PORTAFOLIO Ma. Camila Pava by Maria Camila Pava

portafolio Maria Camila Pava

Brooklyn bridge New York

Indice Grรกfico .......................................... 1 Web ................................................ 24 Social Media ................................. 30 Eventos .......................................... 34 Mobiliario ...................................... 36 Trabajo social ............................... 38 Trabajo de Grado ......................... 42

Grรกfico

PHOTO DECOPAGE:

SX-70 Polaroids Photos and Words by Blake Sinclair This project started out as a purely technical endeavor. I wanted to mesh two dying processes into one project. Polaroid has threatened closure many times in the past so I knew the end was near. I stocked up on TimeZero and began shooting with my SX-70 camera. The different environments effected the chemicals in the Polaroid, cracking and melting the emulsion in unexpected ways. In Costa Rica the weather was very humid, which made the emulsion smear and stick. In the salt flats of the eastern Sierras, the air was cold and dry. The emulsion cracked much like the patterns formed in the mud itself. I washed the Polaroids off with tap water, wherever I was, and hung them to dry. When I got back to the lab, I printed them as Cibachromes.

Resource Magazine (Nueva York) Edici贸n Verano 2010 2

D 0 20 40

PARTY LIKE A PHOTOSTAR

By Charlie Fish

Second, you’ve probably noticed while schmoozing with the shutterbugs in New York that Resource was likely at most events. And we probably had surveys with us. Pardon us for mixing statistics with drink-time pleasure, but these surveys were critical in understanding the areas of importance to both attendees and hosts of photography-related soirées and fêtes. From art openings to networking events to downright dance parties, Resource was there to find out what makes a great event. While you chatted up new connections, Resource was gathering data. While you bragged, boasted, and waxed artistic about your latest project, Resource was taking notes and calibrating enjoyment levels. Whether you’re throwing a party or simply attending one, the information below is invaluable. Want to know how the photo industry parties? Read on.

Charlie Fish: www.charliefish.info

If you’ve been to any photo-related event lately, you’ve surely noticed two things. First, there are a lot more industry events out there. This is a no-brainer. It’s also a very good thing. The flowing booze alone acts as a much-needed social lubricant to facilitate the increasingly important act of networking. Plus, with every major industry in some sort of rebirth/restructuring/renaissance, the myriad of ways to cozy up to future bigwigs can only help you. If you haven’t yet made the most of these frequent networking events and gatherings, you should just take your film camera and go back to living under a rock.

Resource Magazine (Nueva York) Edición Invierno 2010

MISSION:

Ranexa By Elizabeth Leitzell I Artwork courtesy of Andy Glass

To create a body of water that represents both an anatomically correct and healthy heart.

Where did the idea for this image come from? What were the parameters of the ideal location? The idea was from the agency Giant, from San Francisco, for a pharmaceutical company called Ranexa. The landscape needed to be green and lush. The visual was promoting a drug that increases flow through the heart, so it had to be a positive environment, fresh and healthy. We couldn’t be shooting in a desert or a sand bank or anything like that. It needed to represent life. Other than that we were given very free range. Did you have an idea in mind of where you were going to find this landscape? The layout that Sarah Patterson, the Art Director, came up with, used originally a shot from a landscape in Sweden. We thought, “Fantastic, let’s go to Sweden.“ But there was too much snow still on the ground. Same thing with Canada and Iceland, which we also researched. We then looked at the southern hemisphere.

I work quite a lot down there with a very good production company. We ended up shooting in the Fiordland, in South Island, New Zealand. It’s a series of fiords so there are lots of sea locks and lakes. Perhaps two valleys away, or a short ten minute flight away, we found the main body of water with many, many tributaries and other rivers. They get an enormous amount of run off of water and rain. I could be wrong here but I think that they get the highest rainfall on the planet. So we knew this could be a good place. This was a huge retouching job. The original shot is the shot you have in front of you, if you take out all the water. What camera did you use? I shot on a Hasselblad with a P45+ Phase One back. Was there any trouble keeping the camera steady in the helicopter? No, none at all. We didn’t use a gyroscope. I know some people do but personally I don’t

really like them. I just like to handhold it. We were shooting quite wide, so everything was at infinity, and we had enough light. How long did shooting take? Day one was our scout day and we shot two consecutive days after that. But we were never in the air for very long. [It took time to] get to the location. We had to shoot when the sun was at its highest, but as we were in winter the sun wasn’t up for very long and didn’t get very high. How long did retouching take? The retouching took about a month. I supposed we’d done the majority of the work in about two to three weeks and the rest was really finessing. That was when it got to the client comments and when we really had to make very, very subtle, final changes. How many shots would you say are within this image? How many layers in Photoshop? That’s a really tricky question. I would say

Elizabeth Leitzell: www.edlphotography.com

M ission:

Resource Magazine (Nueva York) Edición Winter 2010 4

PHOTO DECO-PAGE:

Desert Studies Words and Photos by Disco Meisch

became fascinated by the desert’s extreme landscapes during my first visits to California’s Joshua Tree National Park and Death Valley. While I somewhat expected to see the majestic formations common of desert environments, I was most struck by the overwhelming silence that seemed to vibrate through the open expanses. The otherworldliness of this place surprised me. I am curious to investigate this suspended silence further in a new body of work that will document a seemingly passive landscape vibrating with power.

thousands of years, spiritual seekers have retreated to the isolation of the desert in search of wisdom, strength or clearer understanding. Free from worldly distractions, it seems that the desert is also a distinct place where psycho-spiritual lines blur together much like the visual phenomena of a mirage. I hope to have the opportunity to travel to many of the world’s deserts to study their diversity and how their individual characteristics influence visitors in different ways. I feel this study will be a life-long project of mine, mostly expressed through photography, but also possibly supported by sound and video installations. I also see a natural relationship between the spare, extreme physical spaces of the desert and the gallery’s white box. Through this project, I hope to translate and simulate the intensity of isolation and inspire the radical reflection that arises from silent but charged encounters.

I have become fascinated with exploring both the natural and supernatural elements of desert landscapes⎯including their unique flora and fauna, extreme climates and mystical associations. By their very nature, desert climates force extreme choices: basic questions of survival take priority and decisions become more clear-cut. The desert’s natural wilderness elicits stagnation and adaptation, but also an intense clarity. For

Resource Magazine (Nueva York) Edición Winter 2010 5

What’s with that studio? By Marla Lacherza

You might be wondering what exactly is just so necessary about being inside of “the “right” studio? Well, here at Resource we know that it certainly takes more than just the standard four walls and ceiling to make “it” work. This winter step inside and cozy up to the warmest creative energy that can only be offered in the country’s finest photo studios. Oh and don’t you fret, no matter where you are located, we have scouted all of the perfect locations for you far and near to assure you that you will in fact produce your best work in this new year!

Resource Magazine (Nueva York) Edición Winter 2010 6

Technique:

Greg Neumaier on Shooting Bubbles By Elizabeth Leitzell I Artwork courtesy of the artist

W here are you from? I am from the suburbs of Detroit, Michigan. I moved to New York City with a friend eleven years ago. It was time. Did you go to school for photography? I went to the Center for Creative Studies in Detroit. I double majored in Photography and Glass. I divided my time between blowing glass, assisting car photographers, and shooting some local fashion stories. My glassblowing experience could be a play off the bubble photography. What made you choose photography over glassblowing? I was active in both mediums. I enjoyed getting dirty in the glass shop and making things. After school I realized operating a glassblowing studio would be very difficult due to the initial start up and operational costs, so I leaned back on photography. I could work as a photo assistant and make enough money to get by, whereas glass assistants usually assist for free.

studio putting together a book, and it seemed that table top work was easier to come by. Judging by your work it seems you enjoy yourself with it. Yes, I do enjoy still life and product photography. I have a full time assistant that I have been working with for four years. We run a very efficient studio, which has allowed us to squeeze through these poor economic times. When you’re shooting in your studio, what’s the mood like? It’s a mellow atmosphere—just hanging out and listening to music. I don’t have a circus clown, or a monkey who comes out and entertains people [laughs]. I keep focused on lighting and making beautiful pictures. The clients can relax and enjoy the beautiful city views from my DUMBO studio. What inspired you to shoot this series of bubbles? This is purely a personal work that started back in college when I shot a very simple bubble and used it for one of my projects. It was something

fact I was shooting 4x5 film back then. One of the bubbles popped and I actually caught the bubble during the pop motion, which completely changed everything I was working on. I just kept banging through hundreds of photographs of breaking bubbles. It really started as an accident. I had no idea a bubble would look so beautiful when it breaks. Can you describe the lighting set up? The set up is quite simple: it’s two lights, shining through plexiglass on either side, and a black velvet background. The camera is in the front facing the bubbles. The bubbles are actually pulled from a tub of soapy water and pulled up. I display them landscape because I just think they look nicer this way. I shoot them vertical and display them horizontal. What camera did you use for this, and how fast did you have to shoot? I used a Hasselblad with a 120mm lens, with a Phase One P45 digital back, and Bowens

I wanted to revisit. What got you into still life photography? Like many young male photographers, my ideal job would be shooting models all day. When I came to New York my portfolio consisted of fashion, music and portraits. I continued working in that direction with little success. I ended up in a still life

What originally interested you in shooting soap bubbles? I wanted to create this glassy fluid shape, and I was going to combine in post with a product. When making this bubble shape, I used the same technique I used in college, minus the

Resource Magazine (Nueva York) Edición Summer 2010 7

impresos

Tarjetas

¿qué hacemos?

dRaiz: de la Finca a la Mesa

Imagen y Tarjetas de presentación http://draiz.tumblr.com/ (2012)

Invitaci贸n a exposici贸n de arte (2011)

Pinz贸n Pinz贸n & Asociados Abogados Producto: Agenda 2010 / 2011

Resource Magazine Producto: Invitacion fiesta de aniversario Pieza: Invitacion

Evedesa ltda. Producto: Material P.O.P Pieza: Afiches de fiesta

Resource Magazine Producto: Film Photo Synthesis deck 15

Hotel Rio 180º

Rio de Janeiro, Brasil Diseño de Menú Folleto (2011) 17

IBC Code Control Producto: Ilustraci贸n y animaci贸n Flash

identidad

Logotipo de Trade Design

Grupo HIMALAYA S.A.C Producto: Logotipo

Proyecto Piensa Colectivo Producto: Logotipo

motion publicidad s.a.s Imagen Corporativa

Logotipo

LogosĂmbolo

Weeeeeb 24

Agencia CASA (Grupo JWT Brasil) www.portoseguro.com.br (2012)

dRaiz Diseño página web www.draiz.co (en construcción) (2011) 26

Floripondia moda

Diseño página web www.modafloripondia.com (2010) 27

Social Media management

Kleenex Brasil

www.facebook.com/KleenexBrasil • Creación de contenido. • Community management. • Estrategias y propuestas creativas para actividades.

• Creación de reportes: estadísticas / análisis de comunidad / competencia.

Chilli Beans Colombia #chilliestereo Festival EstereoPicnic: Event community manager

www.facebook.com/chillibeanscol @chillibeanscol ChilliBeansColombia

eventos Organización, gestión y diseño de eventos.

dRaiz

se dedica a crear entretenidas experiencias a través

de la comida, la creatividad y el servicio. Tiene como principio usar ingredientes de alta calidad, mantener altos estándares de servicio y atender a cualquiera y todas las necesidades de los clientes. “Creemos que comer sanamente es lograr disfrutar todo de una manera balanceada. La comida es uno de los principales placeres de la vida y por eso tenemos en cuenta todo el proceso, desde su inicio: ¿de dónde viene lo que comemos?. Nosotros, hacemos nuestras propias huertas y apoyamos la agricultura del país. Especialmente las fincas que practican agricultura sostenible que está en armonía con el medio ambiente y le da una naturalidad e intensidad única a los alimentos.”

mobiliario mobiliario

Sistema mobiliario para FLORIPONDIA moda y diseño con la finalidad de exhibir y decorar los espacios de la marca. Diseño que tiene en cuenta fácil transportación y almacenaje.

Productos: Sistema mobiliario para FLORIPONDIA moda y diseño con la finalidad de exhibir y decorar los espacios de la marca,. Se diseñó teniendo en cuenta fácil transportación y almaxenaje. ÁRBOLES / PERCHEROS

BUZÓN DE CORREO para publicidad

Almacén Parque de la 93 - Bogotá MESA / BAÚL

Flores de DECORACIÓN para paredes

Productos:

ÁRBOLES / PERCHEROS BUZÓN DE CORREO para publicidad MESA / BAÚL Flores de DECORACIÓN para paredes

24 34

FLORIPONDIA moda y dise帽o Producto: Sistema de exhibici贸n y decoraci贸n tienda y ferias

trabajo social INFANTIS SANUM Foundation tiene como misión devolver la esperanza de recuperación a un niño enfermo y su familia a través de un sentido de agradecimiento con la vida. CRE8 Foundation está enfocada en potenciar la creatividad en los niños de diferentes partes del mundo a través de actividades y proyectos enfocados en permitir a los niños expresarse y crear libremente.

CAMPAÑAS y DIVULGACIÓN

INFANTIS SANUM Foundation

“H

ere at CRE8, one of our primary goals is to find new and exciting ways to empower and unite kids around the world through collaborative art. With The Most Realistic Alien—one of our most popular project concepts to date—we feel the potential for success is truly “out of this world”, and we are excited to tell you more about it and invite you to be a part of it. The project is, of course, intentionally absurd. No one has any idea what an alien looks like—certainly not a realistic one, let alone the most realistic one. The idea of the project is to challenge participants to shed preconceived notions and have fun exploring an obvious paradox. By introducing the project in the form of a contest, we rely on competitive spirit to drive each participant further and further into an abstract and artistically fruitful chase to attain the unattainable. As with everything we do at CRE8, we hope to inspire creative thinking and welcome all creative responses.”

FUNCIÓN

Conductora del Workshop, en: Favelas Cantagalo y Pavao Pavonsinho Rio de Janeiro - Brasil Maragogi, Brasil

tĂŠsis

(trabajo de grado)

Edición completa en: http://issuu.com/tradedesign/docs/revista_trade-design

TRADE DESIGN son plataformas de información gratuitas, virtual e impresa, que comparten con una amplia comunidad de creativos, amantes de diseño y tendencias, una pasión por todas las cosas muy bien diseñadas. Nuestro objetivo es compartir lo que nos inspira y el resultado que se logra con eso. La revista de TRADE DESIGN es una publicación impresa bimestral dedicada a la industria creativa de Colombia; desde la academia hasta la empresa. Explora todas las facetas de la industria, desde lo mundano hasta lo ilustre, a través de entrevistas, diseños y artículos. Por cada edición, están disponibles 1000 ejemplares para cualquier persona en las principales facultades de diseño, almacenes en centros comerciales y en los principales eventos de diseño. Es GRATIS; ningún inconveniente monetario mantiene a nuestros potenciales lectores alejados. (También se publica virtual)

FIN Me pueden llamar al + (57) 3112904007 o escribirme a macapava@gmail.com ยกGracias! Ma. Camila Pava

Brooklyn, New York