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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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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Monday’s Inspiration – Marcel Gautherot

Marcel Gautherot was a French-Brazilian photographer. He was best known for his documentation in some three-thousand images of the construction of the Brazilian capital city Brasilia from 1958 to 1960. He initially studied architecture but then dedicated himself to photography.

He came to Brazil in 1940, his interest in the country awakened by reading the novel Jubiabá, by Jorge Amado. After a brief journey around the Amazon, he settled in Rio de Janeiro. He then  documentated projects for the recently created Serviço do Patrimônio Histórico e Artístico NacionalSphan [National Artistic and Historical Heritage Service].

He then contacted Brazilian intellectuals and architects, with whom he frequently worked, producing documentary series about the new Brazilian architecture.

During the 1940s, he travelled along the São Francisco River, recording human types and the popular and religious festivals with an almost anthropological eye. With the photographer Pierre Verger (1902 – 1996), whom he met in Paris, he realised long journeys around the country, documenting colonial and modern architecture among other things. Throughout his career, he contributed to specialist Brazilian and European magazines, with most of his output in black and white. He also began to use colour film from the 1970s onwards. During this period, his work was mainly directed towards books published inside and outside Brazil. Among other books, he is the author of Pernambuco/Recife/Olinda, 1970, Congonhas do Campo, 1973, and Bahia, Rio São Francisco, Recôncavo e Salvador, 1995. In 1999, the photographer’s collection of 25,000 images was acquired by the Instituto Moreira Salles – IMS [Moreira Salles Institute], in Rio de Janeiro. One of his books can be found here.

Here are a few images of Brazil from his point of view which include a few favourites. Which are yours?

Palácio do Congresso Nacional. Brasília, 1958. Foto: Marcel Gautherot/IMS

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Palácio do Congresso Nacional. Brasília, 1960. Foto: Marcel Gautherot/IMS
Palácio do Congresso Nacional. Brasília, 1960. Foto: Marcel Gautherot/IMS
Palácio da Alvorada. Brasília, 1962. Foto: Marcel Gautherot/IMS
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Palácio do Congresso Nacional. Brasília, 1960. Foto: Marcel Gautherot/IMS

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Monday’s Inspiration – Thomaz Farkas

Thomaz Jorge Farkas was Photographer, teacher, cinema producer and director. In 1930, he emigrated with his family to São Paulo, where his father was one of the founding partners of Fotoptica, one of the first shops of photographic equipment in Brazil. He joined the Foto Cine Clube Bandeirantes (FCCB) [Bandeirantes Photo and Cinema Club] in 1942, and began to exhibit his work in national and international salons. Through imported books and magazines, he became acquainted with the works of Edward Weston and Anselm Adams, two exponents of modern American photography. In the 1940s, he photographed ballet companies, sports, landscapes and scenes of everyday, urban life in São Paulo and Rio de Janeiro. In 1949, he held an individual exhibition, Photographic Studies, at the Museu de Arte Moderna de São Paulo (MAM/SP) [Museum of Modern Art of São Paulo], and seven of his photographs were incorporated to the collection of the Museum of Modern Art (MoMA), New York. In 1950, together with Geraldo de Barros, he developed a project for the photographic laboratory of the Museu de Arte de São Paulo Assis Chateaubriand (Masp) [Assis Chateaubriand Museum of Art of São Paulo], and taught classes there in the following year. Concomitantly, he experimented in cinema, frequented the studio of the Vera Cruz Cinematographic Company, in São Bernardo do Campo, São Paulo, and began a correspondence with the Dutch documentary-maker, Joris Ivens. He graduated in mechanical and electrical engineering from the Polytechnic School of the University of São Paulo (Poli/USP), in 1953. From 1957 to 1960, he documented the construction and inauguration of Brasília. After his father’s death, in 1960, he assumed the direction of Fotoptica, an office he held until 1997.

Sombra do fotógrafo José Medeiros. Rio de Janeiro, 1946. Foto: Thomaz Farkas/IMS
Edifício antigo do Rio de Janeiro. 1947. Foto: Thomaz Farkas/IMS
Fachada lateral do Ministério da Educação e Saúde, série Recortes. Rio de Janeiro, 1945. Foto: Thomaz Farkas/IMS

São Paulo, década de 1950. Foto: Thomaz Farkas/IMS
Mirante do Trianon. São Paulo, 1945. Foto: Thomaz Farkas/IMS