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FEBRUARY 2019

Association’s journal of EYE-Photo Club eV

I SS U E # 02

WWW.EYE-PHOTOMAGAZINE.COM


EDITOR’S LETTER

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ere it is, our February issue! Once again, we proudly present a wide range of contemporary photography, up-and-coming photographers and interesting contributions from aspiring photo artists from all over the world. Right at the beginning, MARKUS VAN HAUTEN takes us on a journey into his wonderful world of landscape photography, giving us insights into his work in his interview. Our columnist THOMAS FÜNGERLINGS discusses the topic of how to find one’s own style. Again we have the pleasure to welcome NIKITA STUPIN as our guest columnist. This time he is dedicated to the subject of analogue photography. In our section PhotoReview, we present MICO PAVLOVIC, ANDY FELTHAM, SASHA ASENSIO, MARTIN PEDROS, CÉDERIC BRION, PAULO SOLIPA, PAULINA SKONIECZNA, BLUENN, DAVID FRUTOS EGEA, JESPER KRIJGSMAN, GERASIMOS PLATANAS, ALEX SCHÖNBERG, VALERIE KABIS, and BERND GROSSECK. Not to forget our EYE-Catching Moments: These are award-winning pictures selected by our online editors from our Facebook photo group with now over 17,000 active members. The EYE-Photo Magazine team wishes you a pleasant reading!

Yours, STEFAN CIMER Founder and Managing Editor

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Cover photo by MARKUS VAN HAUTEN Š

Because getting your work published DOES matter! EYE-Photo Magazine is the independent, online magazine of EYE-Photo Club, a registered cultural association, providing a platform to talented and enthusiastic photographers from all over the world for presenting their work, regardless of their genre, to an international readership. All images and text, published in EYE-Photo Magazine are the sole property of the featured authors and artists and subject to copyright! EYE-Photo Magazine shall not be liable for the content, quality, relevance or accuracy of any materials used in this issue. Without written permission of its legal owner, no photo or text can be reproduced, edited, copied or distributed in any form. EYE-Photo Magazine Š- all rights reserved www.eye-photomagazine.com office@eye-photomagazine.com

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CON

MARKUS VAN HAUTEN

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INTERVIEW WITH MARKUS VAN HAUTEN

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COLUMN “YOUR STYLE” BY THOMAS FÜNGERLINGS

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COLUMN “ANALOGUE HEARTS” BY NIKITA STUPIN

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PHOTOREVIEW WITH MICO PAVLOVIC

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PHOTOREVIEW WITH ANDY FELTHAM

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PHOTOREVIEW WITH SASHA ASENSIO

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PHOTOREVIEW WITH MARTIN PEDROS

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PHOTOREVIEW WITH CEDRIC BRION

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PHOTOREVIEW WITH PAULO SOLIPA

BY MARKUS BRANDSTETTER


TENT

PHOTOREVIEW WITH PAULINA SKONIECZNA

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PHOTOREVIEW WITH BLUENN

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PHOTOREVIEW WITH DAVID FRUTOS EGEA

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PHOTOREVIEW WITH JESPER KRIJGSMAN

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PHOTOREVIEW WITH GERASIMOS PLATANAS

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PHOTOREVIEW WITH ALEXANDER SCHÖNBERG

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PHOTOREVIEW WITH VALERIE KABIS

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PHOTOREVIEW WITH BERND GROSSECK

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EYE-CATCHING MOMENTS - SELECTION JANUARY 2019

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interview MARKUS VAN HAUTEN

WITH BY

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M AR KUS BRA NDST E T T E R


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interview MARKUS VAN HAUTEN

WITH BY

MARKUS BRANDSTET TER

How did you get into photography? I’ve bought my first camera in 2006. I never got in touch with photography before. I visit Iceland for the first time in 2006 and started photography. With this trip my interest was awakened, and I steadily professionalized my hobby.

You have different genres of photography like sports, animals, architecture and landscape. What is your favourite genre? Yes, of course, I first started with sports photography and animals and later in 2013, I started landscape photography. That's now the thing I love to do most. How did you come to landscape photography? During some trips into the Alps, I got infected by the virus called “landscape photography”. Is photography your main income or is it rather a hobby? Photography is not my main business it is a “professional” hobby for me.

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You really have some beautiful images. What is your favourite landscape motif (like forest, mountains, rivers or the sea)? Hard to decide‌I think mountains and seascapes, especially in the northern regions. To take some good landscape images as you do is so much more than to walk to a nice place and capture something. Can you tell us something about your process and if you use some technical stuff like apps for preparation? First of all, thank you. To be prepared is necessary. So, I take a lot of time to prepare for a trip. Normally I have only a few days for my photographic trips and a plan where to go and when the best time is to be there. The only thing you cannot plan is the weather and that's a big part when it comes to landscape photography!

How much time do you spend in photography? That depends on different things. When I am planning a trip, I spend a lot of time to be prepared. Checking Google Maps for locations and routes to and back from the spots. After such a trip it's time to develop and then, I try to send the pictures to Photo competitions.

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interview MARKUS VAN HAUTEN

WITH BY

MAR KUS BRANDSTET TER

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interview MARKUS VAN HAUTEN

WITH BY

MARKUS BRANDSTET TER

You have some amazing long exposure images in your portfolio. What kind of filters do you use, and which do you personally prefer most? Yes, of course, I often use filters for my photographic work. For 1.5 years I use the brand KASE Filters. These filters are glass made and very sturdy, you can combine them and get no colour shifting. I often use the ND 3.0 in combination with GND1.2. What kind of software do you use to edit your work? I use Adobe Lightroom, Adobe Photoshop and Skylum Luminar.

What do you think about editing and post processing and how much time do you spend on it? I think in digital photography it is really important like the darkroom in analogue photography. I try not to spend too much time editing my images. Usually, I would think 10 minutes on average. Some people have the opinion that this kind of a photo is not a „true „photo because of post-processing. How do you think about it? As I said, in analogue photography, they did the same. I would never exchange the sky or something other, but I think editing to a certain extent is OK.

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interview MARKUS VAN HAUTEN

WITH BY

MAR KUS BRANDSTET TER

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interview MARKUS VAN HAUTEN

WITH BY

MARKUS BRANDSTET TER

In many photography groups, for example on Facebook, people very often discuss the perfect image or the perfect shot. What is the „perfect shot „for you and how do you think about it? Honestly, I don’t know. I think I never took “that” perfect picture. There are a lot of good pictures out there and perfect photo you eventually need: Perfect light, perfect foreground, perfect background, and a perfect moment. Do you think it's the most important thing to have the newest high-end full-frame photo equipment to take a good photo? No, of course not! To have the newest gear is a good thing and can help a lot but, you need a good eye for composition to catch the moment. You take the picture and not the camera!

How important is your gear to execute your artistic visions get and what equipment do you use? As mentioned already, you need the eye for the moment but having good gear is a good thing. I 18


use Canon cameras (5D MKIV and EOS R) and lenses also from Canon. Filters from KASE, Gloves from “THE HEAT COMPANY� and of course a tripod and a backpack. Many photographers only talk about the newest gear and not as much about creativity or image composition. What is your opinion about it? Creativity is the most characteristic thing you need in photography the second necessary thing is image composing and the third is the gear. We very often see the same motives in images over and over again, especially on Facebook. What do you think about all these high traffic photo spots with sometimes more than 20 photographers simultaneously out there? This is a problem but we (photographers) are one of the reasons why the other peoples are there! People see our pictures and want to go there, too. This is the reason why I do not tag not well-known spots. Crowds of people will follow, and the natural places might get destroyed. But I do also travel to well-known places because a lot of them are fantastic. Sometimes it is hard to take pictures there, but it is possible.

Do you have a favourite place to take pictures but could not manage to get there till now? Yes, maybe New Zealand, I guess. 19


interview MARKUS VAN HAUTEN

WITH BY

MAR KUS BRANDSTET TER

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interview MARKUS VAN HAUTEN

WITH BY

MARKUS BRANDSTET TER

What have been your most impressive experience in landscape photography? I think my best pictures are from Iceland and I will never forget how I took them. These moments in primordial nature with amazing conditions will forever stay in my mind. What advice would you give to young photographers who are starting into landscape photography? It takes time to get a landscape photographer. Look at the best photos and watch tutorials on how they do the work and how they are planning their pictures. Do not give up, have faith and ask others for their advice. Thank you very much for taking the time and give me this interview. May the light be with you! :)

MARKUS VAN HAUTEN WEB www.van-hauten.eu www.facebook.com/markus.vanhauten www.instagram.com/markusvanhauten CONTACT markus@van-hauten.eu FOR WORKSHOPS www.van-hauten.eu/workshops SHOP www.van-hauten.eu/shop

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interview MARKUS VAN HAUTEN

WITH BY

MAR KUS BRANDSTET TER

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COLUMN

“YOU DON’T FIND YOUR STYLE; YOUR STYLE FINDS YOU” BY

T H O M AS F Ü N G E R L I N G S

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omeone told me he was looking for his style of photography. Everyone likes to hear that when said that I love your style. I think you can’t find it somehow, but it will come to you. The thing is, everyone does in the long run only what he enjoys. And if you enjoy it, you do it more often. If you do not like to take pictures of animals, then you will never become the "animal photographer”. If you do something with passion, then you will do so over a long period.

With such a motivation may be a specialisation arises and you take pictures again and again, for example in the street. If you can identify with street photography, if you like to look at such photos and if you want to present yourself with such works, then we can get closer to it. To find something new/own, you have to "cultivate" this / your style for a very long time. In photography, it is not easy to do something fundamentally new. Be aware; almost every style shows influences of other artists, works or styles. It's overall the mix and the selection of techniques. If you want to find your style, if your photos should stand out from the crowd, if the work should be recognisable as yours, then you have to think about it. It can, e.g. the type of processing (e.g., high contrast b/w). Or you take photographs from a particular perspective or the point of view (for example, from the ground). Or you always have some aspects in the picture (for example signs). With that foundation in mind, you're going to the streets, again and again, making "your" pictures. Then you may find your recognisable style. My three photo tips ... not only for your style

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COLUMN

“YOU DON’T FIND YOUR STYLE; YOUR STYLE FINDS YOU” 1. Take pictures every day and even take more pictures. Only practice makes perfect. Make at least one more series of each scene where you are right now. 2. Just take one camera with one lens or smartphone and leave the backpack at home. You can focus so much easier and get to know "your" camera with the one lens much better. 3. Also take a look at the trivial, just like that and again and again. You will see and understand that every little thing still has at least one more page. Example: I took 100 different pictures of the IKEA chair "Stefan". You think, 100 photos of a chair? That does not work! You always get new ideas coming from different perspectives, light or compositions. Try it yourself. Here is my short YouTube video of this IKEA challenge

The author Thomas Füngerlings is a photographer, blogger (weekly), editor and administrator at EYE-Photo Magazine. https://www.thomas-fuengerlings.de


COLUMN

ANALOGUE HEARTS BY

NIKITA STUPIN


ANALOGUE HEARTS

by Nikita Stupin

I have learned this skill over the years. To be able to forget a hundred times more important than an ability to memorize, as well as being able to stop in time, is far more important than skill to start better than others. How often do we know when to stop? How many of us have this universal sense of tact, so necessary for photography, where the basic principle of action is “stopping time”? I do not think that many, but I am sure that some. The analogous past of photo art was taken away into the darkness of past years by the masters who acted as part of the “Decisive Moment”, leaving us alone with their silent inheritance. The great photographers of the past were distinguished from today’s leaders by one extremely important, I would even say, fundamental feature - they could say “stop” to themselves. Being limited to a certain, clearly delineated number of frames embedded in the potential of a film reel, these people knew how to save frames as well as they could wait for their “Decisive Moment” (please note that when I say “save” I do not mean make fewer photos in total) The era of consumption dictates new laws and rules to us, one of which is excessiveness in everything we do, which inevitably reduces the quality and, most importantly, the value of what we create.

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ANALOGUE HEARTS


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ANALOGUE HEARTS

by Nikita Stupin

16 gigabytes, 32, 128, more megapixels per sensor, a lens worth the whole car, likes, subscribers, customers and orders - all this makes a modern photographer crazy, makes you unpack a new camera on YouTube in the hope of gaining popularity or rejoice as crazy to another hundred of endorsements in social networks. We are crazy and this madness has nothing to do with photography. Today, for self-affirmation, we need the voices of others to confirm our talent. We are no longer artists who infinitely believe in their creations, we are beggars begging for money for another dance with a tambourine in the pouring rain before those who will not even remember our names tomorrow. And this search for something outside is doomed to failure in advance because we left all the best dust gathering inside. Street Photography today is not one brilliantly built frame, its hundreds, thousands of mediocre shots and the hope of the shooter to pull something worthwhile out of this swamp. Today, not talent has become a guarantee of quality, but the amount that promises theoretically possible success. Street Photography is a hunt, a process that requires the utmost concentration of attention and sharpness of vision; it is one of the most difficult disciplines in the world of photographic art. The shutter click is not a machine-gun line of a boy distraught with fear. This is an accurate and precise shot in the head by a sniper holding its breath, considering everything, even the Coriolis effect. One shot - one frame. And nothing less. Only in this way, saving frames and calculating each frame, it is possible to gain an understanding of the very essence of the photo - its surgical accuracy. Hundreds of useless courses eagerly teach people to master the craft of unnecessary things: photo processing, working with light, with models, with technology and a million other different pearls of wisdom. 32


Recently, I stumbled upon a course where people paid money to learn how to properly breed a customer for money. Lord, they teach that which usually remains secret. They sell what the photographer must study himself, in the evenings and nights, while sorting out his camera, trying settings, playing with the light, learning science the same way the Greats from the past did it. For all the time of my communication with many teachers of photography, not from one person, never I have heard a decent explanation on the need for saving time and shots, restraint in their impulses and alignment of actions. I would really like everyone to try to study this magic art on their own. After all, this is the only way we get a chance not only to touch the greatness but also to become part of it. It is unlikely that I will be able to guarantee success in understanding this particular, metaphysical part of photographic art, but I can tell you about four rules that I adhere to myself and maybe, for someone, they will become a point of reference on the path to understanding this approach, and otherwise, these tips will be faithful assistants in the Street Photography. So, I want, and with this intention, I present them to you. Be faithful to the traditions of our art and most importantly - while living in the digital age, STAY ANALOGUE INSIDE. Rule 1 36 frames. Divide your entire street hunt into 36 frames. For convenience, buy 3 memory cards of 16 gigabytes (this will be more than enough) and take no more than 36 pictures for each one. Change the card when shot all the 36 frames. Such a simulation of working with a limited number of frames on a film will allow you to cultivate a value attitude to what you are doing, to every frame of yours and will certainly increase the level of awareness. Rule 2 Forget about LCD. Leica has already realized this principle and preparing to release the first digital camera without the possibility of using an LCD screen.

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ANALOGUE HEARTS

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ANALOGUE HEARTS

by Nikita Stupin

You should try to completely exclude viewing of captured frames. During the interaction with the camera, you are fully focused on what is here and now, at all that is in the past, you should look at home. Learn to trust yourself, the settings on your camera and your guts. Forget about the screen! Rule 3 Plan, plan and plan again. Always put concrete and a clear plan of the shooting day. My main attribute along with the camera has always been and will be a small black notebook that inextricably follows me wherever I go with my camera. Before going on the hunt, in the days of preparation for work, I prescribe how many frames and what specifically I want to shoot. For example: Faces of people, close - 10, details of walls - 10, architecture - 5, etc. You can structure your plan as you want, make it detailed or general, whatever! The plan will allow you to perform your actions clearly and consciously, and it will also not allow you to forget about adhering to the rule number one. Rule 4 Wait. Haste is the enemy of Street Photography. Wait. Watch and wait for exactly the moment in which you see your idea, through which the previously written plan will realize your success. Remember - there is no hurry, be patient and wait for your “Decisive Moment”.

“Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera.” Henri Cartier-Bresson Let’s love the art that allowed us to freely express ourselves and treat with respect to every frame that gives our genius a chance to live forever.

- - NIKITA STUPIN - Russian-Canadian photographer. Founder of a creative street photography crew “Moustache & Glasses”. Adept of the classical Straight Photography style. Behind the back of the photographer are more than 25 exhibitions, both in Russia, and in North America and the USA. Besides international venues, Nikita Stupin’s exhibitions have gone over with success on “Red October”, in Fotoloft Gallery at Winery, Artplay gallery and other art platforms in Moscow. At the heart of his thin insight and unique approach to work not only his talent, but also his degree in the field of clinical psychiatry. Nikita is the member of the Russian Photo Union, an international organization of photographers of Group 7, the teacher of faculty of the photo of Institute of Arts Education (Moscow), Toronto Film School (Canada) and MOMMA (Moscow). Member of the international organization Fujifilm X-Photographers, ambassador of the Fujifilm company. The author of multiple publications on the Street photo and a phenomenon of Straight Photography, and also author’s own technique of “contactless shooting”. 36


Nikita is the creative director of Dessange Russia and Camille Albane Russia network, and also URT Subaru Russia.

WEB www.moustacheandglasses.com www.facebook.com/moustacheisart www.instagram.com/moustacheisart twitter.com/NikoMoscow www.flickr.com/people/moustacheandglasses

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PHOTOREVIEW

MICO PAVLOVIC


PHOTOREVIEW

MICO PAVLOVIC Biography:

Born in Boka Kotorska, Yugoslavia, Mico grew up in the town of Herceg Novi. He had no formal photographic training and was first introduced to photography by a high school friend as an after-school activity. Over the last thirty plus years, Mico’s photographs have been featured in solo and group exhibitions as well as in books, world-leading photographic magazines and artist catalogues. Since 1989 Mico has lived and worked in London UK. Project Balance:

Why Balance? Because nature’s aim is stability which isn’t necessarily growth which can be excessive, disturbing and irrational. Growth or balance? My Balance project was created having in mind this dilemma and the project suggests that those who speak about Balance as an alternative should be listened to more carefully. WEB: Flickr: MicoP

Balance at Breaking Point 40

Dancing Brick


Precarious Passage


PHOTOREVIEW

MICO PAVLOVIC

Balance Again

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Balancing at Breaking Pont

In Search of Balance

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PHOTOREVIEW

MICO PAVLOVIC

Road to Freedom

Flight Risk II 44


Harmonious Arrangement

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PHOTOREVIEW

ANDY FELTHAM


PHOTOREVIEW

ANDY FELTHAM

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ndy Feltham is a self-taught photographer who lives in Northampton, UK. He has been exhibited in the UK and Italy and featured in numerous publications, both online and in print. In March 2017, he released his first monograph entitled, Incidental View, released by Portuguese publisher Camera Infinita. He has also been commissioned to work in the commercial as well as the fine art setting. Feltham seeks to create a tension within each photograph by using meticulous technique, framing and exposure to detach the subject from its surroundings. This lends a subtle disquiet to the underlying themes of beauty, mortality and humour that hallmark his work. WEB andyfelthamphotography.com www.instagram.com/andyfelthamphotography Book: www.camerainfinita.com/incidental-view-book

Remembrance Way 48


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Cliftonville Road 49


PHOTOREVIEW

ANDY FELTHAM

Great Yarmouth

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Dolus D’Oléron

Cliftonville Road

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PHOTOREVIEW

ANDY FELTHAM

Stafford Park

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Take Away

The Agora

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PHOTOREVIEW

ANDY FELTHAM

from top to bottom and from right to left: Lakes Estate, Milton Keynes, Moiano, Nye Bevan

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from top to bottom and from right to left: Room, Room A, Rotterdam, Seillans, Vancouver, Weston Favell

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PHOTOREVIEW

SASHA ASENSIO


PHOTOREVIEW

SASHA ASENSIO

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orn and raised in Brazil. Fifteen years ago he moved to Barcelona, to the neighbourhood of El Raval, so he could daily portrait its people and scenery, being its unique scenery.

His relationship with photography is anthropological and social, breaking with silences and the opacity of unusual, remote or clandestine existences. Through his images, he seeks tension as well as giving visibility to people living in the outskirts of the social system. The humanity of these figures outcomes beauty standards. His works have been published at: arte TV | Germay / France La Massana betevé | Barcelona TV El País El Mundo Cultura Inquieta VICE Biblioteca de Barcelona Federazione Italiana Associazioni Fotografiche Photolari Photographic Mercadillo Yorokubu Cadena Ser Código Nuevo Lensculture elPeriódico Movistar Plus Liframer RTVE iCat

BOOK Superbrands WEB www.sasha.click IG instagram.com/sasha.click

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SASHA ASENSIO

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SASHA ASENSIO

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PHOTOREVIEW

MARTÍN PEDRÓS

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PHOTOREVIEW

MARTÍN PEDRÓS

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y name is Martín Pedrós, I was born and I live in Buenos Aires. I think that I inherited my passion for photography from my father. I always remember taking pictures with his Minolta XG9, a camera that I still have. In my adolescence I learned photography with that camera but I never did the development. For those things of the life I lay aside the photography for a while and renew the passion with the digital cameras. From 2009 until now I have done some workshops but I am I am largely selftaught, I like to learn seeing photos of my favorite photographers (like Steve Mc Curry, Annie Leibovitz, Henri Cartier-Bresson, Ansel Adams, José María Mellado and Joe McNally among others) and I have some interesting books for permanent consultation. I really like portrait photography, street photography, landscape photography and travel photography. On this occasion I am presenting photographs of trips and places, some taken in Europe and others from Argentina, my country. WEB www.martinpedros.com.ar www.flickr.com/photos/martinpedros www.facebook.com/MartinPedrosFotografias www.instagram.com/martinpedrosfotografias about.me/martinpedros PROJECT: www.instantaneas.com.ar

CLOTHESLINE


TRAVERSE CITY, MICHIGAN

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PHOTOREVIEW

MARTÍN PEDRÓS

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WINDOW WASHER


PHOTOREVIEW

MARTÍN PEDRÓS

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PHOTOREVIEW

CÉDRIC BRION - CLAVICULE-PICS


PHOTOREVIEW

CÉDRIC BRION - CLAVICULE-PICS

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elf-taught photographer born in 1978, my name is Brion CĂŠdric aka Clavicule-Pics, living in the city of Mons in Belgium. Passionate about travelling, I first turned to landscape photography that I have been practising for over 7 years. Equipped at the beginning of a small compact device, I end up investing in professional equipment for the rest of my travels: Iceland, Norway, Scotland, United States, Slovenia ... The discovery of Iceland was for me a real revelation: the immensity of the places, the lights, the colours... a beauty in the pure state. It is back from this trip that I began to learn the different image editing software. To discover and photograph countries knowing how to preserve the magic of the moment, here is the objective that I am in my photographs. I like to feel that I can, in a split second, immobilize the world in perpetual movement. 4 years ago, my thirst for photos never satisfied took me to portrait photography. Very different from landscape photography, I learned the different techniques necessary for this style of photos, light management, flash, ... Since then, I decided to give a professional turn to my passion for photography by opening my own studio in Mons. I was also lucky to be in several magazines and classified in several photo competitions WEB www.clavicule-pics.com www.facebook.com/claviculepics/ (Photography Clavicule Pics) www.instagram.com/studio.clavicule.pics

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Model Marie Mua Raven


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PHOTOREVIEW

CÉDRIC BRION - CLAVICULE-PICS

Model Maeliss - Mua Mlle.Déborah

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Model Aurore Hach - Mua Cindy Dorchies


Model Maeliss - Mua Mlle.DĂŠborah

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PHOTOREVIEW

CÉDRIC BRION - CLAVICULE-PICS

Entre terre et mer -France Baie de somme _________

France morillon Snow

France Alpes _________ 78


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PHOTOREVIEW

PAULO SOLIPA


PHOTOREVIEW

PAULO SOLIPA

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aulo Solipa was born in Lisbon in the year 1971. He made his first photos with his father’s Zenit E analogue camera. As his passion grew, he purchased a Canon 50 E in 1999. At the end of 2004 he bought his first digital camera which offered him new possibilities. Since 2016 he is shooting his photos in RAW. His work is displayed on several websites and gained worldwide recognition. Paulo is dedicated to nature and urban landscape photography. He creates his photos mostly during the dawn or the twilight, to capture the magical hours with their very own luminosity. The sun and water are also important elements in his images. In his photography, he seeks to capture moments that transmit emotions and feelings. Paulo is an autodidact most of his knowledge he adopted from books and magazines. WEB: www.instagram.com/solaslx www.facebook.com/paulo.solipa.7 500px.com/solaslx

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Aurelie


Aurelie

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PAULO SOLIPA

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PAULO SOLIPA

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PAU L I N A S KO N I E C Z N A


PHOTOREVIEW

PAU L I N A S KO N I E C Z N A

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was born in 1989 in Koscian, Poland. I graduated from the Faculty of Law at Adam Mickiewicz University in Poznan. Since June 2018 I am a co-founder and photographer at Newbie Studio, based in Warsaw, Poland.

I have photographed since May 2016. My first camera was Canon 100d with 18-55 mm lens. In the beginning, I took shots of flowers, plants, insects and landscapes. I did not want to be an amateur photographer, so I put emphasis on self-development. I read books to understand better technical issues and what is more significant in photography - content of the photo. I also completed two courses on newborn posing and practical workshop on photography. Currently, I am an art photographer who mainly takes shots of children. My portraits, due to applied lighting pattern (i.e. Rembrandt lighting) and postprocessing techniques, refer to painting. I try to create photos which show beauty, sensitivity and charm of my young models. What is important for me is that I want to give them something special, timeless and unique, which makes them smile and will be reminding them of our meeting. I have been shortlisted in the 8th edition of “Portret 2018� competition. I plan to create a series of artistic portraits of children with different disabilities and diseases. I would like to show that each child is beautiful. WEB www.newbiestudio.pl www.facebook.com/NewbieStudioWarszawa www.instagram.com/newbie_studio

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PAU L I N A S KO N I E C Z N A

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t the age of 10, BluEnn, born in the Emilia-Romagna region, came to Luxembourg. Ever since she has a strong attraction to art. At the age of thirty-two, she uses her camera to capture the emotions of the people around her. In her own way, she presents the joie de vivre of her characters. BluEnn is inspired and guided by the phases and moments of her own life. With a lot of feeling and imagination, she lets her models shine in her compositions. She likes to open her universe to others and take them on a dizzying journey consisting of drops, pixels and brushstrokes. Each of her compositions is meticulously edited down to the smallest detail. Her curiosity and thirst for knowledge can be felt in many of her works. This love is always felt in their projects, which they prepare with great care and meticulousness and bring to perfection. WEB www.instagram.com/bluenn_photography www.facebook.com/Bluenn1985

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PHOTOREVIEW D AV I D F R U T O S E G E A


PHOTOREVIEW D AV I D F R U T O S E G E A D

avid Frutos Egea was born in 1974, in Murcia in the southeast of Spain and he is so interested in the photography from 2008.

He loves the nature, especially the Mediterranean coast where he lives now. He graduated in Education from the University of Murcia in 1996 and in 2014 graduated in Image by Ramon y Cajal Institute. He uses long exposure techniques for the Fine Art work and landscape. His photographs have been published in print and digital media of recognized national and international prestige such as Naturaleza Salvaje, La Naturaleza Habla LNH, Canonikos, El Paisaje Perfecto, Stark-Magazine, eZine by Nathan Wirh, Andrew S. Gibson, BLACK Magazin, B&W Minimalism Magazine, WePhoto Magazine, LMF... Member of http://www.portfolionatural.com WEB www.davidfrutos.net www.facebook.com/profile.php?id=100008842272586 Twitter: @DavidFrutosEgea www.instagram.com/davidfrutosphoto

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EXHIBITIONS "PICTIO, En Compañía de la Pintura" - 2017 / 2018... Collective Exhibition of Portfolionatural.com "International Photography Contest Agriculture & Water of Villena". 2015 Collective exhibition on the occasion of being among the winners photographers. "II National Photography Contest Ciudad de Orihuela". 2015 Collective exhibition on the occasion of being among the winners photographers. "IPA International Photography Awards 2013" Collective exhibition on the occasion of being among the winners photographers. "PX3 2013 Prix de la Photographie de Paris" Collective exhibition on the occasion of being among the winners photographers. "Squares" Cafetería CACHEMIR Paseo Siena. Bajo nº17 (paralela a la Av./ Venecia) Poligono de Santa Ana Cartagena (Murcia) From 11 March 2011 to 30 March 2012 "I Premio de fotografía APE"

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Centro Cultural Infanta Elena de Alcantarilla From 15 June 2011 to 30 June 2011 "VI Concurso de Puertos y Litoral de la Región de Murcia" Collective exhibition AWARDS 2018 “MontPhoto 2018” - Honorable Mention in LANDSCAPES. “Narava 2018” - 3er Prize in LANDSCAPES. “Siena International Photography Awards 2018” - Finalist. “Oasis Photo Contest 2018” - Finalist in RAW and OPEN Categories. “Moscow International Foto Awards 2018” - 1st Prize in NATURE: Seasons. “Moscow International Foto Awards 2018” - Honorable Mention in NATURE: Trees. “Tokio International Foto Awards 2017” - 1st Prize in NATURE: LANDSCAPES. “Tokio International Foto Awards 2017” - 2nd Prize in NATURE: SEASONS. “Tokio International Foto Awards 2017” - Honorable Mention in NATURE. “Tokio International Foto Awards 2017” - Honorable Mention in NATURE: Trees. “X Photo Contest UNED - Cartagena: Romanticism, melancholy, death and ethernal rest” - 3th Prize. “11th International Color Awards” - Honorable Mention in NATURE. “International Photographer of the Year 2017” - Honorable Mention in NATURE: Trees. 2017 “XI Memorial Climent Picornell” - 1st and 2nd Prize in ART IN THE NATURE. “Gipuzkoa International Trophy 2017” - FIAP Honourable Mention in COLOR: Free Category.


“ND Awards 2017” - 2 Honorable Mentions in NATURE: Trees. “ND Awards 2017” - Honorable Mention in LANDSCAPE Category. “International Photography Awards 2017” - 2nd Prize in NATURE: SEASONS. “Monovisions International Photography Awards 2017” - Honorable Mention in LANDSCAPE Category. “World Enviromental Day WED 2017” - 2nd Prize. “FAPA Fine Art International Photography Awards 2017” - Honorable Mention in LANDSCAPE Category”. “Photocontest LMF 2017” - 2nd Prize in LANDSCAPE Category. “Photocontest LMF 2017” - 2nd Prize in PEOPLE Category. “Photography Contest Portfolio Natural 2016” - 1st and 2nd Prizes. 2016 “IPA International Photography Awards 2016” - 3 Honorable Mentions in NATURE: LANDSCAPES. “IPA International Photography Awards 2016” - Honorable Mention in NATURE: SUNSETS/SUNRISES. “MML2016 - XXVI Photocontest Memorial Maria Luisa of Photography, Mountain, Nature and Adventure” - Finalist - VEGETABLE WORLD. 2015 “I International Contest of Photography Agriculture & Water Villena City” - 5th Prize. “II National Photography Contest Orihuela City” - Finalist. 2013 “IPA International Photography Awards 2013” - 1st Prize in Catergory NATURE: SUNSETS/SUNRISES. “IPA International Photography Awards 2013” - 2 Honorable Mentions in FINE ART:

LANDSCAPE. “IPA International Photography Awards 2013” - 2 Honorable Mentions in NATURE: LANDSCAPE. “IPA International Photography Awards 2013” - 2 Honorable Mention in NATURE: TREES. “IPA International Photography Awards 2013” - Honorable Mention in NATURE: FLOWERS. “IPA International Photography Awards 2013” - Honorable Mention in NATURE: SUNSET/SUNRISES. “PX3 Prix De La Photographie Paris 2013” - 1st Prize in NATURE: TREES. “PX3 Prix De La Photographie Paris 2013” - 2nd Prize in NATURE. 2011 “IPA 2011 - International Photography Awards 2011” - Honorable Mention. “I National Contest of Photography APE” - 1st Prize. “PX3 Prix De La Photographie Paris 2011” - Finalist. 2010 “VI Contest Ports and Beachs of Murcia” - Honorable Mention.

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PHOTOREVIEW JESPER KRIJGSMAN


PHOTOREVIEW JESPER KRIJGSMAN WONDROUS WILDERNESS / SUPERNATURAL / DIGITAL DAYDREAMS The work of Zßrich-based Dutch artist and designer Jesper Krijgsman has a classical sensibility: Lush and colorful compositions of an arcadian world one would encounter in a dream. The artist invites you to step out of our fast-paced and modern society and into a land where nature’s diversity is celebrated, and mystical qualities are amplified. Although his natural scenes are fictional, a sense of realism is added through a certain attention to detail. Instead of traditional painting, the artist digitally combines his hundreds of single photographs taken of plants, animals and textures to build his paradisiacal collages. By utilizing exclusively elements gathered from our natural world, the artist hopes to revive a sense of enchantment and appreciation for our environment.

WEB www.jesperkrijgsman.com www.facebook.com/studiojesperkrijgsman www.instagram.com/jesper.krijgsman

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PHOTOREVIEW

GERASIMOS PLATANAS


PHOTOREVIEW

GERASIMOS PLATANAS

G

erasimos Platanas is a self-taught photographer born in Corfu, Greece (1982). Started photography in 2007 and he uses a digital camera for his creation. At the 2011-2012 he participated in semester course for analogue photography in Fondazione Studio Marangoni, in Florence Italy. His photography has been featured in several publications, including Eyemazing Susan, Sarmad Magazine, Adore Noir Magazine, Blur Magazine, Unvael Journal, Woven Tale Press, B&W Minimalism Magazine. Also, he has collaborated with several experimental bands for art covers like Art Zoyd.

PORTRAITS (2012-2017) These works can especially focus on texture and its inherent emotional qualities, the way a visual pattern can intrigue, repulse, stimulate. But interestingly, in this series, you will find a shift in focus from that sharp clarity to a greater ambiguity—with a greater play on shadows and silhouettes, and most uncharacteristically perhaps, the blurring of an image. And indeed, you will find here not only that signature darkness but also crisp imagery, especially in some exquisite “portraits” of the reflected in broken mirrors or glass. Platanas here achieves a different kind of tension: the subject itself is not so much seen clearly as merely implied, something grand and phantasmic captured mid-blink. Some of these images are so obscured, they venture entirely into the abstract.” - by August Smith

WEB www.gerasimosplatanas.com www.instagram.com/gerasimos_platanas CONTACT Email : gerasimosplatanas@gmail.com

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Portrait of Valerie Kabis


Self Portait

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PHOTOREVIEW

GERASIMOS PLATANAS

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Self portrait series


PHOTOREVIEW

GERASIMOS PLATANAS

Portrait of Valerie Kabis

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Portrait of Valerie Kabis


Self Portrait with Valerie Kabis

Self Portrait

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PHOTOREVIEW

ALEXANDER SCHÖNBERG

Am Kaiserkai


PHOTOREVIEW

ALEXANDER SCHÖNBERG

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lexander Schönberg was born in 1979 in Orenburg (Russia), is the second son in a German family. In 1994, his family moved to Germany, and since 2000, Alexander lives in Hamburg. In my childhood I discovered an interest in painting and music. From the youthful age for fifteen years he was engaged in music and later writing lyrics, until in October 2015 he came to a photo on the doctor’s recommendation “just to walk more”. After an hour he held his first camera in his hands. - Thanks to photography, I had the opportunity to capture my personal point of view on the scenes and objects of everyday life, so she quickly became the medium of my communication with the world. - It became necessary for me to convey my feelings and ideas through my photos to other people. The very process of photographing, as well as the variety of reviews for individual works, are for me the most attractive aspect of my work.

- I do not like to work in a certain style and do not limit myself in my work, but think a lot more in projects, trying to make my pictures as timeless as possible. So it was in the last 2 years, among other things, a project of mine to bring the most beautiful bridges in Hamburg to an illustrated book, currently there is only one copy of this book “The Bridges of Hamburg” at whitewall store in Hamburg to win, what then I do not know yet. Another project is called “smoking [f] aces” and deals with the theme of a portrait with cool, smoking people on it, and beyond that, I love to portray the children. I enjoy working with people and people usually play a central role in my work, it is important for me that a model has character and charisma and does not necessarily look nice. I love to travel and of course, my camera should not be missing, trying to keep the street scenes of everyday life. WEB www.alexander-schoenberg.de 1x.com/member/alexschoenberg www.instagram.com/alexander_schoenberg www.instagram.com/alexander_schoenberg_portrait www.facebook.com/alex.schonberg.14

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Alte Harburger ElbbrĂźcke

Kibbelsteg

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ALEXANDER SCHÖNBERG

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Series: “Smoking faces”

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ALEXANDER SCHÖNBERG

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the great escape


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urban melancholy

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PHOTOREVIEW

VALERIE KABIS


Dripping Eternity


PHOTOREVIEW

VALERIE KABIS

T

he photograph began with words. There were diaries, notes, attempts to express what I’ve seen, the images I tried to internalize. The feelings of colourful days and night visions, some emotion that got stuck in my memory or a face of a stranger passing me by on the street, a lonely cloud in the sky, a reflection of some ruins in a puddle, everything around me that one way or another would make its way to my consciousness or would simply stun me with its beauty required another medium of articulation. With time, the words would go out of their own context. it became increasingly harder to pronounce the exact feelings with only letters and to achieve this with an optimal meaning of the word. That’s how the first images appeared. It was still a diary, but a visual one instead. I often focus on the details of my subjects; be it an object, dust, raindrops on my window or a person from a different, still unexplored angle that presents itself to me or perhaps for me. My photographs are particles of my own essence, of how I see my surroundings, hidden from sight and immediate recognition. These images are visualizations of how the world reflects on me and how I reflect in it in return. The ambiance and I are paying each other with the same coin, It gives me the ability to create and it shapes me instead. This is a network of 2 substances, constantly inspiring one another. Yet another aim at slowing down for just an instant, fixating the moment. WEB www.vkabis.com www.instagram.com/valeriekabis www.facebook.com/vkabis Email – vitrioll@gmail.com

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PHOTOREVIEW

VALERIE KABIS

Star Autopsy

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Space is the Place

Same Deep Water as You


PHOTOREVIEW

VALERIE KABIS

Broken Power Of Word 142


Ra Obscurity


PHOTOREVIEW

B E R ND GRO S S EC K


PHOTOREVIEW

BERND GR O S S EC K

M

y name is Bernd Grosseck, born in 1967. I have taken photographs since the age of 14. In recent years I found my vision for my photographic journey. Now I express

my idea with “minimal scenery” images. My main photographic interests lie in minimalist landscape photography, urban still-lifes and street photography. Our world, our life is highly complex and dynamic. So, I appreciate the photography, the tranquillity of nature as an antithesis to the at times hectic daily life. Photography makes me look at things in much closer details. This “intensive” viewing and the pleasure of taking the results of my motif search home with me, along with spending quality time outside are essential for me to, also to fulfil my passion for photography and for my creative mind. Viewing my images should be an act of looking through a frame with minimal elements, excluding all the noise. I prefer a simple, clear picture language, radically reducing it to a minimum. Many of my photos were taken in my local area. I prefer “slow travelling “with my camera, sometimes only just for a few hours near the place where I am living. „Slow-travelling “allows me to get a stronger connection to the places I am visiting or to explore natural locations in my environment. So often it doesn´t take much, not a far trip to realise my vision of photography. I find interesting motives to show the „unknown inside the well-known “, usually by walking in nature or driving slowly on narrow streets. WEB: www.bildausschnitte.at or www.minimalscenery.com www.instagram.com/bildausschnitte.at www.facebook.com/bildausschnitte

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BE R ND G ROS SECK

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PHOTOREVIEW

BERND GROSSECK

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eye Catching - Moments

At EYE-Photo Magazine, we champion the idea that photos need space and that they should speak for themselves.

That's why you will find hardly any text in our column "EYE-Catching Moments" but the more pictures! In our monthly issues, we present a cross-section, a selection from the submitted photographs in our Facebook photo group. Our online editors, Helena Costa, Thomas Fßngerlings, and Markus Brandstetter, nominate the best photos for publication, regardless of their photographic genre. In this issue, we present the selection of the month December. On almost 100 pages you can see pictures of over 40 photographers from all over the world. As COVER PHOTO for our column, our editors chose this time the photo of MARTA SOTNIK Š Enjoy browsing! Visit or join our Facebook photo group: www.facebook.com/groups/eyephotomagazineeditorschoice

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153 MARTA SOTNIK ©


EYE CATCHING MOMENTS

JOSE SILVA PINTO ©, pictures with people inside..._______________

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IONUT LUNGU ©, Search of meaning________________________________

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YVES SABROU ©, Phénix__________________________________________

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CHRIS FRAIKIN ©, Houten_XIV_____________

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DRAGOS IONEANU © ____________________________________________

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EYE CATCHING MOMENTS RICHARD KESHEN ©, Sugar Beach in Winter... 164


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MARTA LITYŃSKA © CREDENTIAL Photographer: Kreator Piękna - wizaż i fotografia Model: Katarzyna Markiewicz MUA: i-makeup.pl____________________________________________________________

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EYE CATCHING MOMENTS PAVLINA LUUNA ©

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EYE CATCHING MOMENTS VICENTE MUÑOZ ROMERO ©, Lavender fields 170


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EYE CATCHING MOMENTS JOSÉ ANTOINE COSTA ©, Already exists in your mind 172


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EYE CATCHING MOMENTS MASSIMILIANO MARCOCCIA ©, Model Serena Bungaro 174


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DANIEL CASTONGUAY ©, see you__________________________________


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EYE CATCHING MOMENTS

TERESA GALLIANO - TERKUS PHOTOGRAPHY © Sunset at Walchensee Germany ____________________________________

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HEIKE SKAMPER ©, The Barber. Hanoi, Vietnam


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EYE CATCHING MOMENTS

LAURENCE KLER ©, Rose

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PEDRO QUINTELA ©, Future Memories______________________________

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ALVIS KHONG ©, Hydrant man, Hong Kong__________________

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MARTA SOTNIK ©

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EYE CATCHING MOMENTS

ERHAN KALKANDELEN ©_________________________________________

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EYE CATCHING MOMENTS ASLAN SARIZEYBEK © 192


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EYE CATCHING MOMENTS

STEPHANE NAVAILLES ©

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EYE CATCHING MOMENTS PARISSOUSA PH ©, Volando en el agua 196


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EYE CATCHING MOMENTS PARISSOUSA PH ©, El ensayo de Cuttica 198


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EYE CATCHING MOMENTS

KARL SCHIFFMAN ©, China Bath group

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LILIAN FRAGA ©

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EYE CATCHING MOMENTS

BATSCEBA HARDY ©, synchronicity_________________________________

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MACIEJ KONOPKA ©___________________

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CHARLOTTE PARENTEAU-DENOEL © Refreshment 2.0__________________________


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EYE CATCHING MOMENTS UWE MOCHEL ©, neue Sichtweisen - irgendwo in D 210


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JIM GRAHAM ©, Cloghan Point study________________________

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BOGUSŁAW NABOŻNY ©, fingers_______________

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DOMINIK HAJDER Real witch in DeHa cave DeHa Photography mod: Effy Moon www.facebook.com/EffyMoonModel/____________________________

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EYE CATCHING MOMENTS NUNO ANDRADE ©, walking time 218


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EYE CATCHING MOMENTS NICOLE ILBERTZ © 220


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WIOLA BRONOWSKA ©, Model: Karina Kubiak_______________

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OLAVO AZEVEDO ©, Light corner__________________________________


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MARCO MALJAARS ©, Together____________


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AITOR ARANA ARRUTI ©, Our fears________________________________


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FERNANDO ESCRIVÁ © _________________________________________


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EYE CATCHING MOMENTS ZARKO KULJANIN ©

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MAGDA FULGER ©

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EYE CATCHING MOMENTS VICTOR BORST ©, closer 236


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KRISTÝNA LEVIN ©, Model: Karolína Trávničková _____________________


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EYE CATCHING MOMENTS FRANCESCO BONARDI ®, Winter 2019 240


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GORAN BORICIC ©, foggy morning_________________________________


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LORENZO CHACON DE GUINASU © ________________________________


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FRANKY BØY ®

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JÜRGEN LUGER ®

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EYE CATCHING MOMENTS GRACE HO PUI WAN ®, rush 250


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EYE CATCHING MOMENTS PATRICIA KERKHOFS ®

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EYE CATCHING MOMENTS KMON NGUYEN ©, sai gon 254


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WOLFGANG GANGL ©


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MARÍA TUDELA BERMÚDEZ © almas grises y luna_____________


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T INDEX ARTIST INDEX ARTIST The index is sorted chronologically according to the submitted date of the pictures and not in alphabetical order!

• Jose Silva Pinto www.facebook.com/jose.silvapinto.1 • Ionut Lungu www.facebook.com/canonistul • Yves Sabrou www.facebook.com/yves.sabrou.photograff • Chris Fraikin www.facebook.com/chris.fraikin • Dragos Ioneanu www.facebook.com/dioneanu • Richard Keshen www.facebook.com/richard.keshen • Marta Lityńska

www.facebook.com/martasarablanka

• Pavlina Luuna www.facebook.com/luuna.s • Vicente Muñoz Romero

www.facebook.com/vicente.munoz.167

• José Antoine Costa www.facebook.com/jose.antoine.costa • Massimiliano Marcoccia www.facebook.com/massimilianomarcoccia • Daniel Castonguay

www.facebook.com/daniel.castonguay.165

• Teresa Galliano, Terkus Photography

www.facebook.com/teresa.galliano.11

• Heike Skamper www.facebook.com/heike.skamper • Laurence Kler www.facebook.com/laurrenc • Pedro Quintela

www.facebook.com/pedro.quintela.3

• Alvis Khong www.facebook.com/iamalviskhong • Marta Sotnik

www.facebook.com/marta.sotnik.96

• Erhan Kalkandelen

www.facebook.com/profile.php?id=744970948

• Aslan Sarızeybek

www.facebook.com/AslanSARIZEYBEK

• Stephane Navailles

www.facebook.com/profile.php?id=100009279390584

• Parissousa Ph

www.facebook.com/profile.php?id=100009049475315

• Karl Schiffman www.facebook.com/karl.schiffman • Lilian Fraga www.facebook.com/fragalilian • Batsceba Hardy www.facebook.com/batsceba.hardy • Maciej Konopka

www.facebook.com/profile.php?id=100005625317012

• Charlotte Parenteau-Denoel www.facebook.com/charlotte.parenteau

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T INDEX ARTIST INDEX ARTIST • Uwe Mochel

www.facebook.com/profile.php?id=100010708637222

• Jim Graham

www.facebook.com/jim.graham.3114

• Bogusław Nabożny

www.facebook.com/profile.php?id=100000919921201

• Dominik Hajder www.facebook.com/DeHaPhotography/ • Nuno Andrade www.facebook.com/nuno.andrade.779 • Nicole Ilbertz www.facebook.com/nicole.ilbertz

• Wiola Bronowska www.facebook.com/Wiola-Bronowska-photogra

phy-282321035178524

• Olavo Azevedo www.facebook.com/olavo.azevedo.1 • Marco Maljaars

www.facebook.com/19marco75

• Aitor Arana Arruti www.facebook.com/aitor.aranaarruti • Fernando Escrivá

www.facebook.com/fernando.escriva.3

• Zarko Kuljanin www.facebook.com/zarko.kuljanin.7 • Magda Fulger www.facebook.com/magda.fulger • Victor Borst www.facebook.com/victor.borst • Kristýna Levin www.facebook.com/DarkArt.photo • Francesco Bonardi

www.facebook.com/francesco.bonardi.18

• Goran Boricic

www.facebook.com/apartmani.hercegnovi.3

• Lorenzo Chacon de Guinasu

www.facebook.com/LorenzoChacondeGinasu

• Frank Meffert Franky Bøy

www.facebook.com/houserockr

• Jürgen Luger

www.facebook.com/jurgen.luger.5

• Grace Ho Pui Wan www.facebook.com/hopuiwan • Patricia Kerkhofs www.facebook.com/patricia.kerkhofs • Kmon Nguyen www.facebook.com/kmonnguyen • Wolfgang Gangl www.facebook.com/wolfgangganglphotography • María Tudela Bermúdez www.facebook.com/mariatudelafotos

EYE-Photo Magazine is an independent, online magazine, providing a platform to talented and enthusiastic photographers from all over the world to present their work, regardless of their genre, to an international readership. All images and text, published in EYE-Photo Magazine are the sole property of the featured authors and artists and subject to copyright! EYE-Photo Magazine shall not be liable for the content, quality, relevance or accuracy of any materials used in this issue. Without written permission of its legal owner, no photo or text can be reproduced, edited, copied or distributed in any form. EYE-Photo Magazine © - all rights reserved www.eye-photomagazine.com office@eye-photomagazine.com

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F ra nce s ca P iq ue r as

movimento E X HI B ITION AT THE GA L ERI E DE L’EUROPE 55, rue d e S e i n e – Pa r i s 7 5 0 0 6 – F R A NCE F e b ruary 1 8 - M a rc h 3 1 2 0 1 9


FRANCESCA PIQUERAS EXHIBITION AT THE GALERIE DE L’EUROPE 55, rue de Seine – Paris 75006 – FRANCE February 18 - March 31 2019

« MOVIMENTO »

« My approach is unusual, and my vision deeply personal. It is true that I do not satisfy myself with a mere record of reality. I intend to transfigure it and enhance its aesthetical, emotional and artistic dimension. I use shapes, shadows and light not only to show but to make feel. I do not judge mankind’s madness. I look deep into it and glimpse the shadow of my own soul. I watch the scars, the gashes inscribed in our landscape. They tell and write our history. These wounds remind me that every act bears its backlash. Which can be violent, but soul-stirring too. And awareness even worst ». Francesca Piqueras


Francesca Piqueras knows how to grasp the subtle nuances between balance and unbalance, between order and entropy. In ÂŤ Movimento Âť, her newest work, she combines her vision of the marble quarries in Carrara (Tuscany) and the massive release of water of the Chinese dams over the Yellow River in diptychs and single photographs. The clash of stillness and motion, of stone and the watery element is consistent with her artistic focus, and she keeps transcending the wounds made to nature by humanity capable of both creation and chaos into an almost surreal interpretation, a visual scenography. Her photographs bear a metaphysical meaning, almost a prophecy. If matter crumbles and dilutes itself, if it bears the traces of the passing of humankind, it is to better accentuate its possible metamorphosis, in a re-creation independent from the laws of nature and the hand of man. In this spontaneous geometry, elements, whether fluid or solid, frame a universe both oneiric and real, indifferent to our existence, a creative process out of the scope of our understanding of the order of the world, be it natural or human. In this very parallel existence that Francesca Piqueras choose to explore, she revisits our times, and reinterprets the concept of Anthropocene as an anthropo-scene, a metatheater where time itself loses controls and jams, accelerates the past and compresses the future. A time of relentless progress grinding and choking blindly rock, water and people. In this brutal transmutation which highlights the fragility of our human condition, Francesca Piqueras strongly expresses the bizarre, timeless but fundamentally contemporary aesthetics of archaeology of our present. JoĂŤl Halioua


FRANCESCA PIQUERAS EXHIBITION AT THE GALERIE DE L’EUROPE 55, rue de Seine – Paris 75006 – FRANCE February 18 - March 31 2019

« MOVIMENTO »

BIOGRAPHY Francesca Piqueras is a French fine art photographer born in Milan (Italy). Both her parents were artists, and she took photography when she was 13. After studying Fine Arts and Cinema, she worked in the movies industry as an editor, then decided to answer her call. Her journey started in 2007 and took her to Bangladesh, Mauritania, Scotland, England, Peru, Cape-Verde, France, Argentina, Siberia, Italy and China, so far. Her work highlights the paradox of an industrial world gone mad. Her inner exploration of a post-industrial world littered with rusting and decaying man-made structures reveals the brutal splendour of gigantic steel constructions - offshore platforms, shipwrecks, warlike forts - soon forgotten in the open sea, or stranded for a trip of no return on a forlorn beach. Each of her exhibitions, which grace the walls of the prestigious Galerie de l’Europe in Paris, echoes the constant struggle of man’s mind against the elements, the never-ending battle. 266


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EYE-Photo Magazine is an independent, online magazine, providing a platform to talented and enthusiastic photographers from all over the world to present their work, regardless of their genre, to an international readership. All images and text, published in EYE-Photo Magazine are the sole property of the featured authors and artists and subject to copyright! EYE-Photo Magazine shall not be liable for the content, quality, relevance or accuracy of any materials used in this issue. Without written permission of its legal can be reproduced, edited, copied or EYE-Photo Magazine Š - all rights reserved

owner, no distributed

photo or text in any form.


EYE-PHOTO MAGAZINE - EST - 2013

IMPRINT: EYE-Photo Magazine © - Club Magazine of EYE-PHoto Club ZVR 1299861057 https://eyephotoclub.weebly.com Founder, Managing Editor:

Stefan CIMER

Editor and Proofreading:

Gerri McLAUGHLIN

Editor and Columnist: Thomas FÜNGERLINGS Online Editors: Helena COSTA, Markus BRANDSTETTER All rights reserved. ® Copyright by Stefan CIMER ©

E-MAIL: WEB:

office@eye-photomagazine.com www.eye-photomagazine.com


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association’s journal of EYE-Photo Club eV

Profile for EYE-Photo Magazine

EYE-Photo Magazine, Issue #01, January 2019  

EYE-Photo Magazine is the Club Magazine of EYE-Photo Club, a registered cultural association. The non-profit organisation providing a platfo...

EYE-Photo Magazine, Issue #01, January 2019  

EYE-Photo Magazine is the Club Magazine of EYE-Photo Club, a registered cultural association. The non-profit organisation providing a platfo...

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