Ourphoto_01_UK by Fabio Camandona

What matters is that we try to communicate, isnâ&#x20AC;&#x2122;t it?

OURPHOTO

In spite of our many ideas and good intensions we say sorry to you a million times if our English language is not very good. We are new to the world of international publishing, but we will work hard so that in a short time you will be able to read this a perfect English!

PHOTO . PASSION . TRAVEL . MORE

Communication (com-mu-ni-cation): the exchange of information, ideas, or feelings

ISSUE 01

DE CABRAS 05 MASONE Roberto MARRAS BIG PHOTOGRAPHERS Ansel ADAMS

09 POSTPRODUCTION Alessandro ANGLISANI 11 BOLIVIA Piero CHIESA BERTANO TUTORIAL Grazia BERTANO

- TARELLO TUTORIAL 19 TT Mario TARELLO BOTRONA 23 DACCIA Fabio BONAZIA KUOKI Valentina ZACCONE

FOR THE LIGHT 27 SEARCHING Max LUCOTTI SAW THE LIGHT 33 IAndrea VIGATO

35 PARIS Umberto GAVAZZA SARUBBI CONTEST

41 OURWELLNESS Carlo Tinnirino HISTORY 45 “PRO” Luca CAMBIASO 04

COVER PICTURE NIKON D3000 1/60 ƒ/5.6 ISO 200 Flash fired in auto mode Focal Length 55 mm

01 EDITORIAL

Fabio Camandona

JUNE 2011 IDEA AND PASSION

These two are the essentials. It doesn’t matter Which cameras do you use or what kind of lens you use, be it a f1.4 lens or a piece of glass from the bottom of your father in law’s wine jar. You have to practice hard! Forget the about technical tests on cameras, forget about the tutorials on post production, never mind what kind of flash you need. YOU DON’T NEED anything but ideas and passion. And you have them, you should never stop. The limits, for a photographer, are often either the fear of making a bad impression, or the fear of getting a little dirty. Photography is a serious matter, that comes from the heart, and the heart doesn't know any limits.

OURPHOTO is just like us... and we are changing. The world of photography is changing. There are more and more amazing equipment available to an increasing number of users, more and more “old school” photographers are annoyed by the “disaster” of the digital technologies, more and more artists made it just because of the digital format. More and more photos, a lot of photos... maybe too many? No. We are the world of photography today. It’s not an elite anymore, no longer a inner circle of wizards. US. OUR.

OURPHOTO will be our magazine. It will talk about out photos. Our space will not be filled with super photographers and technical tests. It will be filled with our pictures, our ideas, our projects, with all those talented underground photographers who are getting to change the photography world. And with all those thousands of new photographers who are willing to learn and improve their skills. We are going to be a showcase, a school.

To talk about us, we need you, we need you to become part of us. So read it, and enjoy this first issue, made more with passion than knowledge, and help us grow. Send us your material, get in tough with us. We will create something interesting. For sure.

Fabio Camandona, one of OUR.

OURPHOTO

"Yes, another photo magazine! Another. Even I thought there already were too many photo magazines. So, have we gone mad? No worries, we already were."

PHOTO . PASSION . TRAVEL . MORE

OURPHOTO IS BORN

Masone de Cabras

TEXT Roberto Marras

PICTURE Roberto Marras

Sito: http://imagobox.altervista.org Facebook: www.facebook.com/proceddeddu

marras.roberto@gmail.com

No, that’s not a typo, or some strange foreign language... but the ancient name of the small town of Cabras (the first known name), a word that means “sheep” in the Sardinian language. It lies a few miles north of Oristano, and it’s a small town of one-storey houses, which still has all the colors and the habits of the past. It’s been built on the same name pond’s shores, one of the biggest freshwater pools in Sardinia. The pond is evocatively surrounded by reeds (DSC_7347), narrow dirt roads and typical wildlife, like the famous pink flamingoes. On the road that leads to the Sinis peninsula’s seaside, next to the pond near the small town, you can find a patch of dirt: his featureless look hides a naturalistic path, that goes through wooden bridges, small pools of water which take on fantastic different colors at sunset, reeds up to 3 mt tall, evocative stone bridges that create reflections in the water… If you ever decide to spend some time in the beautiul Sardinia, you have to take a look at this place: leave your car, and enter the magic of this corner, undiscoverd by tourists. Take a walk at sunset, when the sky is an astoishing red, with clouds soft and white just like the milk produced in this land. Take someone to share these peaceful moments with you, along with a nice camera, so you can try and fix these instants. Take also a solid tripod, a wide-angle to cover the maximum landscape possible (but also a montage of several photos is perfect) and a nice set of filters to compensate the different exposure of sky and earth. If you are a fan of HDR, this place will put your photo editing skills and bracketing to the test.

I decided to see (and take pictures of) this place during the time preceding and following the sunset, so I could capture this moment using strong input lines created by curved bridges and narrow paths that leaded into the pond. I also used the walls of reeds (DSC_7307) surrounding the paths to create very strong images, in some cases using a human figure to suggest the idea of height. I converted all in a very strong and contrasting black and white, taking full advantage of the guidelines that were leading the eyes toward the horizon and the strong lines between the elements. Not far from this oasis, you can also find the ruins of a small nuraghe (a typical Sardinian building made of stone, similar to a small tower). Itâ&#x20AC;&#x2122;s been quite a challenge to climb the small hill that surrounds the building, but once I found a good place for the composition of the picture, I placed my loyal tripod and waited for the clouds to come out of the nuraghe top, and CLICK,

CLICK, CLICK three bracketing exposure, creating a striking (and maybe a bit excessive, but I liked it that way) HDR. The pictures taken in this excursion, together with the unique atmosphere of colors, sound, perfumes, buildings and images, is definitely worth spending an afternoon in this place.

POSTPRODUCTION Alessandro Anglisani Studio Fotografico Anglisani e Randi www.studiofotoar.it Adobe Certified Expert Photoshop Adobe Certified Instructor Photoshop Certificated Technical Trainer

Probably, the word “post-production” can distract those who are less experienced or don’t need to use it. On the contrary, if you hear about “developing a photo” can sure bring more familiar memories and fragrances to your mind. I have often waited, in my neighborhood, for the minilab to deliver my photos. I had them developed with cross-process (you can find some interesting links at the end of this article). If you know the magic practice of crossprocess, you know what results you can achive: an image with completely distorted colors and contrast. Insert the three original examples –cross process1-cross process2 Sometimes I took photos with a negative with a nominal sensitivity of 400iso exposed, using it as if it was a 1600iso, and then i had it developed like a 1600iso (push processing). I can assume, then, from these considerations, that what we used to do with films (and still do, actually) is to all intents a post-production work, a personalization of the the development process (sometimes out of the standard). In the end, it’s all about bringing out our image. Problems starts when you use a digital camera: since images are immediately examined, you may think that the development phase is superficial, or made by our camera itself. On the contrary, what we see in pictures taken this way, and immediately analysed, is just the result of the cold and aseptic look of the camera sensor, not our own eyes. Let’s stop here, in front of this beautiful sunset: we are at the seaside, there are rocks, the water is a deep blue with purple reflections, the sun is orange, dense, intense, with ruby shadows, clouds reddish and blue, wet and reflective stones… Now take a picture, and make this awesome landscape yours forever.

Then you get home, in front of your computer, and there goes the frustration: everything is dim, colorless, you think you probably chose the wrong exposure. Disappointed, you put the picture in the trash bin And there’s the error. You saw that landscape with your eyes, and now what do you see? On the screen you see the same image you’d see if you put your head into the minilab before the development is finished. Having someone else developing your photos is also a way to have someone to blame, in case you don’t like the result. If you develop your pictures, you need to smother you disappointment. If you go through the post-production phase (as you should), you can give the sunset its true colors, the saturation mother nature gave it, all the poetry it evoked when you saw it. In short, post-production is always necessary, though it’s not sufficient to make a photo good. You have to see it as an essential step that a modern photographer need to take in order to make his pictures look real, the way his eyes caught them, or if he wants to give his photos that artistic feeling that made him pick up his camera. Anyway, if you don’t feel like dealing with all the different possibilities that softwares give us, then just use your pictures just as they are. Photography is food for your mind: if you like your art, have a good snap!

â&#x20AC;&#x153;Myâ&#x20AC;? Bolivia Piero Chiesa piero.chiesa@makhymo.it

The night of Bolivia, which blend music, lively music and a haunting Latin drum in a fund that accompanies hypnotic certainly some "fiesta" ... many in this poor land, a condition necessary to forget certainly miserable if not desperate. The haunting music, the oppressive heat and the ability of these people inebetirsi with alcohol, then the violence that often accompanies the post, a vacuum after all. It really is the void that accompanies the days of these people who seems to have surrendered to a destiny that brutalizes them, but that does not know or do not react. The vacuum is also in looks, glances of the adults who seem low, with a fast pace, go where you do not know, so these people and stop at the corners of a street to beg or backyards of the poor dwellings also empty of everything. . also the feelings that a house should be able to retain .. or brisk walking with loads of life contained in small shapeless bundles and colorful. The color does not accompany this people sad and when there is only external, unlike other South American peoples who live in poverty often honorable and proud, poverty here has killed the people inside, people who perhaps have never really lived . Then there are the children, sad children also do not ever look down, you lower the guilt feeling that perhaps you did but you're not completely sure. Blacks eyes, sad, deep, soulless eyes that we are not accustomed to asking, sweet eyes, eyes that will stay in for life. Street children do not smile, you can buy a smile with their 2 bolivianos ... little more than half a euro .. and after you're worse off,

and the serenity of a child should not have a price. The serenity of a child should be free but it is not, the reality is worse than any imagination could have who does not live an experience like this. The people have against us in the West a strange attitude, ignore us, simply have no interest to us, we are transparent in their eyes, I think we even slightly annoying, mind, and history will not forget a condition of oppression and subordination that is still deep inside of them. We tolerate it because they know we bring them money, but nothing more. Yet there are two western, one that cheated them deeply and still does, if

possible, a more subtle stripping them of everything they have .. the dignity .. creating that void that I said earlier. Not just the fault of us "gringos" but also and especially because of multinationals, the South American and mainly the total and absolute corruption that persists and continuously feeds itself, since they were discovered the enormous wealth that this country has only wars lost and embezzlement have guided the destiny of these people are still forced to struggle with its own government, not to have exploited the riches, but to increase the areas of coca cultivation, one and only true source of livelihood for the "campesinos" forced to survive on the skin of other people as if it were a form of revenge; death that feeds more death. I do not think that there are reliable data on how many deaths you pay this country, certainly many, and certainly lots of children. Meet people who care, in particular, the fate of these innocent children do

understand when is the widespread phenomenon of child mortality, children who die of neglect and violence, most often family. Certainly in rural areas, where the condition of "poor" is much greater and deeper meaning that we usually give to this word, of course, death is much more common than we think rationally, we think that will still leave children to die superstition and ignorance to an absolute minimum standards of hygiene and food standards. The small coffins that are seen in the windows of the undertakers are a tacit confirmation but in the countryside just a little bit of land and perhaps a cardboard box will be the last sad and poor dwelling of these souls who have had only wrong to be born in the wrong place most of the world.

I said that there is another kind of Western and what is in this and other trips I had the good fortune to meet, those people are religious or secular that have truly given their lives to try to alleviate the state of animal life of this people . Missionaries or volunteers trying, without much long lasting results, at least in part to bring relief to those children who have had the good fortune to meet and share a piece of life with them, are really angels for these people, I do not think all of them can recognize as such, I feel that they also may be exploited by people who do not know the gratitude I think that maybe he thinks is their due as partial expiation of their condition. Can be intuited from the apathy and disinterest in learning the things that could one day help them be better people. What is the embrace of a child, as the kiss

of an abandoned child, can make you understand all the values that we have perhaps lost or at least shelved. The hands on you have contact with real life, a life forgotten and certainly never known so bitter. Dirty hands, small hands you hear everywhere about you, faces that are looking for you, seeking your attention. Endlessly repeating your name, who have the desire to know everything about you, the discovery of white hair and blue eyes so different from them, their fingers trying to figure out why, where are you, if you have children, do you call a child so different from them. The attempt for them to imagine a "family" normal that they have, all the girls who have suffered violence possible that the mind can imagine, innocent eyes that have seen his father kill his mother or who have suffered sexual violence in their own " home ", more sisters simultaneously in an institution removed to parents who come to torture children. Would you like to give them everything but a brake inside you trying to block you, you do not want affezionarti not want to create illusions, you know that soon they'll go away and fingerprints will remain on the shirt, the memory of a skin serum on girls your face, the request for a "beso" you with decency and attention from, and I am ashamed as a man for men who gave a kiss with very different intentions of these girls destroyed and broken bones as you return them home ever.

How much indifference for these children, how much indifference by the wealthy Bolivians who pretend to ignore their situations so close all day and fill every moment of every day, where you turn there's a baby ... more ... increasingly ragged and thin. You can not hide anything, you can try to do it but your conscience tells you there and what is right and what is wrong, here misses the "faith", I do not think I belong to the point of me being different from how I would be without the involvement of "religious" here required. It 's too easy to be close to a world that does not normally attend but my conscience to attend at any time of my life and tell me what all this is not fair. I wish I could do what I feel but I also know that you can not rationally, I've got to bring together this dual state of mind .. the wellbeing "Italian" and discomfort "Bolivian" two opposite sides, two sides of me, two lives who have to live. I heard you call Santa Cruz de la Sierra de la Earth and it's all in the name and the synthesis conditions of this place. Soil, dust, dust which always live with the humidity becomes a second suit, no shower, and even taking a simple shower here is a luxury for the few, the dust is everywhere, you hear over and inside you; in the mouth and nose, that's all the same color, the brown of the earth. The feel when you describe, you do not know him that is better or the rare rain that occasionally comes to wash this corner of the world leading rivers of water in creating dirt roads impassable barriers, there are no sewers or are open and the rain everything is mixed and the scenery becomes wild. Strange this city first or second of Bolivia with La Paz, the first or second depends on the number of poor people who daily flows

in either the search for one more day of survival. As a New Delhi news not only cows but also many horses and pigs between the median strip of the city center streets, a city of over one million people where you are awakened by roosters and growing by over 80,000 people a year and who knows how many deaths per year. A city where the animals seem to like children abandoned in the wild but where a skinny chicken is the wealth of a family. A country of contrasts, but not eating nearly one million phones have invaded Bolivia and it is not uncommon to see a "campesino" or "Indian" engaged in an unlikely phone call at least engaged. Improbable are also few women blondes or guys with cool jeans, they are so fake that inevitably stand out, only in Japan I

Indents and take with you memories and images, sensations and emotions that will be only yours and you will try to deliver to those people you meet and know they have the sensitivity to accompany you at least partially in a deeply personal experience and not always so agreeable, those eyes will remain the baby inside and your desire to continue this fight might still be missed but certainly not lost on ourselves. felt for these people a sense of the ridiculous so hard to see these stupid attempts at radical rejection of his state and imitate the worst of a "civilization" far more advanced and also especially true values. Eventually, however, is not that state of discomfort that accompanies the first few days here or the first experiment, there is the distinct feeling that even a more powerful and radical surgery can be done just before the state of apathy in this population.

TT . TarelloTutorial Braun series 7 making of

Mario Tarello

PICTURE Mario Tarello

www.tarello.it

mario@tarello.it

Letâ&#x20AC;&#x2122;s see in details how to make a still life of the shaver Braun Series 7, using easy to find accessories and tools. We will see both set and results step by step, with a brief tutorial on the post-production technique. For this shaver, I wanted to re-create an image that gives a sense of freshness, given both by the precise and delicate shaving and by the possibility to thoroughly clean the device (which guarantees a constant hygiene). The solution is banal, but completely make the idea I had in mind clear: drops of water and a blue background. I chose a colored background (clear opaque Plexiglas panel on a blue colored sheet of paper) both to enhance the contrast with the shaver (a gray/black background would have been maybe more technologic, but the subject would have been less highlighted), and to emphasize the idea of freshness (usually the blue color is connected with this sensation, being a cold color). For the water drops, I used a common spray dispenser. The set is very simple, as the idea: Nikon SB600 on the left side, shielded with an opaque white Plexiglas panel (you can find it in any DIY store, such as Brico, in this case the panel was perpendicular to our supporting place) and Nikon SB600 on the right side, shielded with a microwave panel (always DUY store), with a 45 degrees angle. Flash set manually, after a few tests. As my equipment I used a Nikon D90 + Sigma 17-70@35mm (for this kind of shooting the camera was perpendicular above the subject, of course). This was the first shoot, no post-production, only resizing: the result is quite good, but I was not satisfied with two things, the head of the shaver and the shadow on the left.

As for the head, I changed the position of the second flash/panel, putting it above the subject. This is the result:

This next post is the union of the two images

As for the shadow, I took another shot putting the flash and the panel always on the right, but lifting the panel above the supporting base, and positioning the flash farther, so to obtain a softer light (the advantage of using separate light + diffuser, instead of a softbox, is that you can choose the hardness of light).

The image is integrated with the others (postproduction technique may vary, I usually use layer masks to blend the images, you can find a brief description of this technique below):

At last, I cropped, in order to highlight the subject and balance the image, I adjusted the curves, resized, and put a contrast mask and the logo.

As promised, here is a quick explanation of the post-production technique to blend images. I combined several images using layer masks with Photoshop. Basically I put the single images on a level and then highlighted the parts I was interested in. For instance: suppose you have a background with a gradient on a level, and an image on another, upper level (as in the example below).

At this point, keeping your position on the mask, you can use various brushes of different shapes/thickness/hardness, text boxes and anything you may need to highlight your image.

If you click on the red highlighted icon (layer mask), a white rectangle appears in the Layer Panel, next to the image. Basically, if the mask is white, it displays the content of the layer, if itâ&#x20AC;&#x2122;s black it hides it (intermediate tones turn it semi-transparent). In the following image, I filled up the mask with black using the Paint Bucket tool, which has cleared my photo, highlighting the underlying content.

You can of course reverse the procedure to remove parts of the image. If you are in a hurry, you can also use the Eraser tool, but itâ&#x20AC;&#x2122;s a potentially destructive operation. In this case, itâ&#x20AC;&#x2122;s important that you always align all the images precisely on the different levels.

The “Diaccia Botrona” THE UNTOUCHED CORNER OF MAREMMA Fabio Bonazia Picture of Fabio Bonazia, Luca Coscarelli, Luca Bargagli http:\\www.photo3.eu

Tutti mi dicon Maremma, Maremma... Ma a me mi pare una Maremma amara. L'uccello che ci va perde la penna Io c'ho perduto una persona cara.

Sia maledetta Maremma Maremma sia maledetta Maremma e chi l'ama. Sempre mi trema 'l cor quando ci vai

Perché ho paura che non torni mai.

These are the words of an 18th century popular song, which sang the dangerousness and the harshness of a totally wild place, the Maremma, entirely covered with marshes and infested with the deadly, malaria carrier, anopheles mosquito. A long time has passed since then: the Maremma has been drained, and is now a beautiful area, worldwide known for its sceneries, weather and food. There’s still a place, in the middle of the Grosseto province, in the shadow of the famous fortress of Castiglione della Pescaia, where time has stopped. It is the Diaccia Botrona, the only part of Maremma that truly remains genuine. The Diaccia Botrona, a wildlife reserve today, stretches for about 1300 hectares, being the last remaining heritage of the ancient Lake Prile, that once occupied the whole Grosseto area. With time, the marshes have gradually formed two distinguished kind of environment: one, near the river Bruna’s shores, has maintained the typical features of a freshwater marsh. The other, a wide area very close to the sea, has become a salt marsh. Being able to “live” this place through a photographer’s eye is an amazing experience: the uncontaminated scenery

“Everyone tells me Maremma, Maremma… But to me it looks like a bitter Maremma The bird that goes there lose its feathers And I lost a loved one Be cursed Maremma Maremma My heart always tremble when you go there Because I’m afraid you’ll never come back”

is constantly mutating, offering a variety of inspirations, glimpses and points of view. You get the strong feeling of a living place, shifting along with the changing of seasons, that can be completely covered with water and, at the same time, offer an assortment of amazing textures imprinted in the mud hardened by drought. In this area nature reveals itself in all its extraordinary energy. Dozens of bird species stops here to rest during migrations, populating the numerous pools of water; wild boars, otters and beavers sneak in the narrow strips of land; spiders and bugs create a silent and awesome microcosm. In locations like this that photography is no longer the final purpose, you forget the struggle to take the right picture at all costs, and you understand how photography is nothing but an excuse to rediscover the pleasure of getting up early to wait for the sunrise in silence, of watching the beauty of a natural scenery or the unique spectacle that some places can give.

Searching the light Max Lucotti

PICTURE Max Lucotti

mas36it@yahoo.it

Let me illustrate the journey that I have done several occasions, in different periods of this long winter, in search of the Light. After finding the perfect place for both the relatively close distance (40 miles), both for the location and reachability for the, I went there over and over again at dawn, in order to photograph it with the proper light and, possibly, with a suitable atmosphere. The images that you will see are the result of about a dozen passes, where I have found both less than ideal conditions (but in this cases you will not see anything), both good lighting conditions but with little atmosphere, both better conditions. But the perfect condition has yet to be found by me, especially if is also dependent by the condition of the snow on the trees, which in the Ligurian Apennines usually endures only until the day after a snowfall. For these reasons I will retry next year, hoping to have on my side a little luck. I will not pause to tell you the difficulties I have endured to reach the place, like

when I got stuck in the snow with a jeep snow plow so deep that one has had to come to my rescue, or when my car descent in a rose on a sheet of ice and slid for 30 feet, landing on a pile of snow (thank God that it was there) and the intervention of a kind gentleman that after an hour of attempts managed to get my car out of the snow, or when I fell, with all my equipment, in a pretty deep hole that was under half a meter of snow ... One could say that these are the little accidents that can happen when a person moves at night in the dark, with a torch head, alone at the top of a mountain completely covered with snow. I would like to tell, and I hope that the images may pass it on, the shout of the night silence, the wonder of the rising sun, the heat of the first ray. In short, I would like to convey my emotions at that time. The shout of the silence in the woods still wrapped in the night. But out there is emerging a light.

27 The Sound of Silence in the woods still wrapped in the night. But there is emerging a light.

The sun not yet risen, a disturbance on more moves on the sea floor

28 There are sunrises that color the delicate environment of pastel colors, here a few hours after a heavy snowfall.

I found stormy morning, so that the trees seemed to bow to terror.

I observed the Sun and the Moon look like two lovers who are separated every day.

29 Some moments make you feel completely immersed in the landscape that surrounds you.

So immersed that you seem to be part of it. The reflections of the rising sun bathe the landscape ... and everything is tinged with red. The signs of the passage of a hare.

As the sun rises, the environment recovered slowly life.

The landscape is finally lit in your eyes.

31 Discover maybe that everything is cloudy and the snow is about to arrive

Or that everything below is covered with a soft blanket of clouds. By now the sun has risen, the warm colors of dawn fade and its rays warm the heart, while the snow is golden affected by the reflection of the sea.

Everything was accomplished, the day begins.

I saw the light ANDREA VIGATO

First of all I have to thank very much the bird who remained static long enough to give me a chance to find the right snap. It is quite true, photography is walking, and today I had a walk together with my wife, Hector (in her belly) and my Nikon. The camera is now part of me , and it is with me wherever I go! Since I fell in love with of photography my life has changed: I see everything from another point of view, and this is fantastic! Today I had an idea inspired by all the people like me who have this passion and tried to put it into practice: this is the result! I wanted to convey the feeling that he has sent to me ... stopped in the midstream waiting no-one-knows, maybe the other half of him... I hope to have succeeded.

Thank you Fabio!

Andrea Vigato

COMMENT: This shot is all wrong. We have those completely burned white without any readability, occupying a major portion of the frame. That's it, now that I have done my duty as a forum technician I can rather say what I think: My compliments Andrea, I wish to had this picture in my portfolio. You have fully accomplished the job of the photographer. You walk and you have found a very interesting subject.

But you did not stop here: you thought! And you have chosen a very unusual technique for the shooting situation; taking advantage of the rough water, hoping that the volatile (do not say "bird"! Come on!) did not move. And luck always helps the brave, so he did not move. And he looks at where we do not see but that we try to guess, since you have the right to left into the picture enough free space in the direction of his gaze, as teach. the rules of composition But we do not see anything except for the immense burnout, like a soul

that wants to seize him for his courageous arrogance. But he remains undaunted. And look. The photograph should communicate, no matter whether blacks or whites are burned closed. The goal is different. Bravo Andrea.

Fabio Camandona

Paris “Memories of Paris” Edmondo De Amicis Picture Umberto Gavazza Sarubbi umberto@ourphoto.it

Here begins to appear in Paris. The overwhelming way, the double row of trees, houses, joyous and everything is crisp and fresh, and everything breathes an air of youth. We recognize at first glance a thousand small refinements of comfort and elegance, revealing a people full of whims and needs, for which the surplus is more than necessary and essential to enjoying life with ingenious art. It is the cafeteria all resplendent with glass and metal, is the small cafe filled with noble pretensions, is the little restaurant that boasts the most exquisite restaurant ghiottumi are thousands of small shops, neat and pleasant, they do to each other soverchiarsi by dint of colors, exhibitions, of inscriptions, puppets, small ruffles and little quirks. Between the two rows of trees is a bustle of carriages, large carts, wagons pulled by steam engines, and of omnibus high, loads of people, which startles the uneven pavement with a deafening roar. But it is a movement different from that of London. The open space and green, the faces, voices, colors, giving to the bustle of the most fun a job. And then the population is not new. All figures are known, that make us smile. Gervaise is that you look into the shop door with an iron hand, Monsieur Joyeuse is dreaming gratification that goes to the office, is Pipelet reading the Journal, Frédéric is passing under the windows of the seamstress Bernerette of Murger, is the peddler of Kock, is the gamin of Victor Hugo, or Monnier's Prudhomme, is the 'homme d'affaire of Balzac, Zola is the worker. Here they all! As we realize that even a thousand miles away, we lived in the immense city of Paris! I'm half past eight, and the great day of the great cities, Paris-day, month after arriving,-has already begun, hot and noisy like a battle. Beyond the clamor of the street, you hear the deep voice of a confused enormous hidden neighborhoods, like the roar of a

sea masked by the dunes. Hath been just out of the Boulevard Beaumarchais, he has not yet reached the end of the boulevard of the Daughters of Calvary, and already divined, feels and breathes, I may say, the immensity of Paris. And you think with amazement to those towns deserted and silent, which hath been left, which are called Turin or Milan or Florence, where he was to all door and shop, and almost lived in the family. Yesterday vogavamo in a lake, now sail in the ocean.

OurWellness TESTI Carlo Tinnirino www.mypt.it info@mypt.it Cell: 349.8476197 When I was asked to write an article about health and workout, I jumped for joy. I write a lot, usually for my clients, I think that to “educate” them, and offer knowledge and information that are often left out can save one’s life. But the possibility to write for a magazine and extend my audience makes me happy. My satisfaction, which I think it is safe to call a mission, is to help people I meet the best I can, trying to give them the right information, helping them to be a little more self-critical, so they can have more ways to find their personal truth. When I see one of my clients blossom in a few weeks, after some good advice to go on… well, what I feel is beyond description. So, having the chance to share my experience with you, even if it keeps me busy with hours of studying and tons of books and articles, makes me happy. And, you never know, maybe in the near future I will have managed to contribute to put a smile on your faces, making you feel better. So here I am, about to write this article. Too many things I’d like to say at once, too many topics I’d like to discuss… but I’ll try to be concise, efficient and simple (though it’s not easy for me). My target is to effectively communicate about “health and wellness”, with every means and reference to any field that may help us deepen our knowledge. Let me introduce myself. My name is Carlo, I am a personal trainer, internationally certified by MPS (Ente di Promozione Sportiva, officially recognized by CONI and Interior Ministry), natural diet expert and nutritional consultant. Leaving labels aside, I consider myself to be a “body makeover expert”, that is a “life changer”.

Many personal trainers (and it’s not a criticism) simply give their clients a training plan, following them through some more or less tailor-made exercises, using their initial emotional blaze, which can last weeks, months, or even years. This often gives clients just an alibi to keep on leading a wild life. They don’t adventure in the realm of personal change. This is not a mistake, let me say that again, I’m not being critical. But I work differently, and for me its something I cannot accept, maybe because I am always personally involved, and my constant thought is “if he (she) wins, then I win”. I want to see in my client’s eyes that light of change that gives me a reason to keep me passionate about my job, to keep on doing my best and dedicate myself to my “mission”.

And that’s why my clients come to me. I don’t think about making a workout plan right away. I noticed that listening is far more important, and if you listen carefully, you’ll find out that 99% of the people do not want a workout plan telling them how many squat exercises they need to do, or a more or less personalized diet plan. 99% of people come to me and ask for a change. They want a makeover, they want a “perfect” body, according to an idealized image they have in mind. And they ask for my help. Usually they don’t care about how to obtain it,it is the result that counts. Sometimes they put so much trust in me, I cannot let them down. The pressure that is created on personal trainers, to produce the required results is often exhausting and each case is absolutely different from another and the ways to achieve the required goal are endless, but finally I put aside the tension and try to commit at every opportunity. I must admit it is a challenge. And here is why I write: because I am certain that with the correct information and right tools it is possible to produce

change in any person that comes asking for help. Of this, I am certain. And that's why most people do not consider me a personal trainer. I am not just a coach who helps people to train. If I want to achieve results, I cannot limit myself to take care of the client only when he is with me, but I have to intervene in the way he handles his life even when he is not with me. Sure, he spends with me three or four hours a week, we train together, I try to give him some points of reflection, hoping to motivate him, I listen to him and point to solve some of his problems; but, what does he do in the remaining 165 hours? He does everything and too often you do not have the faintest idea of how much harm he is doing to himself and how he is doing this and how much work and pseudo sacrifices he is suffering. Having said that, do not be surprised then if, together with advice on training or on food, I pin some simple practical rules that will tell you how to behave, how to interact and react with yourself and others, in order to stimulate the intuitive brain as well as the rational one. The brain is truly informed only when it is able to be

intuitive, and in my opinion there can be no prosperity without knowledge. The information that arrives through the media or newspapers are derisory and too often misleading and tied to the interests of the various pharmaceutical companies, or manipulated by those who have to make profit on a particular product or lifestyle. I will try to use this space that OURPHOTO dedicates to the welfare to bring you as much as possible the desire to change, to feel better, to be more beautiful, to be more fit and to live better with yourself and with others. Motivation is the real success, so you must be the architects of your own luck. I hear too many excuses, alibis, rationalizations. These things do not work with me, mostly I do not reply, preferring to stand silent, but . If you think you do not know how to dare, you will not dare. Success begins with the will, the secret lies in your mental condition. I firmly believe that our body is a reflection of what we have inside. Last week I received a call from a friend of mine. After having talked about this and that, lowering his voice, he confesses that recently he found himself in great difficulty. I was immediately worried, fearing the worst: "Your girlfriend and your family are fine?" "All right" - he answers "Problems about money? With work? " "No, no ..." - he tells me "In fact I got a promotion and, despite the crisis, I make a little bit more." "So what's wrong ?!?!" After a long pause, he replies simply: "I'm tired and I would like so much that in my life something where simple." I had to laugh. This is our modern life, unfortunately; it is hard and fast and unmanageable. Like my friend, I'm sure you have a challenging job, a partner, a loan, friends, the passion of photography and many other commitments. This tests your reserves of energy and that sometimes affects your ability to train and look for your well-being. There is nothing to be ashamed about we are human, and our energy is not unlimited, just as my friend finds himself happy but depressed. That exhaustion sometimes leads people to seek the easiest path. However, as I said to him, dedication and

commitment are what a person needs to stay healthy and live the life he really wants. There are no shortcuts, no magic pills. Each of you is aware of it, like me and my friend, although sometimes we hope in science and we rely on luck, we know that this is not possible. In this world, "Mors Tua Vita Mea " (survival of the fittest) is the law. Only those who are fit can survive. The advantage becomes physical mental advantage and vice versa. We should not wait for the miracle cure, nor ever complain or not recognize our own fortunes (without thinking of those who have none). We cannot accept that a person is overweight, or worse, obese, when three-fifths of the world's population die of starvation. A good start is to respect yourself and others: this is the right mentality, because external beauty is a reflection of what we have inside.

con Fabio Camandona

http://www.fabiocamandona.com/workshop/index.html

“PRO” stories • Luca Cambiaso interview by Fabio Camandona PICTURE: Luca Cambiaso www.cambiaso.com Hello Luca, thanks for being the first "pro" to tell us about himself CF: I would like to ask you, how long have you been taking photographs? LC: as a professional or an amateur photographer? CF: I mean as a person LC: I have this passion since I was a boy: in fact, my first photographic encyclopedia goes back to when I was 15 FC: What did you like about the photographic world? LC: the magic that a click can transmit, the story, an emotion, a life enclosed in a single image, in a 125th of a second CF: Luca, you know that OURPHOTO is a very straightforward magazine. In fact, I would ask you to give me no rhetorical answers, but you said that the photo is "a life enclosed in a single image". Very true, but I ask you: how do you get " a life in a single image"? LC: It is a sensation. "Everything is based on a feeling" thisis not a rhetorical phrase, in my opinion, but rather a real thrill, and I say this with conviction. FC: So we're talking about "less thinking and more taking photos," or am I wrong? Or you're a natural? LC: the picture, the beautiful picture, is the result of a thought, an idea, but also of an instinct, so I do not preclude either of the two hypotheses CF: And you take great photos? LC: Sometimes I get carried away by instinct while taking photos - but it is not my place to evaluate this is up to observers and commentators of my photos. FC: You're right, you cannot say but I can: Yes, you take great photos. LC: ahahahahahaha thanks! CF: And you're among the few photographers glamor/nude that divide the "make a nice picture of a girl" from the "take a picture of a beautiful girl," I see a lot of light in your shots. 45 So I ask you how you work usually in one of your shooting

LC: For me, light is essential in photography, it's base: you can photograph a model or a bottle or fruit, but the light is what can make it more or less beautiful. CF: what our readers want to know is surely "how did you become pro and begin to experience your passion?" LC: I switched to professionalism in desperation, after years as a furniture designer and interior designer, I was bored and tried to change jobs, but you know very well the difficulties in finding a new job, then I remembered the dreams of my youth and among them was to be a photographer FC: So what then? LC: I began to browse through old photo encyclopedias, and buy magazines and books on the subject. Then I decided to enroll in a club taking part in internal competitions and collective exhibitions to confront myself with other photographers, and I noticed that I was appreciated. After several years of hard work I decided to organize an exhibition, it was a huge success. At that point I decided to become a professional. CF: Tell me about something more real, more personal, the pro photographers LC: Give me an example CF: landscape, for example, the pros say "I feel in my soul the blowing of the wind that suggests the light ... etc." which in reality means hard work, sweat and finding for the right location, carrying out several surveys to succeed in bringing home a shot. LC: even for the models it is the same thing FC: So I ask you: How difficult has it been to get to where you are today? LC: The first thing to do when the model arrives is assess their strengths and weaknesses both at the level of expression and physical , and according to this decide on the pose and light CF: Many of your famous colleagues almost exclusively use natural light or a often frontal fill-up. But you always use a lot of flash in pure â&#x20AC;&#x153;strobistâ&#x20AC;? style. Why? LC: I work mainly in the studio, where there is no natural light, but when I work outdoors natural light becomes predominant. FC: So you're telling me that you use the studio lights because you do not have a window? LC: I have a window but I also have a building in front of that, so I keep it closed, ahahahahahah FC: In your photographs we always see 46 beautiful lights but, why did you choose to complicate your live with the lights?

LC: For me there is a complication, indeed! the management of light is so natural that I do it spontaneously, and each pose change lighting scheme based on the location of the model and what I want to convey. LC: In some shots, if the model is fair and I'm shooting on a dark background, I use flash behind the model, to focus on illuminating her hair. CF: stop, stop! Thanks, but the scheme does not interest us. LC: ok CF: I like the previous stage, which many ignore, so I ask you: you mean to say that when they broadcast on TV a photo shoot where they provide the lights in a place without ever moving them even if the model moves , they are kidding us? LC: I do not think this is the right way to photograph or, to be exact, in my opinion this is not the best way to manage light levels. The light must follow the movements of the model even in the pose or changes of expression CF: and, I suppose, also in respect to what you want to convey. LC: Right! A sharp direct light, positioned laterally to the model is a hard light that creates strong shadows and contrasts equally

strong, which is inappropriate for a soft shot. CF: damn it, Luke! So, the matter is much more complicated than finding a beautiful girl, place two lights, and do some clicks? LC: Yes, if you want to take beautiful photos CF: I thank you for the time spent for OURPHOTO and bid you farewell with one last question: LC: Of course FC: What do you advise, someone whosees your work and would like to achieve similar results, and one day, perhaps by paying his mortgage with his photographs? LC: To achieve satisfactory results takes a lot of experience, so I recommend to try and try again, to read magazines to take cues from images of other photographers, to try to analyze a photo that we like in order to understand how it was done . LC: I never stop researching and I am always ready to change everything and get back in the game if it is necessary CF: perfect Luca, really thanks. LC: Thanks to you and OURPHOTO.

Great Photographers ANSEL ADAMS

Ansel Easton Adams (San Francisco February 20, 1902 - Carmel-by-the-Sea April 22, 1984) was an American photographer. Famous for his black and white photos of landscapes of America's national parks(including Yosemite National Park) and as the author of numerous books on photography, including his trilogy of technical manuals (The Camera The Negative and The Print) . He was among the founders of the Group f/64 with other masters like Edward Weston Imogen Cunningham, Willard Van Dyke. Ansel Easton Adams, was born in San Francisco in an area close to the Golden Gate Bridge, the only son of Charles Hitchcock Adams, a successful businessman who owned an insurance company and a chemical factory. At the age of 4, after the earthquake of 1906, he fell and fractured his nose, which remained crocked throughout his life. He does not like school studies and in 1914, at the age of twelve, he began studying piano only to abandon it at the age of twenty. In 1916, a holiday with his family marks his life forever.Adams came into contact with the Yosemite National Park. It had been Abraham Lincoln 52 years earlier, in 1864, to make the Yosemite Valley, the first place of the United States of America to be declared national park. During that first trip as a gift he received his first camera: a Kodak Brownie with which Ansel Adams took his first pictures. Since then nature and photography will be linked forever to his life. The environmentalist passion, however, shines in all his works. He is 17 years old when in 1919 he enrolled in the "Sierra Club" one of the oldest and most important environmental groups in the U.S. Shortly before he was healed from the Spanish flu, which killed fifty million people around the world. In 1927 Adams took part in the annual trip

of the club, known as "high trips". In that year he published his first portfolio: Parmelian prints of the high Sierra financed by Albert Bender met the first year at Berkeley. He earned about $ 4000. In 1928 at the age of 26 he married Virginia Best, daughter of the owner of Best's Studio, which was inherited by his daughter in 1935when her father died. The study is now known as the Ansel Adams Gallery. Also in 1928, Adams became the official photographer of the Sierra Club, but does not leave his passion, and is working well to support people who participate in the excursions, which sometimes last for weeks, as assistant director of the tours. He was 30 years old in 1932 when he founded the Group f/64 in order to bring together some photographers belonging to the "straight photography": John Paul Edwards, Imogen Cunningham, Preston Holder, Consuelo Kanaga, Alma Lavenson, Sonya Noskowiak, Henry SwiftWillard, Van Dyke, and Edward Weston. The f/64sent back to the minimum opening of the diaphragm of the lens that would allow the maximum depth of field and the increased accuracy of details. In 1934 he joined the Board of Directors of the Sierra Club wher he remained a member along with his wife throughout his life. He is the author of many first ascents in the Sierra Nevada. His photographs are a testament to how many of these national parks were before human interventions and mass travel. His work has sponsored many of the goals of the Sierra Club and brought environmental issues to light. Adams invented the zone system, a technique that allows photographers to transpose the light they see into specific densities on negatives and on paper, obtaining a better control over finished photographs. Adams was also a pioneer of the idea of visualization (often called 'pre-visualization', though later admitted that this term was redundant) of the finished print based on the measured values of light in the scene being photographed. The photographs in limited edition book Sierra Nevada: The John Muir Trail along

with his testimony, have helped ensure the designation of Sequoia and Kings Canyon as a national park in1940. Adams was saddened by the internment of NipponAmerican that followed the attack on Pearl Harbor. He was allowed to visit the Manzanar War Relocation Center in Owens Valley at the foot of Mount Williamson. The photo-essay first appeared in an exhibition in a museum of modern art and later was published as Born Free and Equal: Photographs of the loyal Japanese-Americans at Manzanar Re l o c a t i o n C e n t e r, I n y o C o u n t y, California. Adams was the beneficiary of three Guggenheim fellowships during his career. He was elected in 1966 member of the American Academy of Arts and Sciences. In 1980 President Jimmy Carter awarded him the Presidential Medal of Freedom, the highest civilian honor of his country. Publishing rights for the Adams' photographs are held by Adams Publishing Rights Trust of Ansel administrators. The Minarets Wilderness in the Inyo National Forest was renamed the Ansel Adams Wilderness in 1984 in his honor. Mount Ansel Adams, a peak of 3,584 meters in the Sierra Nevada, was named after him in 1986.

Tutorial: Orton Methodz Grazia Bertano www.graziaroundtheworld.it

An elegant way to handle images. The Orton effect is named after its inventor Michael Orton and it is based on the overlapping of two identical images, one on focus and overexposed by two stops, the other out of focus and overexposed by a single stop. You get surreal images with ethereal and dreamy atmosphere. A similar result can be achieved with Photoshop without having to make a double exposure with a tripod. The best subjects for this type of processing are trees, flowers, portraits and some landscapes plenty of foliage.

Let's name the new layer to Screen. At this level we apply the blending mode

One more click with the right mouse button on the Background layer, and we name the new layer "Blur", taking it to above the layer "Fades". From the top menu click "Filter> Blur> Blur Control" and set the radius to make the details illegible. For a picture of 10MP, you could adjust the pixels on 15/16.

Change the blending mode to "Darken" and reduce the opacity below 50%

54 And here it is the result before and after.

TEXT: VZ

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KUOKI - fast good valezac@libero.it

Not only by shots does the photomaker live, so, dear maniacs of the exposure meter and of the Medium Shot, if on Thursday, May 26, you go to Turin to delight yourself (or to feel despondent, in regard to the skill of the authors of the poses) by visiting the show "Magnum on the set - the film seen by the great photographers" do not forget, leaving the Museum of Cinema, to turn the corner and enjoy a refreshing break in Kuoki. When you reach this bright place which looks basic but with a warm and welcoming atmosphere, you can choose whether to eat one of the dishes on the menu, or to relax with a drink, or, even better, pamper yourself by indulging in a good dinner. You will find an entertaining mix of food, takeaway and restaurants where the proposals range from the classic cuisine of Piedmont, to skillful reinterpretations of the same cuisine, until reaching delicate, sweet and savory experiments. If this were not enough to satisfy your needs, Toni, the owner, has set up a corner dedicated to the sushi bar, in partnership with Kiki, one of the best restaurants of Japanese cuisine in Turin. The different mix of clientele, the International mood, and the courtesy and professionalism of the staff, will confirm that Turin has, more than ever, changed; renewed and projected to all that is new, without losing its deeply Savoyard soul, and the charm that make it unique in our country Good trip and good Kuoki! P.S. Tell Toni that Vale sent you there!

KUOKI via Gaudenzio Ferrari 2H - 10124 Torino Tel/fax 011. 8397865

Lun - Sab

11.00-15.00 18.30-23.00 Chiuso la domenica