#32-33 MARCH - APRIL 2014

Challenge Creativity

ISSN: 2285-5734

Andreas Resch Adrian Cpuan Anka Zhuravleva KADAR 36

Summary
7 | Editorial 8 | Events
International Photographers and First-off-Workshops Gezira International Contemporary Photography Month 2014 World Press Photo Awards Days Baileys Stardust Exhibition

56 | Advice 4all 60 | Photo populis 72 | Project4all

KADAR 36

32-33 MARCH - APRIL 2014

14 | Photo Books
Stephen Shore: American Surfaces Memories of Myself, Essays Albert Watson

82 | Journey = Photography
Magic Morocco

20 | Portfolio
Adrian Cpuan Andreas Resch Anka Zhuravleva

98 | ArtAgency 102 | PhoneCam Project 106 | Guy Tal on photography

Senior Editor: Cristina int (cristina.tinta@foto4all.ro) Editors: Dorin Bofan, Andrei Baciu, Emilian Chiril, Ana Neaca Contributors: Bence Makkai, Alain Briot, Radu C. Oprea Translators: Irina Dinescu Graphic concept: studio seven (www.studioseven.ro) DTP: Ilie Popa (ilie.popa@gmail.com) Cover photo: Andreas Resch Marketing: Cristina int, Ana-Maria Assfoura Online editor: Ionu Dorneanu Legal owner: S.C. SALES EXPRESS NETWORK S.R.L., VAT no. 28241939 Suporters: ANZI SOFT SRL, Andrei Zincenco The authors of each article shall be liable for the content they provide. Any copyright infringement, whether it is total or partial, shall be punished according to the applicable law. The property of each image and article published by our magazine belongs to the authors and to FOTO4all.ro. e-mail: publish@foto4all.ro FOTO4ALL.ro 20122014

If its personal, why copy?

I think it happened to all of us... Seeing a beautiful photograph and desiring to do it ourselves as well. Even planning so. Or doing so. And then, feeling nothing when relating to it. Photography is a personal, intimate experience. We may not realize that from the very beginning. But if it caught your heart, you will eventually see it. Photography is about the emotional cargo and about communicating a valuable message. The passion for it will help, but it is not enough. Youll have to dedicate yourself to it and most of all, youll have to learn how to communicate with your viewers, how to get them to feel something when looking at your images, to question themselves, to think of different perspectives, to see around the beauty they have forgotten. But the problem is that, more often than we should, we forget one crucial element... We focus on others, on the Masters, on the recognized etc. And we forget ourselves. Our motivation, our paths, our expectations and dreams. What we believe in. What we like and dislike. In other words, we often forget to stay aware and answer those questions that haunt us in our intimacy. To some, all this may appear as having nothing to do with photography or becoming a better photographer. But at some point, when style comes into play, you will think about the lines above. Because finding out

who you are and making your work be the extension of your personality also means developing a personal style. And dont get me wrong. Being influenced by other artists is not bad. But there is a difference between doing so in order to learn new things and doing it on a daily basis. If photography is a personal experience, why copy? Always ask yourself why you want/ you would like to take a certain photograph and what you want to communicate to the viewers. Then do it your way. Be different, be bold! Let yourself inspired, but dont imitate. After all, by copying someone elses style, one only negates ones own personality. Why would anybody want that? It is indeed easier and safer to conform with something already given as a success recipe, to follow it step by step. But is it worth it? Do you really want that? What satisfaction can you have from imitating somebody else? The first thing you need to do is to feel. And the rest will follow.

Cristina int Editor-in-Chief

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Events

International Photographers and First-off-Workshops

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ROMANIAN

Events
Master-classes you cant miss Both professional photographers and people who are passionate about photography should not miss the workshops of the main foreign guests of the Photo Romania Academy. British photographer Drew Gardner, globally renowned for his creativity, will hold the Producing and Lighting Successful Location Shots workshop. The master-class will have both a theoretical and a practical part, the participants being able to learn and master their creation of an editorial concept technique. Bert Stephani is a Belgian photographer known for his portrait photography. The workshop he will hold is called Intimate Portraits where during the theoretical and practical lesions he will talk about stimulating creativity and conventional techniques that lead to spectacular results. How to Sell Your Photos is the workshop that the Italian photographer Giuseppe Parisi will hold. During this workshop, Parisi will talk about stock photography and the participants will be able to practice stock photography during class. More workshops will be held by: Horatiu Curutiu (The Catwalk Show), Mihai Moiceanu (Nature Photography), Radu Salcudean (Light Painting and Do-It-Yourself), Sebastian Vaida (Photography Basics), Roxana Enache (Fashion Concept) and Attila Soos (Playing with Natural Light). The calendar of the workshops, registrations and other details can be found at http:// www.photoromaniafestival.ro/academia/. Photo Romania Festival is held in Cluj-Napoca for ten days every spring. It has become the largest photography festival in Romania and Eastern Europe. In 2014, the event has been included in the Most Important Photography Festivals in The World list by The Telegraph. Besides the events dedicated to photography, during the festival we have unveiled the first photography museum in Romania and trough a collaboration with Cluj-Napoca City Hall and the Museum of Transylvanian History, the museum will have a permanent headquarters in 2015. The festival is organized by the Photo Romania Association and Fapte.

at this years Photo Romania Academy

Photo Romania Festival, the largest festival dedicated to photography in Eastern Europe, will be held between the 16th and the 25th of May in Cluj-Napoca. The festival will have numerous workshops dedicated to amateur and professional photographers, as well as photo enthusiasts. The courses will be held by international well-known professionals and Romanian prolific photographers and will have themes such as studio photography, fashion photography, wedding photography, events

photography, and light painting. The Academy will take place during the Photo Romania Festival and the participants will have the opportunity of learning or perfecting their photography techniques, of better using lighting be it natural or artificial, and using professional editing software. The registrations have already begun and those interested in the Academy that reserve their courses till the 31st of March will get a 20% discount for each workshop.

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Events

Cristina Venedict

represented Romania at the Gezira International Contemporary Photography Month, in Egypt

Romanian photographer Cristina Venedict has been selected to take part in a group exhibition in Gezira Art Center-Cairo, Egypt. Her work has been shown among the work of 27 other professional photographers from 20 countries. A mixed group working in a variety of different photographic spheres.

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NAL O I T A N R E T IN

Events

The Gezira International Contemporary Photography Month is an event organized and funded by photographer Ayman Lotfy. The first exhibition included the works of only eleven international photographers, friends Lotfy has met at various conferences and competitions across the world, in addition to a large collection of works signed by him. Some time ago, Lotfy stated: When I go abroad, I am always the only Egyptian and Arab in the contest, and Im not happy with this. People think that photography is an easy job. He felt that photography is an underrepresented medium in Egypt and lacked a place in higher art education, not being viewed by the public as a craft that takes artistry and skill. He

planned to try and change that and the 2014 edition of Gezira International Contemporary Photography Month is the living proof that things started to move, as the event clearly grew from its past edition.

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Events

2014 World Press Photo Awards Days

Het Compagnietheater, Kloveniersburgwal 50, Amsterdam, the Netherlands, 020 520 5320
Thursday 24 April 2014 Friday 25 April 2014 http://www.compagnietheater.nl/

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Events

Baileys Stardust Exhibition

6th of February 1st of June 2014

the National Portrait Gallery, London, UK

www.npg.org.uk

Photo by Philippe Lopez The Awards Daysis a celebration to honor the prizewinners of World Press Photo's 57th Photo Contest and 4th Multimedia Contest. The two days are filled with activities, including photographer presentations, the Sem Presser Lecture, and the Awards Ceremony. World Press Photo is committed to supporting and advancing high standards in photojournalism and documentary photography worldwide. They strive to generate wide public interest in and appreciation for the work of photographers and for the free exchange of information. Their activities include organizing an annual contest, exhibitions, the stimulation of photojournalism through educational programs, and creating greater visibility for press photography through a variety of publications. They believe in the power of visual journalism to inspire and shape the world and people. World Press Photo is run as an independent, non-profit organization with its office in Amsterdam, the Netherlands, where World Press Photo was founded in 1955. They receive support from the Dutch Postcode Lottery and are sponsored worldwide by Canon.

Photo by John Stenmeyer

Photo by Alessandro Penso

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David Bailey has made an outstanding contribution to photography and the visual arts, creating consistently imaginative and thoughtprovoking portraits. As well as new work, this landmark exhibition includes a wide variety of Baileys photographs from a career that has spanned more than half a century. Baileys Stardust is presented thematically across a series of contrasting rooms and illustrates the extraordinary range of subjects that Bailey has captured: actors, writers, musicians, filmmakers, designers, models, artists and people encountered on his travels; many of them famous, some anonymous, all of them unforgettable. Rooms are devoted to Baileys time in East Africa, Papua New Guinea, Australia, Delhi and the Naga Hills, as well as icons from the worlds of fashion and the arts, striking portraits of the Rolling Stones and Catherine Bailey and people of the East End of London. Featuring over 250 images, personally selected and printed by Bailey, the exhibition offers an unmissable opportunity to experience the work of one of the worlds greatest image-makers. Please note that the exhibition includes images of nudity.
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Photo book

Photo book

Stephen Shore: American Surfaces

American Surfaces is a photographic version of a road movie, and in that tradition it has at times a downbeat mood: its director/protagonist is often drawn to the bleak and the mundane. Frequently nothing seems to be happening, or something wholly unremarkable has been recorded. And yet there is tremendous beauty herebeauty found where it's least expectedas well as humor and pathos. American Surfaces is a meditation on what it means to be in the world, on what it means to point a camera in one direction rather than another, and no matter what is being recorded its subject is always photography itself. Alongside William Eggleston, Shore is one of the central figures in 1970s color photography, an artist who built upon some of the best of those itinerant, restless photographers who came before him, from Walker Evans to Robert Frank and Garry Winogrand. Shore is also a pioneer who would exert considerable influence on younger photographers in the 1980s and 1990s, including such well-known artists as Andreas Gursky and Thomas Struth. A must-have for everyone interested in the history of twentieth-century photography, perfect for art and photography students in this new paperback format. At the age of 17, Stephen Shore was a regular at Andy Warhol's Factory. By the age of 23 he became the first living photographer to have a one-man show at The Metropolitan Museum of Art, New York. An unrivalled pioneer in his field, his work has been exhibited in numerous museums worldwide and influenced generations of photographers. In 1982 he was appointed Director of the photography Program at Bard College, New York where he is now the Susan Weber Soros Professor in the Arts. Stephen Shore snapped hundreds of pictures while motoring across the American land in 1972 and 1973. Shot with a Rollei, these pictures
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dryly capture the ordinary moments and things of small-town milieu on the open road, and that poetic terminus, the motel. In this sense American Surfaces is a practice run for the more intensive series of trips he would soon after take to create the largeformat pictures that would comprise Uncommon Places. The photographs are reproduced as they were first exhibited in 1972, at standard 35 mm print size, with a mesmerizing density. The concern of Americana itselfan investigation of how the national vernacular succumbs to an accelerating anonymityis always present, right where the pictures purport to remain, on the surface. But taken just as a travelogue or a kaleidoscopic portrait of American identity in transition would ignore the discipline the pictures pursue. Almost all of them

rigorously follow the Shore program, seizing similar vantages of small-scale architecture, shop windows, fridges, flashbulb-sudden portraits, scummy toilets, diner food, televisions, kitsch paintings, and the

occasional odd detail. And for all their regulation, they are also disarmingly hilarious. Its hard not to laugh at their poker faces, even as they interrogate the notion of stereotypical images and all that.
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Photo book

Photo book

Memories of Myself, Essays

BY DANNY LYON
A collection of beautiful photo essays from over forty years of the remarkable career of Danny Lyon (b. 1942), one of the most original and influential American photographers Danny Lyon has long been considered one of the most original and influential documentary photographers. He pioneered the style of photographic 'New Journalism' as he rebelled against Life magazine style photographs, instead immersing himself as a participant with his documented subjects. He produced his major bodies of work in this way: living with the Chicago outlaw motorcycle club for The Bikeriders, immersing himself in the Texas prison system for Conversations with the Dead, and documenting the boarded-up lower Manhattan buildings before a major demolition in Destruction of Lower Manhattan. Since this work in the early 1960s and 1970s, Lyon has produced numerous highly collectible photobooks, won two Guggenheim Fellowships, a Rockefeller Fellowship, and ten National Endowment for the Arts awards. In this book, for the first time, Lyon has collected his photo essays from over forty years of his remarkable career. A radical and maverick figure, much of this work was considered too controversial for publication at the time of its creation and never reached the American public. Essays collects together this wide body of work - from sensual images of girls in a barrio of Colombian brothels, to stunning portraits of young local boys in 1965 Chicago, from his most famous bodies of work to never before published projects - to produce a lasting testimony of the time and the people he pictured His work is in a number of major photography collections and he has had solo exhibitions at many museums including the Museum of Modern Art, the Art Institute of Chicago.
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Albert Watson
JAMES CRUMP

Albert Watson (b. 1922) is one of today's most successful and sought-after fashion and commercial photographers. His instantly recognizable portraits feature many iconic figures of fashion and popular culture, including Kate Moss, Jack Nicholson, Mike Tyson, and Alfred Hitchcock. His photographs have been featured on over 250 covers of VOGUE and in publications such as ROLLING STONE, THE FACE, and ARENA. He has shot major commercial campaigns for clients that range from Levi's to Chanel. This book is an important and accessible survey of his work. It features previously unpublished photographs from early in his career, along with his most famous images from both commercial and artistic projects. ALBERT WATSON features an essay by James Crump, a specialist in photography and film, who assesses Watson's influential place in fashion photography and the influence of film on his work. An important and accessible survey of the work of this extremely popular photographer, whose last book sold close to 100,000 copies His photographs have been featured on over 250 covers of Vogue and in publications such as Rolling Stone, The Face and Arena. He has shot major commercial campaigns for clients that range from Levis to Chanel.
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Portfolio

Adrian Cpuan
an interview by Andrei Baciu

A.B.: Let us begin with the beginning: who is Adrian Cpuan the photographer and who is Adrian Cpuan the individual? What are his greates wishes? Also, up to what extent do you think the biographical data is relevant for the viewer of someones work? A.C.: I have started to indulge into photography rather late, long after the efervescence of a certain age has set, and it happened as a sequence to other artistical habits. I have dallied with sculpture, painting and music, but photography has conquered me irredeemably. I think that a refined eye could read my curriculum, insofar as it matters, through my pictures. I dont really understand what the greatest wishes are and I would rather stay away from whatever meaning that could bear. What really captivates me is the present, or rather our presence, awarness. A.B.: Authentic, subtle, sensitive alive, just like real life. This is how I would characterize your Journal series, that the photographs we are publishing alongside this interview belong to. Please, share with us some details about this series: when, how and why it was born, what its main premises are and what you are intending to do with it for the future. A.C.: I could say that this series has born simply by me letting it slide. I have aknowleged at a certain moment that I dont have a style, that I lack consistency, but in the same time, some of my shots were bearing a greater dose of intimacy, even in a merely abstract manner. I suppose its a matter of maturity. My journal is not a chronological one, and the pictures picked up for the series are personal moods or reactions to the moods and actions of others. I dont really know
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where its going, but the thing beyond any doubt is that the series contains some of my favourite pictures. A.B.: When taking photographs, what makes you press the shutter? A.C.: I think that most often its about the absurd, a functional, educative and guerilla-like absurd as a mean to evidentiate the nature of the present, of course. A.B.: As Dan Mititelu once said, there are four criteria that are the basis of a photograph: idea, emotion, technique and morals. What is your opinion about this aspect? A.C.: I would add an ingredient that seems to me indispensable to photography: the empathy. It might be included in the larger category of emotion, but to me its the most important one. It is the empathy towards people through their actions, their marks. Many other things can be learned. One might learn to think imaginatively, learn the techniques (its not my strong point I must admit, as the techincs have never interested me more than necessary). As for the morality, its a matter of our social presence and its also relative. The photographers are witnesses. A.B.: Do you ever cross any borders in photography? What sorts? A.C.: But I am not aware of what generally accepted borders might be. I have my borders instead, or things that I try to stay away from: excesive dramatization, graphics without a subject, the forcing of the subject. As for the rest, everything goes.
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Are they human?

A.B.: Please tell us the story of one of your photos. A.C.: Photo: Control - Having a child changes ones perceptions upon essential things in life, as well as on little, less significant things. Thus, while preparing a meal with my family the alphabet soup, as we call it and as probably everybody calls it this image struck me for a moment, it made me think of our contemporary social issue. The title of the image could be Control a kind of you are what they serve theme. Basically everything that represents us is a very diversified mix of which we drag out and disseminate all sorts of things. And this has become an entire science nowadays, to that extent that you can observe the phenomenon everywhere in the media and even in our recent history. A.B.: Photography, as we all know, has many genres. What do you think makes a photographer feel attracted
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to one genre or other? Particularly, how come you are a visual poet of the mundane, and not, say, a landscapist? A.C.: It is most certainly conditioned by the things that have educated someone before becoming a photographer. We will never be able to represent things that we dont understand, accidents should not count. And I happen to like some landscapes very much, while others do not appeal to me at all. A.B.: ...or, maybe, visual poet of the mundane is not a label you completely find representative for your photography. How would you best describe yourself from this point of view? A.C.: To me it is a little improper to translate the notion of poetry onto photography. Most certainly the pushers of both forms of arts might be the same, but the process is very different, I have in view everything that represents a poet unto a photographer. I am no more than a photography passionate.

Control
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A.B.: You mention somewhere that your photos come to you. Yet, authentic photographs do not simply come to everyone we would all be photographers in this case. So, how can one prepare, what conditions does one have to meet in order for photographs to come to him/her? A.C.: It was a joke, I was quoting a famous photographer, but really, nowadays anyone could take pictures. While, on the other hand, its accursedly hard to take a good photograph. It all depends on what you want,
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when you choose to submit to the influences - these are things that come from the background. One needs a lot of exercise as, more or less, everyone passes through the same phases at early stages of shooting experience. There is something truly fascinating about pressing that shutter, thus one ends up shooting hundreds of pointless pics. As time passes though, more honest standards are being set up and the tastes refine.

Down shifting

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Standard opinion
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Territory

A.B.: Is, for a photographer, reading interviews given by other photographers any good? A.C.: It can be fun. A.B.: Speaking of which what is the photographic book/album that impressed you the most? Why? What about the most impressive non-photographic book? A.C.: The last photographic project that impressed me is Greys The mountain sends by Bryan Schutmaat,
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available here: http://www.bryanschutmaat.com/. Because its wonderful. One of the authors that I am currently looking for in bookshops is Daniel Penac. A.B.: Why do you think God allowed photography to exist? What is its greater role in this world? A.C.: The only miracle that truly strikes me is that of life itself. Everything is included, and photography is no exception.
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The Animal Planet condition This side up

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Andreas Resch
-an interview by Dorin Bofan

D.B: So Andreas, weve known each other for a long time now, but I dont think Ive ever asked how you got started with nature photography. A.R.: Its very interesting to look at the pile of facets one is now and trying to find where they had their roots. Thinking back, I remember that I always enjoyed taking pictures. It started by using the camera of my parents and when I had one of my own it went on. The early signs of what has become a passion of mine many years later. Before college, a friend of mine, who worked at a photography store, introduced me to SLR cameras and not long after that I bought an Nikon SLR and two lenses. But this phase didnt last too long and I abandoned my camera after a year or so. The real start happened in 2006 when a colleague at work showed me his new Canon DSLR and I remembered how fun photography was back then. Once again I bought a camera but this time I didnt put it away until today. I could have done any kind of photography and I like any kind of genre, but my love for nature and exploring these places made me focus on landscape photography which is the perfect combination for me. D.B.: I know you draw and design for a living. Does this go hand in hand with photography? Or photography is just escaping from your everyday work?
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A.R.: At its core there is no difference between drawing and taking a picture. The intentions are the same, the thrill is the same and the fulfillment is the same as well. Its all about creating something exiting and enjoying the creation of it. So ideologically we are in the same ballpark here. I do my illustrations, as well as my much of my photography post-processing in Photoshop and I often use the same techniques in both areas. Its very interesting to see an illustration as a picture taken with a camera and vice versa. To get to the final result, I try to move these two worlds closer together and use my experiences in both fields. Having the same technical tools for both situations is a great advantage. Getting out into nature is an escape from my daily routines too of course, but there is no just in photography for me. I enjoy every bit of it and getting away from the desk is one of the great things about it. D.B.: There is this beautiful thing I noticed in your style. You have that subtlety in approaching your subjects, even in the grand landscapes. Where do you think this quality comes from? A.R.: I dont know where the creative qualities of
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my images come from or where to rank them. All this happens on a very subconscious level and is a result of your experiences in art and life. Your character plays a major role of course, but there are a lot of other ingredients that are added to the boot - memories, emotions, habits and intentions are just a few of them. Improvement on this layer is slow and not that easy. On the technical level things are a little more explicable. Here it is all
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about experience and the way you are used to apply your techniques. This can be perfected and adjusted more consequently. Im always on the quest to improve and correct myself, so theres no stopping for me on this front. D.B. Maybe Im mistaken here, but I noticed youre more into exploring and understanding a place, than traveling from spot to spot in search of meaningful images.

Is it worth traveling in search for images otherwise impossible to make? A.R.: Well, there IS a long list of places that I have collected over the years, which I would like to visit at some point. Most of them are located within the Alps, at a distance that can be reached rather quickly and without having to fly somewhere. Beauty can be found everywhere. What I dont want to do, is forcing myself to visit places that Im supposed

to visit as a landscape photographer. That doesnt make any sense to me. The less I know about a location and the less images Ive seen from it, the more exciting and surprising is the challenge to get a great picture there. There are places that are shot over and over again and seeing those images sideby-side starts to look like a who has got the best shot competition soon.

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I have been to only a few of these places. The images from there are great to attract attention and get an easier WOW effect, but they arent my personal favorites. I prefer the ones where I have surprised myself by having found and created something original. So, is it worth to travel in search for images otherwise impossible to make? If if takes you to the next level person- ally or business-wise, sure. For me, its not that important. D.B.: Do you a think a good nature photograph comes from the immediate reaction to a certain scene/ moment or its rather a study of the place? Im asking this to clear out a paradox of mine, where my favorite images are in fact the ones where I acted more like a photojournalist than a nature photographer. A.R.: Well, a good photography can come from immediate reactions, but a great one or in ones personal eyes even perfect shot might take a bit more than that. There are places that are vast and complex and it takes a lot of time to see whats there and in consequence find a great composition within that huge amount of opportunities. In addition to that, theres light and weather - a couple that can be unpredictable and changes all the time. So, even if you arrive at a location a few hours before the action starts, this already is a compromise and time will most certainly run out. So, preparation and getting to know a location is very important to get the most out of a shot in a specific location. On top of that, at least in my case, you start to form a bond with that place and its like visiting a good friend again and again, enjoying his quirks and qualities. What might have happened to you and your great ratio of successful shots in unexpected situations is, that you didnt force yourself into something and your imagination was able to work more freely. Besides that, we always prefer to think about the good things than about the bad ones. Maybe if you remember the moments where you came home empty-handed because place and time won over you, the success rate will not look that good any more.

Portfolio

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D.B.: It takes a talented eye to compose as simple as possible, to extract the essential. But are aesthetically pleasing images enough in the act of creation? A.R.: Enough is an evaluation whose value lies in the eye of the beholder. A shot can be good enough for a client or the rest of the world, but it might leave you unsatisfied. The act of creation brings joy, excitement and experience which are always enough even if the outcome isnt what you were
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wishing for. Aside from all that, for your personal journey, you should never aim for enough. As far as composition goes, its just a little piece of an overall successful image. Mastering it is one of the hardest things in photography and one of the toughest jobs on location. When everything else fails you, you can pull your best Leonardo da Vinci composition move and the shot will still end in the
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dark corner of your portfolio. D.B.: Ive always felt European nature photographers had a different style than the American ones. I like both schools very much and we both have friends here and overseas also. But where do you think those differences, if there are any, come from? A.R.: Unlike the past times, when painters were easily distinguishable from each other by regions
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or even cities, things are very different now. Since the communication avalanche started to roll by the introduction of the Internet we all became neighbors. We look over each others fences and see whats going on next door. By doing so, our sources to draw experience from become the same and our tools are the same as well. So I dont see any reason why an American photographer should approach photography differently than one from
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Europe or anywhere else. For me the reason for the differences in styles is mainly a result of location opportunities and choice. There are countries where oceans, deserts and snowy peaks are next to each other and then there are the ones which could be happy to have just one of them. Europe has great places and I love being in the middle of it, but our landscape isnt that diverse and our beauties are more subtle and harder to find. This reflects in our
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images and the way they look. D.B.: Youre a master at editing with some great tutorials and the best script for web sharpening. How important is editing in the creative process and how much editing is enough? A.R.: Like most of the photographers who shoot digital, my files are captures in the RAW format. Looking at it can be as joyful as consuming a steak

by biting a cow. These files are just a safe source that you can start from. It is each photographers task to inject ones creativity and style into the image to get the final shot. So I think editing isnt only important but rather necessary to get a decent result. I shoot film as well and here its a little different. Most if not all the editing is done by the characteristics of the film and theres little to be done at the PC after scanning. Here the decision about where you want

to go with the look of the shot has to be done much earlier when you pick the right film to use for the capture. For myself, Ive done enough editing when I cant think of anything else to improve at a certain point in time. Leonardo da Vinci once said something like Art is never finished, just abandoned. Im not a sucker for quotes, but as I experience this situation all the time, this one is as true as it gets.

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D.B.: Do you hope to achieve something through photography, other than the personal satisfactions it brings? A.R.: Im selfish enough to admit, that at this point in time, personal satisfaction is all that it takes to pursue my photography. For me its about regulating my creative pressure valve, provide a canvas for my imagination and enjoy nature at the same time. Today I dont need and want to live from photography and so I can stay relaxed about my plans and actions.
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D.B.: Could you give a single advice to anyone looking on improving their photography? A.R.: For landscape photography, the most important thing is to get out there and take the picture. If its the right thing for you, your excitement will increase as will your motivation to do more and get better. With this force behind you, your skills will improve faster than you think.

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Anka Zhuravleva
-an interview by Ana Neaca
Anka Zhuravleva is a Russian artist based in Saint Petersburg. Her photographs are remarkable, silent memories of solitude, remembrances and mute symphonies playing beautiful notes in those images. A great part of her work could be integrated in the surrealist style, as she plays a lot with gravity and levitation. Both the staging and framing are excellent. A dream world filled with enchanting fantasies and splendid moments. But even further that that, beautiful drawings, portraits, emotion, femininity and that feeling that you must look again and again at some of the photographs. http://anka-zhuravleva.com/

A.N.: I would say you had a childhood that involved stories and fairies. Am I right? A.Z.: Yes, I suppose. Many of my stories have their roots in my childhood memories. It was a happy childhood but quite usual, on the other hand. A.N.: Where does all this diaphane and feminine style come from? A.Z.: I have never had the appearance of those girls in my pictures, just because of my height(186cm) and type. So all the diaphane and feminine things are from my imaginary fragile alter ego, I guess... It is a projection of one of my inner worlds. A.N.: Sometimes, when I look at your photos, it's like I am seeing moments from a modern Jane Austen writing or from Paris streets some decades ago. Are you inspired in
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your work by movies or books? Is there something more? A.Z.: Movies, books, dreams, real life everything inspires me. Im just trying to keep my eyes wide open, as wide as I can. I love the old school, the vintage... It inspires me a lot. Beauty is all around us. Sometimes it may not look like beauty, but it is. You may find it even in the most unexpected places and things. A.N.: What helps you in creating new photographs? A.Z.: My will to do it. My dear husband who always supports me with everything. The kind words of people who look at my pictures and write me messages and letters as while I read them I gain power to go on. The places where I live. The people I meet.Its a strange mixture, but that is how things work for me.
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Portfolio

Portfolio

A.N.: Do you start with your subject and then choose the background or its the other way round? A.Z.:In most of the cases there is an idea and I just follow it. The workflow looks like this: idea script(drawing) - finding everything for the photo shoot the shooting itself. A.N.: There's a dark side and an angelic side in your photographs. Which of them do you like to show more? Which type of images do you prefer to create?
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A.Z.: I never thought about the dark or the angelic sides... Actually I even have no idea what people mean when saying this about my photographs. There are stories and personalities that I want to tell about and nothing more. Beauty is in the eye of the beholder, as well as the rest of things. Theres nothing I can do if my watchers see something that I did not mean at all. And this is not bad. But I do not make a difference between the angelic and the dark, I just try to create stories.
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Portfolio
A.N.: Your models are both serious and sad. Maybe this is why I found the mimics on their faces so mysterious. Do you believe in mystery? A.Z.: This question is quite difficult. I believe that for someone who believes in mystery - mystery exists. For someone who believes in God God exists. And so on and so forth. As for me, I don't know... Im trying not to think too much about all these things. A.N.: What helps you, when you are too tired to finish a piece of work? A.Z.: I dont remember if I ever had this problem. If something is not finishing up right away, it means, for me, that its time just hasnt come yet. And I am waiting for the proper moment, in such cases. A.N.: What is that thing you have in your photos, but you haven't done yet? It may be flying like in your series "Distorted gravity" or living in another time? A.Z.: You already answered your question, I have nothing to add. A.N.: How would you describe "beautiful" in real life and how is it in photography? A.Z.: I dont think there are any differences. If there is something beautiful in real life, it will be beautiful in photography as well. It is just a matter of technical skills for the photographer to be able to translate it into his images. A.N.: What would you give from your creations to the world? A.Z.: I wish I could give to people a more dreamy and childish way of observing this world we are living in.
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Portfolio

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Advice 4all

Advice 4all

Fifteen Remarks on Composition

by Alain Briot
1 - Composition is the strongest way of seeing This is Edward Westons definition of composition.It is still my favorite definition of composition. 2 - Composition is not just the placement of objects in the frame Composition also involves using color, contrast and light. Composition includes post processing in the raw converter and in Photoshop. 3 - The goal of composition is to express your vision and your emotional response to the scene The goal of Fine Art Composition is not to create a documentary representation of the scene. Nor is it to create a photograph that is only technically perfect . The goal is to create an image that is superior, both expressively and technically. 4 What the camera captures is objective. What the artists sees and feels are subjective. Take stock of your emotional response to the scene in front of you. Record those emotions in writing or in audio. Use light, color, contrast, composition and
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cropping to reproduce these emotions visually. Work on this both in the field and in the studio. 5 - Think first about light. A photograph is only as good as the light you use. The subject is less important than the light that illuminates this subject. The best subject in bad light does not make for a good photograph. 6 - Use foreground-background relationships. Find a great foreground and place it in front of a great background. Make sure your foreground is large enough to play an important role in the composition. 7 - Contrast opposites elements Human beings think and see in terms of opposites. Therefore this is something everyone can relate to. Opposite examples: Static / moving Young / old Large / small Organic / man made

8 - Composing a photograph is not about redoing what someone else has done before. If tempted to redo an image you have seen, just buy the postcard, the book or the poster.You cannot be someone else, therefore you cannot take the same photographs as someone else. You will waste time trying to do so. Instead, start to create your own images right away. 9 Being inspired and redoing someone elses work are two different things You can certainly be inspired by the work of other photographers. We have all been inspired by the work of other artists and photographers. This is an inherent aspect of the artistic process. 10 - No amount of technology can make up for a lack of inspiration

Cameras and other gears are technical. Inspiration is artistic. The two exist on different planes. Achieving a Personal style in Fine Art means working as an artist not just as a technician. 11 - People, not cameras, compose photographs Certainly, a camera is a necessity.However, your camera cannot compose a photograph anymore than your car can drive itself. 12 - Correct is whatever works when the goal is to create fine art There is no such thing as the right thing in art. What is Art ? is a question to which there are many answers.We therefore have to answer this question for ourselves. We are also bound to disagree with others because fine art is a polarized activity.
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Advice 4all
About Alain Briot Alain Briot creates fine art photographs, teaches workshops and offers DVD tutorials on composition, image conversion, optimization, printing and marketing. Alain is the author of Mastering Landscape P h o t o g r a p h y. M a s t e r i n g Photographic Composition, Creativity and Personal Style and Marketing Fine Art Photography. All 3 books are available on as printed books Amazon.com and as eBooks on Alains website at this link: http://beautiful-landscape.com/ Ebooks-Books-1-2-3.html

Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world. (Albert Einstein)
13 - Straight fine art prints are a myth All fine art prints are a modification of the image recorded by the camera. The composition of the image you started in the field is continued in the studio.This is done through image optimization because colors, contrast, borders, image format, etc. are all part of composition. 14 The right color balance is the strongest way of seeing color There is no such thing as the right color balance in Fine Art. This is because color is one of the ways
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you express your emotional response to the scene. For this reason, the right color balance for a specific image will differ from one photographer to the next. 15 The finest compositions are those you never saw until you created them Recreating a composition you saw before is easy. Creating a brand new composition, one you have never seen before, is difficult.This is because doing so requires transforming the natural chaos into an organized image.It involves creating order out of chaos, as Elliott Porter said.

Photo populis

shoot publish
in your world in ours
We are publishing your photos. We are eager to publish what you photograph. If you want to see your own photos inside our magazine, you can either send them to this section or to Under the magnifying glass column. One other way of having your images published is to participate in the thematic photo contest or challenge we put up every month.The idea is simple: keep sending your photographs to us at publish@foto4all.ro. Every month we will select and publish 5 images in color and 5 in black and white.

Goodtoknow
My portraits are more about me than they are about the people I photograph. (Richard Avedon)
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1
The photographs you send should meet the following specifications: JPEG file, 1600px on their long side, 150 dpi, no frame attached. They can be in color, black and white, edited or not, its up to you. Please send them without watermark.

2
Together with your images (not more than 3) please add to the email: your name, your age, some details about the camera you are using and a few words or a title for your photographs.

3
There is no special theme. We are looking for photographs that tell stories.

Only your talent counts.

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Photo populis

Photo populis

Gabriela Dobo

Sebatian Puraci

Black & White

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Beauty can be seen in all things, seeing and composing the beauty is what separates the snapshot from the photograph. Matt Hardy

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Photo populis

Photo populis

Photography is only intuition, a perpetual interrogation everything except a stage set. Henri Cartier-Bresson

Mirela Momanu

Henri Wong

Black & White

Mirela Momanu
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Photo populis

Color

Gabriela Dobo I think if I ever get satisfied, Ill have to stop. Its the frustration that drives you. Eve Arnold

Gabriela Dobo

A mad, keen photographer needs to get out into the world and work and make mistakes. Sam Abell

Gabriela Dobo
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Photo populis

Photo populis
It's no good saying "hold it" to a moment in real life. Lord Snowdon

Sebastian Puraci

Color

h s i l b u p e W
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YOU ca pture

Sebastian Puraci

Send yor work at:

publish@foto4all.ro
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Project4all

Ksenija panec

KADAR 36
http://www.kadar36.hr/ Kadar 36 gathers Croatian photographers of strong individual personality, which are using analog photographic processes and techniques. The number of members is not the priority. The priority is quality and commitment to photography. It is expected from its members to contribute to the reputation of the association with their knowledge and work. The association operates without excessive marketing "noise". The primary goal of the association is to create a recognizable artistic identity for all its members, the
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So far, the group also has an honorary member, the Serbian photographer Zoran orevi.

Ksenija panec

preservation of the Croatian photographic heritage which was created with analog photographic processes and techniques and the popularization and promotion of the achievements of Croatian photographers in Europe and in the world through individual and joint photographic projects. Our goal is also a complete individual affirmation of each member through exhibitions, educational and publishing activities.

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Ksenija panec

Mario Rozi

Matko Vuica

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Project4all

Max Juhasz

Miroslav Arbutina-Arbe

Max Juhasz
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Project4all

Stanko Abadi

Stanko Abadi
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Tomislav Kruljac

Individual websites of members: Stanko Abadi http://www.abadzic.de.vu/ Max Juhasz http://www.maxjuhasz.com/ Mario Rozi http://mario-rozic.com/ Zoran orevi Kreimir Kopi http://kresimirkopcic.zenfolio.com/ Miroslav Arbutina-Arbe http://arbe-miro.com/

Zoran orevi http://www.dordevic.rs/ Matko Vuica http://www.matkovucica.com/ Tomislav Kruljac http://tomislavkruljac.com/ Ivan Kova http://www.kadar36.hr/site/fotografi/ivan-kovac/ Ksenija panec http://ksenijaspanec.zenfolio.com/

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Journey = Photography

Magic Morocco
Photographs by Gina Buliga & Dan Miric Text by Gina Buliga

The trip to Morocco was to me an old desire well hidden somewhere, a dream that I didnt know that was about to come true. After arriving for the first time in Marrakech, I knew that I was definitely going to get back there and when I stepped foot into the Sahara Desert, well... That was the strongest photographic moment I lived so far. I had my camera in my hands and I realized that everything was magnificent, no matter where I looked. There was this special air and light of the desert, and the sunrise, and the dunes, and the shadows... Ive heard it said that the desert is crypt-quiet, motionless and soundless. That is not true. But you have to really concentrate and open your heart to become aware of the desert noises, of its music and whispers. Every grain of sand brushing against my hands was telling a story. No words will truly describe these moments. The light was changing every minute. It was purely magic. It was clear to me then that we really only need the light. As for Chefchaouen, its a surreal blue world. It sometimes feels like swimming when walking down flights of blue painted steps surrounded by blue walls and ceilings. The vivid colors seem to even make the people here some of the sweetest, kindest, and most gentle I have ever met. Complete strangers will engage you in ways that seem impossibly penetrating in no time at all. I find myself smiling more, and often laughing, being grateful for the beauty of it all. And as the evening sets in, the colors become more intense and they glow in an entirely different way when the lights come on at night. Magic all over again. But I will say no more and let our photographs speak instead. Let the beauty of what you love be what you do...
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ArtAgency

Laissez Faire Art Agency - Portugal

Presentation

Laissez Faire is an up-and-coming art agency inaugurated in 2013 with the aim of developing and furthering production and exhibition activities with particular emphasis on Drawing, Sculpture, Photography and Painting. This project seeks to promote the work of national and international artists with the view of reaching the general public and therefore, a wider audience. The identity of a society is defined and understood through an ensemble of cultural codes in addition to a scope of relationship and knowledge networks. Artistic activity has always played an important role throughout the years and the history of Mankind. Artistic creations and exhibitions are a mere reflection of society as a whole and therefore encourage the deliberation on the concept itself. Laissez Faire, a french term for let it be, is at the root of the agencys concept. The naming process was based on our will to just let things happen suggesting creativity in its most unrestricted form, as the term itself implies, allied to our will of developing an activity with the sole purpose of promoting outcomes of the creative process. The linking aspect between agents is structured upon the network of people (artists, curators, museums, galleries, collectors and so on) in which the agency is included, whilst ultimately seeking to promote interaction and collaboration efforts. Learn more here. (http://laissezfaireagency.com/)

Photographers
Catarina Pinho
Studied Visual Arts at ESAP, in 2007, and finished a Master degree in Documentary photography at IPP, in 2010. Since then, she has been participating in art residencies and international projects such as Picture Berlin, Nomadic1012, European Borderlines and also received grants from the European Cultural Foundation and the Roberto Cimetta Foundation. Her works were exhibited and presented internationally in places such as the Latvian Museum of Photography (LV), the Maccdam Gallery (B), the Nordic House (IS), the Encontros da Imagem Festival (PT), Bursa Foto Festival (TR), OpenShow (PT), etc. She is the founder and coordinator of Photo Archivo, a documentary photography editorial project.
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ArtAgency

ArtAgency

Photographers
Tiago Casanova
Born in Funchal, Madeira in 1988 Tiago Casanova began his Integrated Master in Architecture at the Faculty of Architecture of the University of Porto (FAUP) in 2006 where he also developed his interest in photography. Since then, he also began a collaboration with the digital platform for the Spatial Representation and Communication Centre (CCRE). He led the 1st and 2nd cycles of Photography in Architecture (2008 and 2009) as well as the FAUP Architectural Award for Photography in 2009.

The Science and Technology Foundation scholarship for Research Integration through the CCRE (2008/2009) allowed him to further explore the relationship between photography and architecture. In 2010 and 2012 he was part of the organizing committee of the International Seminar On the surface Public Space and Architectural Images under debate and the International Workshop On the surface The
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Periphery of the Centre which took place at the Faculty of Architecture of the University of Porto. As of 2005, he participates in individual and collective exhibitions. In 2011/12 he participated in the international project Visual Narratives - European Borderlines and he regularly collaborates with several magazines, such as Scopio International Photography Magazine, as a team member of the directive board.
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PhoneCam Project
The PhoneCam Project Group is a community that believes that art is not expensive technology and expensive technology is not art.

PhoneCam project

Visual arts, and most of all Photography is not about the gear you buy, its about the image you see and the message you send. Although the intrinsic message needs no tools to be understood, if you want to draw, you need at least a pencil and a sheet of paper. Its the same with Photography. You need at least a camera. Any kind of camera. Techniques and technology, especially in photography is often mixed up with arts, and this is why art photography lost in value in digital era. The most common confusion is: expensive gear = great art. The PhoneCam Project aims to eliminate this distorted perception about photography, with a very challenging and very large scaled project: we can create art even with a 2mpx phone camera. If you are into arts, if you have a message to share and if you think that the tool is not an impediment in creating images and messages, feel free to post here (http://www.facebook.com/groups/ThePhoneCamProject/) your works. We have only two limitations: phone cameras only and no Instagram, please.

ron Velle

Tams Szcs
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Ciprian Alexei

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Csaba Budavari

Cristina Bodor

Bence Makkai

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Guy Tal on photography

Guy Tal on photography

The Educated Audience

A lot had been written about the skills and creativity required from artists in the creation of their work, but the view in the other direction often is neglected. Irrespective of all the important things related tomaking art, any artist who wishes to touch others with their work also should be aware that appreciation of art getting the most out of the experience of coming in contact with it involves a degree of skill and knowledge, an investment of time and attention, and an honest willingness to understand and to be moved by the work. This latter part is especially important as it sometimes requires a much greater feat of emotional maturity: setting aside ones own prejudices, perhaps even suspending disbelief, in order to allow the work to accomplish its intended effect. Principally to blame for this oversight, in my opinion, is the culture of elitism and hype that often accompanies contemporary art. Certainly theres already more than enough ridicule of such things as art speak to go around, and its not my intention to fan these particular flames here. Like most people outside the art world it holds no relevance to me and I ignore it. I do, however, find it lamentable that such attitudes create barriers to appreciation of some art. When audiences believe they must buy into obscure jargon and keep up with the latest fashions of the art world in order to understand art, its no wonder so few even bother trying. Other factors for such lack of understanding can also be found in the current model for sharing of art: massive quantities of aesthetically pleasing but often

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creatively deficient momentary impressions rammed down the pipes of social media sites with the goal of competing for eyeballs and hit count, rather than enriching viewers experience.

met with great skepticism and even rancor in their day. Just because its not the same kind of art you create or hang on your wall doesnt mean that you cant still find pleasure and inspiration in it.

Photographers, in particular, exhibit a strange If I have one suggestion to make, it is this: read! Get paradox: they rarely take the time to experience other your hands on as many books about art and artists photographers work with the same patience, interest as you can; learn what makes some works important and reverence they expect their own to others and find the ones that images to garner. This is not the speak to you most. This can be The more knowledge (including case with many other disciplines. a rewarding and enriching lifetechnical, psychological, historical, Practically all great writers are also long pursuit, celebrating not only and personal) that a viewer brings prolific readers, great composers beauty but human creativity and to a photograph, the richer will be are well versed in the works of ingenuity, emotion and spirit. his experience. Minor White other musicians, painters rarely miss a chance to attend other Recently I saw some devastating painters exhibits. Certainly there and shameful statistics: 80% of are exceptions, but my sense is that more photographers US families do not buy books, and one third of high create within very restricted bubbles of influences school graduates never read another book for the (often specific online communities) and possess limited rest of their lives. I suspect the numbers are even knowledge of the works and philosophies of others, more grim when limited to art-related books. If we, even within their own field. as artists, dont do it, who will? And how long will art last when its legacy no longer extend beyond The point is not so much paying respect to other momentary impressions on social media streams? artists, but the unfortunate effect of not reaping the benefits of having your own life elevated by art. If If the creator is not also a consumer, they are in a the creator is not also a consumer, they are in a sense sense flying blind when making their own art, too, flying blind when making their own art, too, relying relying on a dashboard of instruments that may allow on a dashboard of instruments that may allow them them to navigate with a modicum of success, but to navigate with a modicum of success, but without without the benefit of a view. Why would you want the benefit of a view. Why would you want to be to be an artist if your own life is not elevated by art? an artist if your own life is not elevated by art? If If airplanes did not have windows, would anyone airplanes did not have windows, would anyone want want to be a pilot? to be a pilot? Another pitfall for most viewers is that, while an appreciation for beauty is fairly universal, some of the most meaningful art often is about much more than aesthetics. The problem for artists creating such work is that it imposes greater demands on their audience who are often reluctant to invest in the experience, even when the return on such investment can be immense. In fact, some of the most important art is not about aesthetics at all. This is where the setting aside of prejudices may be beneficial in order to allow for new kinds of pleasure to be derived from different kinds of art. Consider that Impressionism, Cubism and many other celebrated developments
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About the Author Guy Tal is a published author and photographic artist. He resides in a remote part of Utah, in a high desert region known as the Colorado Plateau a place that inspired him deeply for much of his life and that continues to feature in his images and writing. In his photographic work, Guy seeks to articulate a reverence for the wild. He writes about, and teaches, the values of living a creative life and finding fulfillment through ones art. www.guytal.com