Dutruel PHOTO

REVIEW

Carolina Dutruel is an emerging studio artist working on fine art photography. Using her portraits as a means of story-telling, Carolina draws inspiration from themes of freedom, self-realization and the complexity of human relations. Her work is conceptual, thoughtful and emotional, with an ethereal and haunting quality that makes it surreal, and even magical at times. She is compelled to create worlds and stories of self-determination and self-improvement, her photography ultimately embodying her vision of women in society - delicate, yet strong-minded and strong-willed.

Born in Argentina, Carolina holds a Degree in English into Spanish Translation from the University of CĂłrdoba. In 2010, she moved with her family to New Zealand where her love for photography started and in 2015 she received her Diploma in Digital Photography from the Southern Institute of Technology. Since then, her work has been part of many group exhibitions, including more than 15 International Salons in more than 10 countries.

She has just completed her latest collection of portraits entitled Growth, a collection of twenty deliberately crafted images which portray the sometimes difficult, and yet tender, journey to self-realization. Every human being, at some point or another, struggles to find their own voice and are faced with the choice to embrace or reject the preconceptions and expectations that other people, mainly family, put on them. It is only by resolving this conflict that we can truly become who we choose to be.

This series of portraits represent a collective narrative of Carolina’s experience growing up in a highly traditional, patriarchal and religious society and the forces at play in her upbringing, which she believes are universal to all of us, whether powerful and manifest, or faint and obscure.

To create these images, Carolina spent months developing ideas, drawing sketches and collecting antique and vintage items, as well as classic pieces of clothing that would give the photographs a timeless quality, which mirrors the universality of such human relations

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She chose her two daughters as her models as they are the closest surrogate for her own younger self, and their softness and tenderness provide a compelling contrast with the darkness and heavy burdens that we all carry since the beginnings of time.

The deliberate choice of a neutral palette with a brown-yellow saturated tone adds to the delicate and ethereal, yet haunting, quality of the narrative, while helping tie together the different stories into one cohesive narrative. The bare backdrop and central staging of the models turn the subjects into the true protagonists and draw the viewer into their story. The eyes looking straight at the camera provide a powerful connection that allows the viewer to empathize with the subjects. Each image represents a still and quiet moment in life, and takes the viewer on a journey of hope, innocence, pain, tension, conflict and growth, while we navigate social conventions and expectations. Eventually, it sees us coming out the other side empowered and self-aware.

These photographs are glimpses into our early life, and the constant struggle to find ourselves among all the heavy burdens that society imposes on us. Each tells a unique story of self-determination and the pursuit of our own selves.

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“Nurture”

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“Perpetuation”

“Precious”

“Innocence Lost”

“Journey”

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“Birthplace of Hope”

“Offering”

“Gift”

“Captured”

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“Serenity”

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“Rite of Passage”

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“Instinct”

“Indoctrination”

“Sorrow”

“Mandate”

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“Bargaining”

“Ambition”

Visit Carolina: Website: Instagram:

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Richard Barnard PHOTO

REVIEW

Richard Barnard - I have always had a passion for photography, my first camera being a Praktica LTL passed on to me by my dad when I was about 8 years old. I am self-taught and have focused on street photography over the last 2 years or so. As my confidence grew I was able to replace my Canon EOS 350D and telephoto lens with a Fuji X20 which was much more discrete and allowed me to get closer to my subjects. I have recently purchased the Fuji XT2 which has been a real game changer for me due to the super quick auto focus and electronic view finder.

Most of my photos are taken in the city of Manchester, my favorite spot being the Northern Quarter.

Having only recently started to use Lightroom I feel my photographic style is still evolving and I would like to develop a more consistent approach to editing.

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Visit Richard Barnard: Flickr:

www.flickr.com/photos/ftwentytwo

Instagram:

www.instagram.com/ftwentytwo

500px:

500px.com/ftwentytwo

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Dalina Andrei PHOTO

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REVIEW

I was born in 1970, but it was much more recently, in 2015, that my photo activity came up. I had my first little camera at that time; now it is the ‚old’ one. Or, that means several things in my view.

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Second, at present photography isn’t any longer, but for long time already, what it was in the era of photo-film, as for instance, this meaning I felt forced to adapt to in enough complicated and moving contest of facts related to photography developing.

Or, this means equipments, but also technical stuff that equally includes photo-specializing, e.g. photo for landscapes, for products, for animals and pets, for children, for events and many more photo-specializing stuff. The primary problem is not being individually ever prepared to do all, or any of these, or several things as such in the same time, so you are then forced to chose amongst, to have your own exact and transparent option in this respect.

Third, in such a ‚landscape’ (yes, I said ‚landscape’, when landscape-photo is just one of all photo domains), another problem arises: the commercial’s intrusion, more correctly photo basically being art and art seeing itself embarassed and eroded by commercial. And now see another pressure for the individual photographer to chose between: commercial and art, besides among several photo specialties and even not only.

Considering all of the above I see my ‚profession of faith’ in chosing in decreasing order (1) street-photo and (2) portrait-photo, and these both are my option for art, versus commercial in photography.

Factly, I started practicing for my own (as everybody in this area) and actually this is what I’m still doing now. However, then I joined the ‚On-Spot Photo Group’, in Bucharest, lead by Mirela Momanu, in 2016 and I shared with them enough photos and experience so far (https://www. facebook.com/groups/ONSPOTGROUP/) Then, in 2016 I also attended two photo courses, the one that is basic, medium level and also recognized by both Ministry of Education and Ministry of Employment of Romania(http://www. rgbphotography.ro/), and the other then on advanced photoshop (http://www.rgbphotography. ro/). Then,I joined several photo-groups and took part to different photo exhibitions in Romania and not only .

Last, but not least, I work for some while with several lady-models, Ana, Nicoleta, Ioana and Georgiana; I see really nice doing this, I am greatful to these persons, plus I am really up to fulfil some projects this way.

One of these will be a black and white photo series for „Tribute to Irwing Penn” (my preferate photographer): it will be bringing back the ways that photographer was ever using his models.

Then, there will be some „Fine Art”, in which female beauty will combine with maternal life periods.

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Eric Mรถrschel PHOTO REVIEW

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Eric Mörschel, photograph, Germany Frankfurt.

Eric about his art: “Since I can think, I was interested and attracted by photography. I was fascinated by photographs, the haptic of the cameras and by the process of capturing and composing pictures. On the technical side, I was fascinated by the processing of the images as well.

I love to get into my “photo mode”, searching for motifs, leave the stress of the day behind and just unwind. In many cases the captured photo is just a by-product of a revised and simplified moment – souvenir of being present.

I’m interested in different motifs; I don’t want to limit myself.

Street? Landscape? Architecture? Nature? People? Portrait? I doesn’t make any difference to me, I’m multifaceted!”

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Visit Eric Mรถrschel: Website:

www.breadless-arts.de

500px:

500px.com/breadless-arts

Flickr:

www.flickr.com/photos/breadless-arts/

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Paweł Kufel PHOTO REVIEW

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Paweł Kufel – photographer, Łódź, Poland Paweł about his art: “After graduating from high school, I decided to sing up for a two year photography school.

In one of the classes we had to take photos using a middle format camera, a Mamiya RB67.

Since that time I’m strongly connected to analogue photography.

In 2012 I bought a Kiev 6c with a Vega 90 mm F/2.8 lens, which I still use today.

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Visit Paweł Kufel: Facebook: www.facebook.com/pawelkufel6x6 Itagram: www.instagram.com/pawelkufel6x6

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