Monday’s Inspiration – Peter Dombrovskis

Peter Dombrovskis as an Australian photographer. Dombrovskis was born in Wiesbaden, Germany in 1945.  He emigrated to Australia with his mother Adele and started taking photographs in the 1960’s. He was strongly influenced by Lithuanian-Australian pioneer, conservationist and photographer Olegas Truchanas, who became a father figure to him. He was equally influenced by landscape photographers of mid-century America such as Ansel Adams, Edward and Brett Weston and Eliot Porter.

 

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My first zine……

I’ve been creating for a while now and  I felt that I need something tangible. Something that would allow me to push myself further in my work. There’s nothing better than seeing  your work printed. You can also learn so much through printing. All the flaws, every little thing that you may have missed, everything is revealed.

For that reason I really exited to announce my first self- published Zine. A small collection of my recent work. It is a collection of some my favourite images. It is the first big step that I’ve taken since I’ve started on this journey.

This particular zine took about 4 months to put together. Images, design and everything have been put together by myself then came the proofing to find the right paper to use for the images.

It is a 40 page A4 zine printed right here in the UK. I’ve only printed a limited amount of 150 copies to be purchased and it would truly mean a lot if you can purchase a copy. It is now available to order. Kindly email me at pamela.aminou@gmail.com your interest.

Thank you all for your support!!!

 

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Photography and mortality

I’ve recently started to read a photographer named Eric Kim’s blog and I came across one of his articles on why we photograph?

Eric mentioned that “Photography is a meditation on mortality. Whoever we photograph will eventually die. And we will eventually die. We seek immortality through making photos.” This got me thinking on whether it is true.

I certainly agree that it is a meditation for me but I haven’t thought as far as my mortality as yet. But I’ve come to agree with his point of view. We will all eventually die, and what we create will eventually be our legacy. We are all familiar with photography Masters. Why do we consider them masters and why do we love their work?

We consider as such because they are the master of their field and we love their work because it is unique to the individual which is what I love. You can see the difference between Henri Cartier-Bresson images and that of Brassaï. Their strive to be themselves and tell their own stories which make them personal.

Late last year, I was reminded of how much life is short and I promised myself to make the most of everyday. This reminder pushes me to be a little more personal in my work and to create whenever possible. Maybe it is my way to subconsciously deal with my mortality.

Why do you you photograph?

 

 

 

 

Monday’s inspiration – Gustave Marissiaux

Gustave Marissiaux was a Belgian pictorial photographer and a law student, before he took up photography in 1894. During the same year, he was elected t to the Belgian Association of Photography (B. A.P.). His country views denote a symbolist influence.

Portrait is also an important part of his work. He not only practised it as a professional, in the studio he opened in Liиge in 1899, but also as an artist, in numerous “Studies.” Recognised as one of the most important Belgian Pictorialist, he not only took part in the national Salons of the B.A.P., but also in several European Salons. By combining photography projection, poetry and music, he created a new form of “total spectacle,” based on his images of Venice (1903). A public order was addressed to Marissiaux by the Syndicate of Coal Board. This series of stereoscopic views entitled “The Coalmine,” and the album “Artist’s Visions” (1908), are Marissiaux’s most well-known works. He also elaborated a colour technique with the collaboration of Joseph Sury, in the course of the 1910’s and 1920’s.

 

Monday’s Inspiration – José Medeiros

José Medeiros was a documentary photographer born in 1921 in Teresina (Nordeste). At the age of 12, his father taught him photography techniques  and at the age of 18, he moved to Rio to study architecture but ended up following his passion and began working with reviews, taking photos of celebrities.

After the war, the French photographer Jean Manzon invited him to join the new review O Cruzeiro. It was the beginning of a new adventure full of liberty and boldness, in his own words. Cruzeiro incorporated the photojournalism model practiced by European magazines such as Vu and Voilá: a photographic narrative designed and structured primarily as an adventure, frequently relied on the voyeurism and journalistic sensationalism.

At the same time, O Cruzeiro helped Brazil to understand its diversity, even if it also served the interests of Getulio Vargas, his authoritarian regime and the construction of national identity.

Let’s see the peak back into Brazil, its diversity and culture back then.

Índio yawalapiti, 1949
Serra do Roncador, Mato Grosso
José Medeiros/Acervo Instituto Moreira Salles
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Film rolls – British museum London

Since I decided to improve my film images too I’ve decided to share with you images from my third roll of 35mm. At the moment, I’m using HP5, simply because it is what was recommended to me. But I have also purchased the Kodak Tri X which is quite pricey but then again it might because I purchase it individually.

I’m only sharing the third roll as there were no results from the second roll I’ve shot and I was really disappointed as there were a few images that I would have loved to have come out.

These images were taken using the sunny 16 rule as I decided to ditch the light meter App on my phone. I didn’t expect any results from the rolls but my instincts seem to have paid off.

Below are the images scanned and unedited.

 

 

What is your camera to you?

When you first start on your photographic journey, you buy every magazine on the market with the How to quick guides……. We are taught that it is a good thing to learn but we are not taught to filter things.

I’ve bought many of those magazines and i still have plenty of them. However, one how to guide is followed by gear reviews along with many camera, tripods, camera bag advertisements. We all know that’s how the magazine makes money. My point is that you are almost programmed to be a gear hoarder. Ever noticed the gear list of every photographer featured? Almost making you feel as though if you do not have that particular camera you will not achieve that image.

I must say, I fell for it and believed it.

I started with a Nikon D40 and I still love a few images (I was only beginning) I created with that. As soon as I started, all I wanted was a full frame camera. Let’s be honest, I didn’t even know if I really needed it or it was going to do. However, I did keep keep the camera for few years until the shutter failed and needed replacement. The replacement would have costed me more than the camera so I chose to upgrade to a D90. The shutter failed within a week on that one too but couldn’t get it replaced as Nikon stopped production. I finally chose to upgrade to a Canon 5D. I’ve had this camera for now 3 years and I’m very.

Is it all I hoped for but I took the time to learn everything this camera can do. It now feels like an extended part of me. Would I upgrade again? No. Would upgrading can what I’m creating? No it will not.

I’ve come to learn that creating is about what is within me, what I’m trying to say and just as painters chose to use a canvas, I chose to use a camera.

How many new cameras have hit the market within the last year? The Sony A9, Canon 5D mark IV just to name a few. Would I pick them up, I have no desire to.

My desire is to a more confident with my work and learn to express myself better and my camera is just the tool that will help me achieve my goal.

What is your camera to you?