FAMILY PORTRAITS ~ Camilla Catrambone

FAMILY PORTRAITS.

These portraits aim to represent my family members trough the objects they’ve owned…I’ll introduce you more family members of mine soon…


Mark Lipczynski

Mark Lipczynski My last name is pronounced, “Lip-chin-ski.”

 

 

Arizona-based photographer Mark Lipczynski makes delicious-looking food photographs, both in his personal work and for the magazine he co-created, Bite. Lipczynski draws inspiration from “the parallels of art and life,” and likes to look for the hidden details that can be found in ordinary scenes.

Lipczynski’s personal photographs and work for Bite reflect how food photography can do more than just showcase a delicious meal. Lipczynski’s background in photojournalism helped him learn how to tell stories with his pictures. One of his signature methods is to pair images. He tells PDN via email, “sometimes two pictures together tell a more complete story better than one stand-alone image.” His diptychs all share a common element, whether it’s a similar color palette, tonality, mood or style of food. Lipczynski works with a consultant, Peter Dennen of Pedro+Jackie Photo Consultants, to edit his work and pair the images.

The photography in Bite combines Lipczynski’s passion for food and storytelling. He and his partner, Michelle Jacoby, work together to educate readers on the emerging food scene in Arizona. Their food magazine is the first of its kind in Arizona and highlights many new and reinvented bars and restaurants.

- See more at: http://potd.pdnonline.com/2014/07/27751#sthash.NjWHSeFM.dpuf


Photographs Document Memorable Meals in Famous Fiction

 

Photographs Document Memorable Meals in Famous Fiction 

Famous fiction has yielded both delectable and disgusting meals. Designer and writer Dianah Fried prepares food that appears in some literary classics like To Kill a Mockingbird by Harper Lee or Oliver Twist by Charles Dickens. After assembling a dish like an avocado with crabmeat salad (from Slyiva Plath’s The Bell Jar), she art directs and documents the meal. A collection of these fascinating photographs are included in her book entitled Fictitious Dishes: An Album of Literature’s Most Memorable Meals, published by Harper Collins. Of course, the images aren’t complete without the literary passages that made them unforgettable, as well as interesting facts about the author and novel, too

Fried’s project originally began as a short-term assignment while at the Rhode Island School of Design, but quickly grew into a larger undertaking. It soon had the near-vegetarian photographer preparing pig kidneys for Ulysses, and cooking bananas 11 ways as described in Gravity’s Rainbow. Sound disgusting? Maybe, but for the reader who loves food, Fictitious Dishes is the best of both worlds.

Passage from The Great Gatsby to accompany above photograph: “On buffet tables, garnished with glistening hors-d’oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold.”

 


Elia Locardi

Elia Locardi

Elia Locardi is an internationally recognized professional travel and destination photographer, writer, public speaker and educator who spends his life seeking out and capturing some of the most beautiful and inspirational locations in the world.


Peter Schloer

Peter Schlör | Light Shift. Going deep inside landscape photography

by Bruna Esperi
in Focus on Europe

Peter Schlör’s solo exhibition at Landes Galerie Linz is just finished, but I would like to direct your special attention to the “Light Shift” works. Artist Peter Schlör made a name for himself with his peculiar style of black-and-white photography. For more than two decades he investigates natural light. Landscapes, deserted houses and towns generate in the spectator a disturbing perception, due to the abstraction of his photography. He captures the particularly delicate effects of light, and transports the romanticism of nature back into a new vision of the world, that is not a simple transposition, but a conscious construction, made by the author thanks to his contemplative work.

Peter Schlör, Landes Galerie Linz

German photo artist Peter Schlör displays digital black-and-white photographs of Volcanic landscapes from Canary Islands and Central Anatolian Cappadocia. As we can read in the introduction of the exhibition catalogue – written by Gabriele Spindler, artistic director of Landesgalerie Linz – the special lighting effect in Peter Schlör’s photography is strongly related to 17th-century Dutch landscape painting. Schlör’s recent works are compared with landscape paintings by Flemish and Dutch masters of 16th and 17th century. The peculiarity is in its recording; especially in the handling of light, he parallels to the famous masterpieces of landscape painters. Light is the main topic of Schlör’s work and is actually a pondered and meditative transposition of what we can reach from reality. When in his high-contrast black-and-white digital photographs Peter Schlör invokes the Flemish masters, there are two reasons for this. On the one side, Schlör’s photographs are oriented on a rough grid governing the distribution of light and shadow. On the other, they are conceived from the outset as abstract structures whose figural elements are only gradually revealed.

Peter Schlör, Landes Galerie Linz

Out of his patient observation of the reflections play of the sun and clouds, the artist creates light-filled landscapes in which mountains, trees, fields and houses come into view. This sensitive handling of light has distinguished Schlör’s work for more than two decades. In his most recent compositions as well, elements unnoticed at first glance gradually emerge in what initially seemed to be abstract black-and-white fields. Landscape in Turkey or the Canary Islands that was at first perceived as «untamed nature» turns out to be a civilized landscape – attesting to the intervention of human hands. By harking back to the grand tradition of landscape painting, Peter Schlör restores photography of its original description as «héliogravure,» or drawing with light. Schlör tries to show the actual photographs in their abstract appearance. The image needs to be detected at first glance, in its abstraction . Only upon approach and close inspection should it open up to its figurative nature.

His current work phase does not correspond to the conceptual despite technical subtleties consideration, but arises from the purely intuitive acquisition and processing of light states, which are given by nature. Seeing in its own process and perceiving without judgment are prerequisites for artistic realization, in which the Light is also an expression of subjective perception. The artist uses natural phenomena – the ocean, clouds and forests – in order to attain a picturesque surface in his images. One can thus associate Schlör with the tradition of pictorialism, to which photographers like Alfred Stieglitz belonged.

Peter Schlör, Landes Galerie Linz

I had the pleasure to ask Peter Schlör some questions during his exhibition.

Bruna Esperi: By looking at your portfolio and taking into consideration your past works exhibited in solo shows such as “Deep Black,” “High Light” and “Black & Wide,” one seems to notice that in your photos the contrast between black and white dissolves over time until reaching an abstraction of landscape photography, as we can see in in the current exhibition “Light Shift.”

Peter Schlör: I’m always interested in essences. I like to show the essence of things, that come into shape by the dialog between me and the landscapes I stand in front of. By balancing or matching the inner and outer space, I receive images of individual and universal character at the same time. I think, the more we are surrounded by complex things of our civilization, the more we are thirsting for simplicity which means nothing but abstraction. And abstraction is something I have been focusing on from the beginning of my work. Inherently the transformation of a colourful landscape into levels of gray is an abstraction. It marks the second step of black and white photography after interpreting reality as a two-dimensional plot. I think, if you like to take a look behind the surface of so called reality, it is necessary, to give up the idea of finding specified moments. The more we hold on to a specified theme, the less we are able to receive an totally unexpected moment. I never want to “take“ a picture – I even think, that this is impossible. It´s not a recording, but an appreciation of a landscape, I stand in front of. If you like to appreciate light in nature, it´s necessary to give up all expectations first. So I always seek to clear my mind first. When you look at something, without judging and expecting, the abstract forms become visible. That´s how it works for me.
At all the places where I have been taking pictures, the light can sometimes change very quickly indeed and illuminate sections of the landscape in a highly differentiated manner: the clouds with their highly varied repertoire of forms interact with the sun to achieve the effects of diffusers, reflectors, spotlights, brighteners, shades, masks and cropping frames. Together with the light of the sun, they combine to give the landscape its plastic form, and they are what render visible the different contours and their structures with their broad range of tonalities. At one and the same moment, this light lends individual parts of a landscape a spatial plasticity, while other areas appear quite flat in contrast to sections that seem to have an almost infinite depth. Sharply focused and diffuse light alternates within a single image, so that the transitions from light to shadow tend to exhibit very subtle nuances. Considered in this way, my photographs are ‘snapshots’ – analogous to sketches by those painters who, when looking at their drawings, always needed to have an internalized account of the play of light in its entirety before their eyes in order to transfer this into their compositions.

B. E.  “Light Shift” features digital black-and-white photographs of Volcanic landscapes of the Canary Islands and Central Anatolian Cappadocia. In these photographs, we can also recognize universal leitmotifs, such as houses or settlements. What interested you in each of these landscapes, which are somehow similar places? Why did you decide to bring them together in this show?

P. S. My photographs are oriented on a rough grid governing the distribution of light and shadow. As I already said, the photographs are conceived from the outset as abstract structures whose figural elements are only gradually revealed. Out of my observation of the play of reflections of sun and clouds, I show light-filled landscapes in which mountains, trees, fields and particularly houses come into view. Houses and settlements as symbols of human social culture have been standing in the centre of my work from the beginning. In my most recent compositions, that you can see in this show, such elements that might be unnoticed at first glance gradually emerge in what initially seemed to be abstract black-and-white fields. The landscape in Turkey or the Canary Islands that was at first perceived as “untamed nature” turns out to be a civilized landscape – attesting to the intervention of human hands.

Peter Schlör’s large-format photographs impressively demonstrate that the image of a landscape is shaped not only by the materiality, structure and configuration of its natural forms, but also principally by light. They evoke the unconscious perception of symbolic images. For the photographer, they are archetypes or typologies of forms of dwellings that people repeatedly seek for, regardless of cultural and social backgrounds. They imply refuge, home, withdrawal, isolation, housing, and the living things that connect people with one another. Peter Schlör’s photographs require patience and perseverance to light – in its constant change as well as in its constant action – observation and recording. The spectators have to share this aptitude in order to establish a deep relationship with his work.

Peter Schlör, Light Shift, Landes Galerie Linz, Linz, 28 November 2013- 12 January 2014.

Peter Schlör, Landes Galerie Linz


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