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Challenge Creativity

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7 | Editorial

8 | EventsArgentik II @ Photo Romania Festival

2015

14 | Photo Books

Somalia – The Invisible Trace

Sketchbook:

Composition Studies for Film

The Jazz Image:

Masters of Jazz PhotographyPhotojournalism: 150 Years of

Outstanding Press Photography

20 | Portfolio

Matt Black

Javier Corso

Andrea Torrei

52 | Watch & Learn

60 | Photo populis

72 | Project4all

88 | Journey = Photography

Our way up to CUBA

102 | On SPOT

110 | PhoneCam Project

118 | Guy Tal on photography

Senior Editor: Cristina Țintă

([email protected])

Editors: Cristian Bassa, Andrei Baciu,

Emilian Chirilă, Dorin Bofan

Contributors: Bence Makkai, Guy Tal,

Mirela Momanu - On Spot

Translators: Cristina Țintă, Mirela Momanu,

Loredana Bîtculescu

Graphic concept: studio seven (www.studioseven.ro)

DTP: Ilie Popa ([email protected])

Cover photo: Matt Black

Marketing: Cristina Țintă

Online editor: Ionuț DorneanuLegal 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: [email protected]

© FOTO4ALL.ro 2012–2015

Summary #46-47 MAY - JUN E 2015

mailto:cristina.tinta%40foto4all.ro?subject=http://www.studioseven.ro/mailto:ilie.popa%40gmail.com?subject=mailto:publish%40foto4all.ro?subject=mailto:publish%40foto4all.ro?subject=mailto:ilie.popa%40gmail.com?subject=http://www.studioseven.ro/mailto:cristina.tinta%40foto4all.ro?subject=


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7

Why are photographs so compelling? The fact thatmany people nowadays take pictures on a weeklyor even daily basis has not served to diminish themagic either of certain personal snapshots or of theworks that you can nd in galleries or photo albums.

However, it made things harder and for the majorityit got tougher to reach the good stuff.Why? Due to our laziness on rst hand but alsobecause it became harder to select, to distinguish.The Internet has made photography more availableto us, but it also pushed us towards an uneven visualculture. Where some know what it is all about, whilethe others are confused and circling round andround. Did we imprisoned ourselves into smallergroups that miss the bigger picture? Might be thecase...And is this the new challenge? How do webreak out of that and how do we get to grow?It takes culture...somebody said. But also

responsibility... Because the few who know how todistinguish and to select should pass further what theyknow... Drop by drop, man by man, until the circle getsbig again and we escape the smaller communities andgroups in which alike minded individuals craft visual

work. Because being interested in photography usedto allow one to feel grounded while venturing intoall the aspects of the past and present it has touchedand transformed. And that should not change...Andvaluable work should continue to be brought forward.

E d i t o r i a l

Cristina Țintă

Editor-in-Chief

It takes responsibility...

http://en.clubulfoto.com/


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EventsEvents

Argentik II @ Photo

Romania Festival 2015For the second time around Oitzarisme, Allkimik,Foma Mures, Czech Center and Photo RomaniaFestival present you with “Argentik II” - a lm streetphotography event. Twenty lm photographerswere each given a roll of Foma 100 lm, twoweeks time and, as inspiration, the famous Czech

photographer Josef Koudeka - to shoot their beststreet shots up to date. Paul Musescu, IonutRadulescu, Oliver Merce, Andrei Gindac, AndreiSzabo, Andrea Wolfer, Sergiu Dobos, Emi Cercel,Laszlo-Tibor Olah, Andrei Lumpan, Marius Caraliu, Victor Dia, George Marian Predut, Adrian Mitu,Mihai Olaru, Dana Jeaca, Florin Ghebosu, DragosRadu Dumitrescu, Vali Barbulescu, Vlad Florutwere the participants in this second edition. Eachparticipant would have two photos chosen fromthe lm and analog printed and exhibited. Theexhibition event took place at Photo RomaniaFestival 2015. Three winners were chosen andall participants received the roll of lm back,scans and Josef Koudelka photbook.


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Events


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Photo bookPhoto book

Featuring hundreds of carefully hand-craftedillustrations by the internationally renownedproduction designer Hans Bacher, Sketchbook -Composition Studies for Film is a unique journeythrough the mind and creative process of oneof the artistic legends in animation lm design.Having shaped such lms as The Lion King, Mulanand Beauty and the Beast to name a few, Hans'swork is a part of the very cultural fabric of ourage. Here the artist puts on display the rarelydiscussed rst part of image making for lm, theconceptual thumbnail. Exquisitely beautiful inthemselves, these small illustrations representthe birth of what eventually becomes the iconicimages we experience on the silver screen.

Essential to anyone interested in understandingthe skeletal structure that exists underneathstunning imagery in all forms of media, this bookis especially relevant today with the dramaticincrease of interest in lm and game design.Although students today have ready access to andan understanding of technical aspects of the craftusing associated software, the area most lacking inaccessible information is this quintessential rstpart of thumb-nailing an image. This unique bookwill provide the student and professional with thefundamentals of conceptualizing images, and howthese can be used in composition in the relatedelds of illustration, graphic novels, 2D animation,3D animation, photography and cinematography.

The events of recent years, from 9/11 tothe Japanese earthquake and tsunamidisaster, have once again shown thatphotography remains the ideal tool forcapturing human emotion, drama, and

tragedy. Photojournalism presents theextraordinary history of this indispensablemeans of reporting. Starting with someof the rst key gures, such as RogerFenton, who photographed the CrimeanWar with a bulky large-format camera,it moves through the decades, from theGreat Depression to space missions, thedismantling of the Berlin Wall, and the warin Iraq--all illustrated with stirring imagesfrom the world's greatest photojournalists.

Sketchbook: Composition Studies for Film

BY HANS P. BACHER

Photojournalism:

150 Years of

Outstanding Press

Photography

BY REUEL GOLDEN


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Photo bookPhoto book

Somalia: anarchy, abandonment and oblivion –arethe best words to dene it. Without an effectivegovernment for years, a contemporary feudalismhas reigned, the warlords imposing their way oflife as the only way of measuring time. Survivingfrom day to day is the only aim, in a place where theclan system prevents the common good from beingmore valuable than private interests.

Insecurity banishes any chance of planning a future,of developing and breaking the myth that hasplaced Somalia within the realms of the impossiblefor many years. Legendary danger and fear hasled to international organisations and foreign aidkeeping away, leaving the country in the hands ofits shortcomings. The lack of infrastructure, healthstaff, the dryness and poverty mean it has amongthe lowest health standards in the world.

Somalia – The Invisible Trace

BY PEP BONET

The great improvisational Americanjazz musicians of the mid-20th centuryinspired a generation of photographers todevelop a looser, moodier style of visualexpression. That evocative approach is onstriking display in The Jazz Image. Coveringsix decades of performers —from LouisArmstrong and Duke Ellington to John

Coltrane and Miles Davis—this uniquecollection is as much a comprehensivecatalogue of jazz greats as it is a salute tothe photographers who captured them.Lee Tanner, a leading authority on jazzphotography, has selected works—by suchnoted jazz photographers as HermanLeonard, Bob Willoughby, Milt Hinton,and Bill Claxton—that are iconic, candid,explosive, and intimate. They provide asimultaneous look at jazz, photography, andAmerica from 1935 into the 1990s.

The Jazz Image:

Masters of Jazz

Photography

BY LEE TANNER


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Portfolio

Matt Black– an interview by Cristian Bassa

C.B.: Tell us a little about Matt Black the photographer:

how did you start taking photos and why? What drove

you to documentary photography? M.B.: Photography for me has always been

documentary. I started as a newspaper photographer

when I was quite young and that’s where I learned

the craft.

C.B.: Are you a technical person? How much do you

value the technical aspect of photography versus its

message?

M.B.: I’m not interested in the technical part of

photography. What the pictures say is all I really

care about.

C.B.: You are using lm a lot. But also digital. Any

preferences or favorites?

M.B.: If lm prices hadn’t went up, I’d still be using lm.

C.B.: How do you achieve the type of aesthetics present

in your photos?

M.B.: Being there.

C.B.: In your photos the boundaries between documentary

and artistic photography are blurred. If you agree, it would

be interesting to know why you took this approach?

M.B.: I don’t think about it at all. I feel what I

photograph strongly, I’m wrapped up in the ideas,

and the pictures are the one voice I have.



Portfolio

C.B.: When looking at your photos the viewer gets a

strange familiar feeling. They feel somehow close to

you, close to your subjects.

M.B.: Well, that’s good.

C.B.: In your photos there is also much respect towards

the subject. You feel a certain warmth, there is a close

relation between the photographer and the people and

situations he shoots.M.B.: I have a hard time photographing people I

don’t like, or feel connected to in some way. Maybe

that’s it.

C.B.: You tackle themes like “migration, farming, poverty”.

Do you think photography can make a difference? Do

you think it can “save” something?

M.B.: I think that’s too general. Have my pictures

helped shape how certain places or things are seen

and understood? I think so.

C.B.: Powerful stories like yours must have lots of

emotional charge. Does it affect you directly? How do

you handle that?

M.B.: I’ve been doing this for a while. You are there

for a reason, doing your work. You are not a tourist.

C.B.: What do you experience when you nish a project?

How would you want people to react when you see your

work? M.B.: I want people to see the work of course, but

the everything else I leave to them.

C.B.: Do you have any landmark photographers? Or

other people that inspire you?

M.B.: People inspire me all the time, but I really

don’t think it changes what I do.

C.B.: Any plans for future project? Maybe a photobook?

What is the next project from Matt Black going to show us?

M.B.: There’s always new projects.


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Portfolio

Javier Corso-an interview by Cristina Țintă

C.Ț.: Who is Javier Corso and how did he discover

photography? J.C.: Corso was born in Barcelona, during my formative

years. I studied photography and photojournalism, also

a master degree in cinematography. In 2011 I started

my professional career as a freelance photographer,

combining some jobs in all photography areas with

my own documentary projects.

I loved painting and drawing eight years ago, but

i understood very quickly the limits of my abilities

with the pencil and brush. The times required to

make a work was also a problem for my. I was young,

and the patience was not my virtue. I wanted travels

around the world, meet new and different peoplewho help me to have an other point of view of my

world. And then someone put in my hands the 35

mm. Probably I am part of the last generation who

learned to shoot in lm.

C.Ț.: What is photography for you?

J.C.: Photography is my tool to understand the world,

to explore myself and other realities. The camera

sometimes looks like a weapon when you try to

report things that are not well, but sometimes is a

shield, even for myself.



Portfolio

C.Ț.: Why fotojournalism and documentary photography?

(and not other types of photography)

J.C.: Why photojournalism and documentary

photography? Humans. The answer is always the

people. Their best and worse faces. Peace and War. My

subjects are people living their own lives, and if i take

pictures about them is because I feel fascinated in one

or other sense. I try to be invisible to portray the life,

however I must involve myself, be part of something, to

nally become invisible when I need to take the photo.

C.Ț.: What attracted you towards that?

J.C.: My lack of knowledge of the world. My loneliness.

And the desire to change it. Live other lives through

the lens to be wiser, accumulating experiences

worldwide.

C.Ț.: You work both in color and bw. Which suits what

better? Or how do you choose wether to convert the

images or not?

J.C.: The digital camera takes the pictures in colors.

You must take the decision of making a project in

grayscale before starting to shoot, because you are

looking for different things. It is a different dialect

in the same language. And I always need a powerful

reason to work without color. I see the world with

a lot of them, if I decide subtract this part of the

photo is because it helps me to transmit something

in relationship with the emotions of my theme.

Actually I only have one project in BW, and if you

see the pictures you can understand why.

C.Ț.: Your favourite project so far? Why? What about your own favourite image? Tell us a little about it.

J.C.: All of them are important. FISHSHOT is my last

one, and could be my most personal project. My

point of view over a different country, exploring the

problems of the people who I respect and love.

Which of my photographs is my favorite? The one

I'm going to take tomorrow. – Imogen Cunningham.

It is a quote, but it's true. If I feel that I already made

my favorite picture, probably will be more difcult

wake up in the morning.



Portfolio

I can tell you a few words about my last work,

FISHSHOT, a photography and audiovisual

documentary project, which shows the hardest

and least known Finland’s reality. A country that

stands for quality of life but at the same time hides

high rates of suicide, homicide and violence. The

excessive consumption of alcohol is present in more

than half of the mentioned cases. A problem rooted

in Finnish society that causes, directly or indirectly, a

huge number of deaths among the population.

A subjective look that is based on the geographical

and social environment surrounding the individual

and the experience gathered in the country: the

emotional isolation, emotional repression and

exaltation of self-sufciency largely explain the

causes of their problems.

C.Ț.: What inspires you?

J.C.: Books, music, paintings, comics, movies, the

thing I really know and the unknown. Women.

Also photography, but less ¿Why? Because if I only

search my inspiration in pictures my work will be

an emulation of the really good job of the other

photographers.

C.Ț.: What about who inspires you? Any role-models or

favourite photographers?

J.C.: Robert Capa. He inspired me in many senses,

and for me his photographs are only a part of him.

He represents the power of the desire to change

and reinvent, be better, give more. Also a personal

ethic code. Probably when he said "if your pictures

aren't good enough you're not close enough", he

was talking about people and situations, not the

subject itself.

C.Ț.: What do you think is or should be the role of

photojournalism today?

J.C.: The antidote to cure the entertainment without

content around us. I can't change the world with

pictures, but I can try to understand more about it

to take decisions.



Portfolio

C.Ț.: In photojournalism, at times, you may encounter

very difcult or even painfull to see situations. What

do you think is the secret for these photographers to

preserve their inner equilibrium? Not all manage to do

that...but most if them do. What is your opinion?

J.C.: Determination. You need to be aware all the

time of what are you doing there and why you are

there. Without resolution you will go down your

camera. Sometimes I do, but I need to understand

why to continue taking pictures.

C.Ț.: Any advice for emerging photographers that are

pasionate about photojpurnalism and documentary

photography? I know you are still at the beginning of

the road yourself, but you already won a few prizes and

participated in several exhibitions, festivals etc.? How

did you get there?

J.C.: Constancy and perseverance. The world is full

of eeting talents. Make a good pre production,

be close and take your pictures as well as you can.

Move your work, believe in yourself and listen the

others, but take care, not all the opinions have the

same weight. Be critic but constructive.

C.Ț.: Any regrets related to photography?

J.C.: Made me more undecided. I am this kind

of photographer who needs to choose between

shooting or enjoying the view. I am not interested

in immortality. If I take pictures is to communicate

something. So, when i am not working you will

rarely see me with a camera. However, I take some

pictures in lm for my own archive: friends, road

trips, women... But denitely the photography gives

me more, so this is not a regret.

C.Ț.: What about future plans?

J.C.: I will publish my rst photobook in a few

months. I will have one year of move with a

travelling exhibition, and now I am preparing two

new projects in South-America and Africa.

You can learn more about Javier Corso here: http://

www.javiercorso.com/


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Portfolio

Andrea Torrei– an interview by Cristina Țintă

We discovered Andrea on Facebook and later on we

met her in Rome. She walked us a long on the streets

and it was a good way of understanding who she was

and what she does. Therefore, I thought of having

this interview as well...a talk about discovering

photography and not being able to let it go.

C.Ț.: How did you discover photography? Tell us your

story.

A.T.: My encounter with photography is quite r ecent

and since then I experience my life on a new

level. Photography makes me more aware of my

surroundings and, above all, of myse lf.

I have always been fascinated by it, by its capacity

to evoke and/or interpret the world around us.

C.Ț.: Why the preference for street photography? What

do you like most about it?

A.T.: Street photography has taken hold of me. I see

people and things in a very different light.

I nd myself looking for slices of daily life and to

portray people in their everyday contact with the

street and trying, for example, to catch an emotion,

an expression or join them to a particular happening

to tell a story.


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Portfolio

C.Ț.: How would you dene street photography?

A.T.: How to dene street photography is still an

open question to me. Also there is an open and

heated debate on what street photography is. Some

pictures are what is in essence a documentary

report, others capture brilliant evocative moments

left to the imagination of the viewers. Still others

capture a mood rather than the actual image.

C.Ț.: Color or black and white? Or whatever works best

in different circumstances?

A.T.: I would say both, according to circumstances

C.Ț.: Does black and white often reduce things to their

essence? What do you think?

A.T.: Quite a few mantain that BW concentrates on

essence and imagination, but I am not that sure

about that. Many photographs are suggestive and

magical thanks to the colors. The choice is very

subjective

C.Ț.: Are you rather intuitive or cerebral when shooting?

A.T.: With people my approch is very instinctive,

intuitive. In other situations I lay out a scenario and

wait for events to unfold.

C.Ț.: What is a good photograph?

A.T.: To my view a good photograph is a whole of

different elements. It depends much on the visual

perception and photographic culture one has. I love

very much multilayered images that like a tale,

guide you into the picture gradually revailing its

point. But also minimal photos are intriguing.

C.Ț.: How would your life be without photography?

A.T.: I always carry along my camera. One never can

tell what may appear before you. I can’t imagine life

without photography now.

C.Ț.: How is the photographic scene in Italy? Are there

communities and events happening? What about the


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Portfolio

public, are they interested in photography?

A.T.: Italy has a long and strong tradition in

photography with great Masters appreciated

throughout the world. There is a diffused interest for

photography in the way of exibitions, associations,

schools and several contests.

C.Ț.: 10 Favourite places to photograph in Rome? What

abou the world you've seen so far?

A.T.: I have no favorite places in my city Rome. If I

point to people it could be anywhere, a gas station

or a marketplace.

Recently I have visited Cuba and been in New York

City, two magical places for photography…or so they

say. But, I am convinced that is not necessary to

travel far. Great photos can be made even on your

own door step.

C.Ț.: Future plans related to photography?

A.T.: Yes, a very challenging plan: discovering my

city!

C.Ț.: And last but not least...a few words for those

pasionate about photography and street photography.

A.T.: It takes a lot of patience and determination.

Reading a lot is important as it is looking at the

pictures of other authors… and shoot! Shoot a lot!


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Watch & Learn Watch & Learn

Confessions of a gallery haterby Bill Jay

There's something basically wrong with art

exhibitions. To be more specic, art exhibitions of the

type which have become commonplace today always

leave me feeling dissatised, as though the effort

of taking a shower, traveling to the gallery, making

small talk with the other guests, is never compensated

by the experience of seeing the images. For me, art

exhibitions are a draining, deenergizing experience.

Yet the best of art is always energizing. "Art", as

Ozenfant says, "tends to elevate us." [His emphasis]

So there is a discrepancy here between the art

itself and the exhibition experience. The only

logical solution to the problem as I see it is that the

environment and the atmosphere surrounding the art

tends to dull its signicance and drain its power. It is

possible that I have become jaded over the years, and

am suffering from ennui, a boredom with images, and

that the surfeit of pictures in my past has produced

an art-dyspepsia. I do not think this is t rue. I can still

be immeasurably moved, excited, energized, angered

Bill Jay

photo by Burk Uzzle


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Watch & Learn

and emotionally and intellectually charged by images

in almost any other context than hanging in pristine

splendor in a spartan gallery setting. I do not nd the

usual gallery ambiance very conducive to a personal

relationship with a picture.

One reason for this state of affairs is that most

modern shows are hung for commercial reasons -

to sell pictures off the wall. I have nothing against

this idea per se and it would be foolishly naive not

to recognize the business of art. But I must admit

that I feel (am encouraged to feel?) slightly guilty

about the fact that I am there to (merely) enjoy

the works and not buy any of them. Inevitably my

appreciation of the images suffers unfairly because

I am constantly reminded by the environment that

these are commercial objects, and that although

browsing is tolerated it is not wholly welcome.

I confess, also, to a feeling of intimidation in the average

gallery. The environment reeks of wealth, privilege and

preciousness. I am well aware of the efforts on the

part of caring directors to obviate this anxiety in the

gallery-goer, but the fact remains that galleries are

inevitably associated with a small and favored class

of society, one in which I suspect I do not belong. So

I tiptoe around the hushed, empty space, staring with

isolated reverence at perhaps a print, surrounded by


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Watch & Learn Watch & Learn

acres of whitewash or fancy wall covering, as if in the

presence of some sacred icon of Art. Anything the work

itself might be saying to me is drowned out by the fear

and guilt of being in the place at all.

I bet it was a lot more fun to visit exhibitions 100

years ago. Then, pictures were individually and often

eccentrically framed, butted together from floor

to ceiling, and competed for attention with oral

wallpaper, gas ttings and furniture. What a mess -

but also what an adventure to nd the memorable

images! Of course the idea was usually taken to

excess. I love the announcement of an exhibition

of photographs held at the Royal Horticultural Hall,

London, in 1907. 50,000 prints were on display for

only three days. That would mean looking at just

over 16,666 prints per day; a viewing of over 2,000

prints per hour, assuming an eight-hour day. Or

approximately half-asecond for each photograph, and

moving on to the next. I, for one, would welcome now

and again the excitement, and even the mistakes, of a

wall-packed, diverse and chaotic excess of pictures, in

a multitude of styles and presentations and subjects

- especially if the exhibition was held away from the

gallery in a horticultural hall.

Perhaps this example is exaggerating towards the

absurd. But the point of the story is sincere and it

is this. The assumption that a small number of art

pieces, isolated in wall space and with a presentation

of raried renement is the only method of properly

presenting art is equally absurd.

Over the years there have been many isolated

experiments in alternative venues - in buses,

projected onto the outside walls of buildings at night,

on freestanding screens in shopping malls, propped

against steps, trees and benches in public spaces,

pinned to trees in parks, and a host of other creative

spaces. When young photographers complain about

the lack of gallery opportunities, my rst reaction is

that they lack the imagination to nd alternatives.

Even establishment galleries can sometimes (but

not often enough) expand their audience, and please

me at the same time, by taking art into different

environments. I fondly remember, for example, an

exhibition arranged by the Eaton/Shoen Gallery. It

wanted to celebrate the anniversary of its opening

with a special exhibition featuring a large selection

of works from its rst eight shows. The exhibition

was held in Frank Lloyd Wright's 1957 desert home

(known as the H. C. Price "grandmother" House) in

Scottsdale, Arizona, although the gallery is based in

San Francisco.

The art objects were hung on the walls, as if they

belonged in the home, and sculpture was placed in

the central atrium and in the surrounding desert.

In the house, and unlike in a gallery, the art and

all the accoutrements of a home came to a mutual

understanding. The art did not proclaim itself like

a prostitute in a hotel lobby, as it would have done

in a sales place, but allowed the visitor to search

out new friends in an atmosphere of relaxation and


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Watch & Learn

generosity. A Nassos Daphnis piece of plywood and

paint was like an exotic plant of the future, placed by

the atrium fountain - and perhaps it is no coincidence

that Daphnis is also a distinguished horticulturist.

A nice touch: an easy chair faced the Daphnis piece

and looked out the garden to the pool. Similarly a

large photomural by Keith Smith and Philip Lange

was a folding screen which shielded the corridor to

the bathroom. On a bookshelf nearby, what else, but

artist-made books and "Gathering Dust" by Donald

Lipski. The garden gazebo was in fact a cast aluminum,

steel, wire and acrylic sculpture by Clarice Dreyer. And

so it continued, each work of art complementing the

environment, appearing naturally and inevitably a

part of the home. They belonged.

A good example of this art/life synthesis was the set

of photographs by Bernard Plossu. Not only do his

images invite intimacy by the deceptive simplicity of

his seeing, but their regular display down a corridor

of the home gave the impression that the owner

had proudly placed his own momentos of faces and

places on the ideal wall.

There was a similar inevitability about all the art

works in the house. Because the art belonged there,

so did the visitor. It was more than an impressive

exhibition; it was an enjoyable, invigorating

experience. And that, for me, is a rare enough event

to be celebrated in these words.

http://www.franckvogel.com/


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Photo populis

in ours

We are publishing your photos. We are eager to

publish what you photograph. If you want to see yourown 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 [email protected].

Every month we will select and publish 5 images in

color and 5 in black and white.

The photographs you send should

meet the following specications:

JPEG le, 1600px on their long side,

150 dpi, no frame attached. They

can be in color, black and white,

edited or not, it’s up to you. Please

send them without watermark.

1

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.

2

There is no special theme. We are

looking for photographs that tell

stories.

Only your talent counts.

3

publishshootin your world

My portraits are more about me than theyare about the people I photograph.

(Richard Avedon)

Goodtoknow

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Photo populisPhoto populis

Photography is not selsh. Although it captures the moment,

it doesn’t keep it. Photography gives back to the viewer the fraction of time which it once captured. Making it generous for years and even generations to come.” - Mickey Burrow

Szabo Andrei

Cătălin Caciuc

Cătălin Caciuc


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The eye should learn to listen before it looks.” - Robert Frank

Cristina Țintă Gina Buliga


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A photograph is a moral decision taken in one eighth of a second. ” - Salman Rushdie, The Ground Beneath Her Feet

Gina Buliga Marilena Ditrik

Anghel Florin Alexandru


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Y O U c ap t ur e

We p u b lis h Send yor work at:[email protected]


Taking a photograph is a lot like falling in love. You see a light and itintrigues you; and you want to see or be in that light forever.” - Mickey Burrow

Florin Ghebosu Florin Ghebosu

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P j 4 llP j 4 ll

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Project4allProject4all

Staraya Utkaby Sergey Poteryaev

Staraya Utka (in Russian it sounds like an «old duck») is a village in Sverdlovsk region of the

Urals. It sprang to life and prospered after a factory was built in the rth of River Utka in

1729. But at some point the administration lost concern in the development of the factory,

and the productivity fell. This Factory – Staro-Utkinsky Metallurgical Factory – was feeding

the growth of the village, so when its productivity fell, the life of the village started to wither.Unfortunately, that is the typical faith of many Ural villages. While travelling in Urals you

come across the same landscape time and time again – a dam, reservoir and factory, with

residential buildings around. In most cases the factories are no longer working, so the fate

of the villages is clear – decay. In more fortunate places some work is provided by timber

plants, that appear in place of closed deteriorated factories. For this project I used my own

photographs together with the ones I found in the archives of the residents. I was using

montage to understand whether there is anything similar in the life of people of Staraya

Utka then and now, and what changes did the factory closure bring to the life of residents.

Leran more about Sergey Poteryaev here: ht tp://cargocollective.com/sergeypoteryaev


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P j t4 llP j t4 ll


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Journey = PhotographyJourney = Photography


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Journey = Photography Journey = Photography

Our way up to CUBA By Gina Buliga & Bogdan Comănescu

Cuba is not an experience to describe in words...

Therefore we will write less and let you enjoy theimages... Everything is so visualy strong there and

no matter the metaphors that we use, they will never

be enough. From the sublime light of the Havana

mornings, to the expressions and gestures of people,

the colors, the old cars and that life vibration, making

you feel alive... Cuba has an organized chaos, an

armony that we've never encountered before.

Our photos are rather street & documentary, but

the stories within out heart are so much more. We

managed to comunicate with the locals beyond the

words...We found a lot of symbolism in Cuba, manystories about wonderful people, kids playing in the

street, the cars of the 50s, a lot of ease..people are

joking, talking to you..dancing in the streets, inviting

you into their world, allowing you to get a glimpse

of what it means to feel and be alive.

We hope to return soon and meanwhile, keep your

eyes on us and Nikon Romania, as we are preparing a

little surprise related to the Cuba project. Until then,

enjoy the images that follow.


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Journey = Photography


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Journey Photography



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Journey Photography


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y g p y

OnSpotOnSpot


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pp

Our story:On SPOT was born from a simple idea: we wanted to

have a team and to go in the streets to photograph

and to have a good time together. We are friends who

share the same passion and try to learn from each

other, to develop together and most of all, to have

great time doing it!

The group was created by Mirela Momanu and

Fred Fogherty, after the Street Portraits Workshop

which was held during Bucharest Photo Week, a

workshop with more than 30 participants and over100 images. Take a look here.(https://www.youtube.

com/watch?v=6PbkobqUSLU)

The best of the photos were awarded and presented

during the exhibition at “Casa Universitarilor” in

Bucharest, at the end of the event.( https://www.

youtube.com/watch?v=43iJq3FmnwA).

Once the group was established, the best way to

share the work was to create a Facebook page as

well, where to announce the events in time, to post

and share the photos taken from the photowalks, to

see and comment them, with the desire to become

better at it. Now the group has over 200 members,

not only from Bucharest, but also from other cities

in the country and from other countries as well.

(https://www.facebook.com/groups/ONSPOTGROUP/)

The streets are calling us, not only from Bucharest

but from other cities as well. A train ride to Brasov

was a great opportunity to know each other and to

discuss different topics, while doing also photos of

train passengers on our way to Brasov! We must reveal

that our photowalks always have some surprises,

from challenges to team missions J So, the result is

not only having good photos, but also learning and

inspiring each other!

If we had fun on our trip, you can see for yourself!

(https://www.youtube.com/watch?v=IN62gC1lQPU)

During our photowalks all photographers in any

level are welcome: beginners, amateurs, experienced

and professional, we all have the same passion and

desire to spot the world and to capture it . Freeze the

moment or play with it, a photo as they say, is worthmore than 1000 words!

That is why we initiated a more remote photowalk, on

the streets of Istanbul, in November 2014! There we met

Silvio Naf and Elif Suyabatmaz, wonderful people and

photographers who joined us to discover more of this

life and of the people in the streets of that amazing city.

As a proof that the passion for photography unites

people from all over the world, Silvio accepted

our invitation to discover the streets of Bucharest,

together with Romanian members of On SPOT,

in January 2015, for a whole week. Not even the

temperature of -17 degrees during day time dared

to stop our adventure on the streets Bucharest!

For now, On SPOT group has a team of 5 administrators

(Mirela Momanu, Loredana Bitculescu, Adrian Mitu,

Cristina Țintă and Dana Corina Popescu), which initiate

and follow the photowalks events, inside and outside

the country, moderate the critique day (when any

member can post images to get ideas and feedback),

create the weekly challenges (where any member can

Be On SPOTjoin to participate with captures on a certain theme),

and last but not least, they select best images posted

by the members for the On SPOT Gallery.

The On SPOT Gallery presents the most special

images taken during photowalks and challenges, and

is the base for the next photographic exhibitions

and e-books, articles and promotion of the group

members. (https://www.facebook.com/onspotgallery)

As future plans, the group has in mind some editing

sessions and software presentations, as well as more

photowalks and meetings with photographers from

other Romanian cities ( Sibiu, Constanta, Iasi, Timisoara

etc) or even European (Rome, Lisbon, Berlin, London,

Venice etc). In April 2015, On SPOT is already inviting

you to see the selection of its best photos made by

the members, during an exhibition which will unite

over 100 photos and will be organized in Bucharest.

You are welcome to join On SPOT and to follow us,

and starting from now and in the future issues ofFOTO4all magazine, you will nd in this column

images made by our members.

Enjoy & Be On SPOT !

Antonio Ojeda

Amrita- Photo made in Carmona, Sevilla, Spain, june 2014

OnSpot


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Mirela Momanu

Image taken during an afternoon On SPOT photowalk, while the shadows in

the sunset make their own stories. In a split of second, my eyes were attracted

by the juxtaposition of a couple shadows, completed by a young lady sitting

alone. The scenario was ready, just the simple gesture of pressing the shutter

made this scene captured forever.

Andrea Torrei

A smooth walking in the sunset glimmer of Trastevere, in Rome.

Laurențiu Sîrbu

I was really lucky here, as I remember I had four, ve frames left and

I started shooting some silly stuff just to nish the lm when this

interesting lady with her nice ribbon stopped near me at a headlight.

First two frames were total waist, as almost everyone was busy checking

their phones and then only for a split second before the light turned

green did the guy in the foreground grab his girlfriend from her phone

and lady in the foreground looked away from the phone in her hand.

Not a perfect frame, a little unbalanced to the left I think, but some

nice emotions from their gestures together with her details, earring and

ribbon, make it work for me.

OnSpotOnSpot


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Silvio Naf

I saw the woman from passing tram out. At the next station I got out

and ran back. When I brought me position she was very surprised and

did not know how to react. I thanked her and wished her a nice day.

Rome, Via del Corso

Cem Bayir

This picture was taken in a street of the Langstrasse neighbourhood in Zurich.

It is the rst of May. The atmosphere is highly charged. The police are on

standby. It is the calm before the storm. Three masked persons cause confusion.

Smoke-bombs set off in protest cover the streets in green, red and yellow

colours. For the police this is a declaration of war. They intervene.

Dana Corina Popescu

During the last OnSpot photowalk in Rome I was at MACRO - Rome’s

Museum of Contemporary Art. This building, a true architectural landscape

designed by Odile Decq is very photogenic and I spent a few hours there.

I was fascinated by the explosive red volume of the auditorium, in a

large, open foyer, which receives the blue natural light through the

glass ceiling in harmony with the interior yellow light. I liked how these

primary colors are combined and I waited for someone to pass and to

give life to my picture. And this is the result.

OnSpotOnSpot


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Adrian Mitu

Exploration is experiencing

what you have not experienced

before, and the street offers a

natural, always changing, scene

and characters...and a good,

comfortable, red pair of shoes,

maybe a skateboard.

Rui Lacerda

Somewhere in Havana in 2009,

a subtle moment that chance

has given us, a witness’s memory

of a feeling we do not know.

An intuitive time to store in

memory, rather than a record, an

interrogative!

Andrei Szabo

When viewing or shooting street photography I’m trying to elevate mymind and my soul through watching and enjoying the city. I am learning

to love a city that sometimes disappointed me.. For this particular shot I

used my basic setup, a rangender with a 40mm lens with an Ilford lm.

It was an evening photowalk so I decided to push my lm by 2 stops up

to 1600ASA. Yes I like to shoot fast lm.. At one point I just saw the lady

turning her head in her rush so I decided to wait for another character

to ll the story of my frame. While staring at her, trying to nd her eyes,

I shot 2 frames but I was not happy so I waited for 1 more frame that

came the next minute. In one word, I’m just trying to see what the city

hides from me.

Loredana Bîtculescu

Now this was a really lucky shoot! I was in Rome, Italy with On Spotand it was our rst day. I was excited to be there, I was fascinated by

architecture, people were incredible beautiful and streets were full of life.

We found a tunnel, I entered it and I went a l ittle far away because I saw

a person approaching and I wanted to try my luck. And man, I got lucky!

The man was on the opposite sidewalk and he had a perfect walk. And

I mean PERFECT! Arms, legs, head straight up, chest in front, everything

about him was just gr eat. I asked a lot of people to walk for me, to take

a shot I had in my mind and none of them had managed to have that

perfect walk! He was walking towards the light, with his perfect walk,

with his head up high, I just clicked, he did the rest!

PhoneCam ProjectPhoneCam Project


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The PhoneCam Project Group is a community that believes that art isnot expensive technology and expensive technology is not art.

Visual arts, and most of all Photography is not about the gear you buy,it’s about the image you see and the message you send.

Although the intrinsic message needs no tools to be understood, if youwant to draw, you need at least a pencil and a sheet of paper. It’s thesame 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 aboutphotograpyh, with a very challenging and very large scaled project: wecan 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 thetool is not an impediment in creating images and messages, feel free to posthere (http://www.facebook.com/groups/ThePhoneCamProject/ ) your works.

We have only two limitations: phone cameras only and no Instagram, please. P h o n e C a m

p r o j e c t

Bence Makkai

Lepedus-Sisko Péter

PhoneCam Project

http://www.facebook.com/groups/ThePhoneCamProject/http://www.facebook.com/groups/ThePhoneCamProject/


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Albert Adrian Vrăbiuță

C r i s t i n

a G e o r g e s c u

M i h a i U r s e a

PhoneCam ProjectPhoneCam Project


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S z a b o A n d r e i

Laura Pünkösti

Szőcs Tamás

S z ő c s T a m á s

PhoneCam Project


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Szőcs Tamás

Guy Tal on photography Guy Tal on photography


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foto4all.ro 118 foto4all.ro119 foto4all.ro119

The Patina of

Digitality

Speaking about the role of the artist in conservation,

Ansel Adams proclaimed, “The curse of all art is

the patina of sentimentality.” Perhaps a curious

observation from one who devoted much of his

life and work to promote conservation under a

creed borrowed from Alfred Stieglitz, which is the

“afrmation of life.” And the case can also be made

that Adams put the “curse” to very effective use in

advocating for the environment. Today, we face a

similar curse of perception whose effect is somewhat

less obvious: the prejudices and misconceptions

associated with the use of digital technology.

Most photographic work today is both created and

showcased electronically and in greater abundance

than previously possible, raising new challenges

for photographic artists. Among these are some

obvious shortfalls of the digital medium, such as

having limited control over the appearance of the

work on monitors of varying sizes and qualities. In

addition, the sheer number of images posted online

inevitably means that viewers are rarely afforded

(or motivated to take) the time to study the ner

nuances of photographs, and generally peruse them

for seconds at a time, lending advantage to images

that are high in visual impact, to the detriment of

more subtle or sophisticated works.

Some challenges in the digital age, however, are less

obvious. In an experiment conducted a few years

ago, subjects in their twenties (a generation having

no inherent discomfort with digital technology)

were shown a series of abstract images. Some were

labeled as “gallery” images and some as “computer”

images. According to the study’s authors, “statistical

analysis revealed that the stimuli were rated as

being signicantly more aesthetically pleasing when

labelled as ‘gallery’ than when labelled as ‘computer,’”

indicating an innate bias toward placing higher value

on traditional contexts for art.

Technology is the knack of so arranging the

world that we do not experience it.

Rollo May

We face a similar curse of perception whose

effect is somewhat less obvious: the prejudices

and misconceptions associated with the use of

digital technology.

Guy Tal on photography

http://www.danaartgallery.ro/


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Another advantage to traditional venues for art comes

from the fact that the experience is multisensory

and multidimensional, whereas the digital viewing

experience generally is entirely visual, lacking the

tactile sensations of a printed image; the scents of

paper and ink; the sounds of turning pages or the

hushed voices of visitors in museums or galleries.

A study conducted in 2014 found that, “Memories

for objects originally encountered in a multisensory

context can be more robust than those for objects

encountered in an exclusively visual or auditory

context,” meaning that images encountered onlinemay be less memorable than those s tudied as prints

or in other material contexts.

Today we consider digital imaging mostly as a

technological revolution, but more careful study may

suggest that, despite greater ease and control offered

by digital tools, the experience of viewing images

may in fact be somewhat diminished when compared

a change in perception also occurs over time – a

change in the way viewers intuitively assign value

and importance to digital images and select those

works worthy of committing to memory.

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 nding fulllment through one’s art
http://www.danaartgallery.ro/

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