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PHOTOGRAPHY MASTERS CONFERENCE VII
I’m a wedding photographer with a passion for people watching. I want my wedding photographs to be snapshots of real, uncontrived but tender moments in time. Weddings are where I ply my trade, but really it’s just “people being people” – they happen to be at weddings. I shoot with the small, Fujifilm mirrorless cameras and always with natural light only. This allows me to shoot the wedding from the inside out, and I want my clients to be taken right back to that moment in time when the image was exposed and see it from their guests eye view. I was the first Fujifilm X-Photographer in the wedding area and shoot exclusively as a documentary / candid photographer. Street Photography is my training ground.
Kevin Mullins is an outstanding photographer, based out of Malmesbury Wiltshir. He is One of the top five wedding photographers in the world. He Taking his inspiration from classic street photographers and photojournalists across the globe, Kevin love to photograph weddings and see it as a privilege to be involved in your special day. Kevin Mullins will photograph your wedding in a documentary reportage way, telling the true story of it in pictures. He is also very pleased to be only one of a handful of photographers to be a member of the International Society of Professional Wedding Photographers.
I am a MQEP Master Qualified European Photographer & visual artist because I want to create something special, something people can relate and feel. Telling stories visually is my strength. In the digital era, the most impressive stories will be told in pictures. Well this is me. Digital artist, photographer, retoucher from Finland. Portrait photographer of Finland 2013. Internationally awarded commercial photographer. Father and a husband. My mission is to build the visual experience, which tells the story of you, your product, service or company, in a globally understandable way. I belong to a new generation of image artisans, to whom all things are possible. I create complex visual concepts and images with unlimited imagination. Imagine Anything. I operate through international network of professional resources. For me, every picture is a unique project.
Roberto Kusterle’s photographs are the result of a long and complex process of analysis and re-composition. Before the final decision the distance and the point of view were experimented with at length. Finding an expressive range within different natural materials was not easy. The re-articulation, intertwining and grafting of one natural order onto another was considered and tested at length. Attention to details was also very demanding. The result is remarkable, not only for its stylistic coherence, but also for the meanings and emotions it conveys. It could be argued that the starting point for Kusterle’s photography lies in the overcoming of the distinction between subject and nature. Human beings are part of the nature they observe and are called upon to know and represent what they are part of. However, there is more than this in Kusterle’s photographs. Man’s belonging to nature is based on the overcoming of another limit, the distinction between that which is organic and that which is inorganic, between life and matter, body and stone. Indeed, Kusterle considers the bodies he photographs with a sculptor’s eye. His photography implies a preliminary stage where flesh is turned into stone, soil, clay or bark. This has always allowed him to use the body as a material for engraving and tracing marks, for re-writing and for new creations. This has been a recurrent stylistic element in his previous cycles of photographs, but Kusterle’s work is now moving forward. The marks on the body/matter no longer hint at undecipherable primordial alphabets. Rather, they become incisions, sections opening the way to originary depths, unexpected possibilities of life. They reveal complex levels of life, undoubtedly drawing from the categories of post human and the so-called anthropotechnical, but are then elaborated in the sense of a genealogical research into the most profound roots of life1. The aim of his research is knowledge, not just exploiting technical possibilities. It’s not a matter of devising prostheses, but rather of exploring the dynamics of an ancient, originary biology, pre-dating the distinction into natural orders. Thus Kusterle’s gaze shifts and takes on an archaeological approach. He investigates layers and sediments, reveals latent systems of life. He does not seek out or reconstruct traumas, nor does he investigate suppressed notions, rather he re-traces the desiccated paths of irretrievable lives, or at least that’s what it looks like at first glance. Blood vessels have become straw for bird’s nests, circulatory systems have become straw for stuffing, spinal columns extend like branches, women’s hair morphs into feathers or becomes wonderful shells. The figures that Kusterle’s gaze composes, uniting the human with the animal kingdom, look like embalmed animals, rigid reminders of a lost life. They look like exhibits from a natural history museum, what is left after some obscure alchemic lesson, or after an enigmatic autopsy. They look like extraordinary remains of some mythical civilisation whose memory evokes a feeling of displacement and curiosity. In actual fact, the most recent dimension glimpsed and explored by Kusterle deals with the passage between different orders of life, pleats and folds that translate one world into another, rips or hems in the fabric opening into uncharted depths. It is here that Kusterle’s gaze becomes that of a photographer seeking, exploring, refusing to conform to a reality that has become rigid and stereotypical. Indeed his sections reveal a void. Instead of essential elements, the incisions reveal mummy-like stuffing, frames and theatrical sets. In this way, Kusterle’s vision does not aim at a reality that is per-se beyond the image, beyond the phenomenon. At the centre of his research lies the issue of the image, the issue of the line between reproduction and creativity, between receptiveness and invention. The ultimate, determining goal of Kusterle’s research is that margin, that “split” that keeps together outside and inside, organic and inorganic, essence and appearance, life and image2. The accent falls on the ontological condition of the surface, of the skin, that is on the nature of an image that is not the product of pure vision or invention, neither is it the mere reproduction of a positive reality. The logic behind the elaboration on the image, the work of construction and assembling of the photographed object, resemble the formal criteria of surrealism. Of course, digital photography allows Kusterle new possibilities, without having to curb the imaginative power of his vision. In fact, the reference to surrealism is distant and obsolete. This research no longer deals with dreams, the unconscious and the depths of the mind striving to “widen” and ultimately “superseding” reality3. Quite the opposite, Kusterle’s research enters into the woods and the countryside, seeking signs of “metembiosis” in a known and familiar nature. His gaze moves toward the outside, it goes beyond an immediate and direct vision of reality, piercing and passing through the opaque nature of bodies and the false consistency of matter, surfaces and full spaces. His gaze overcomes the clear distinctions of species and orders to grasp the moments of differentiation or transformation of a single, vital principle. On the other hand a surrealism without the unconscious can only delve into nature’s fault lines, revealing different forms of light, unexpected evolutionary branches, “line of flight” among “heterogeneous series”4. Alain Badiou demonstrated that where being can only be a partial, “local”, circumscribed and ultimately uncertain “support” to reality, then reality is, and can be perceived to be, in continuous “mutation”5. This is what happens in Kusterle’s work. On one hand, the stable and linear relationships between object and phenomenon, between reality and its appearances, break down. On the other hand, photography exploits this crisis to bring the extremes, the breaking points or the furthest limits of the image “to the surface”. That punctum that Barthes argued destabilises the compact nature of a photograph, that was initially misunderstood to be where a perfect mimesis of reality could take place6, now becomes the very centre of Kusterle’s photography. It becomes the place of encounter and solidarity between different biological orders, who are however no longer opposites. At the same time it becomes the place for photography to reflect on its own possibilities, ambitions and limits. Kusterle’s entire work is thus clearly a continuous, repeated and passionate photographic research into photography itself. Kusterle has always composed his subjects and photographs in search of aesthetically and formally perfect photographs, as well as emotionally powerful ones. His photographs do not allow improvisation or error, and have always pursued archetypical figures capable of determining and expressing a contemporary classicism, figures who can respect the freedom of each individual, or form of life. For this reason the viewer looking at these photographs for the first time might initially feel displaced, but ultimately reassured: feeling involved in a familiar environment, not a disquieting one, an almost natural atmosphere that has always been part of the viewer themselves.
He was born in Udine in 1969 where he still resides. Although he has just started to photograph (March 2011), in his capacity as a freelance photographer, he has published a lot of photos and projects (architecture, portraits, landscapes, events and street). He has been written and published his work in magazines of photography, some of the best known Italian critics and many are his participations in international group exhibitions (London, Rome, Paris, New York, Moscow, Los Angeles, Miami Art Basel) with great photographers from all over the world. He has won major awards in Italy and in the World and abroad and his photographs are in private collections and foundations. He received 4 Honorable Mention IPA 2013, 1 Honorable Mention Architecture IPA 2014, 2nd place Portraits Children PX3 2014, 3rd place Architecture to PX3 2014, 3rd place Architecture at MIFA 2014. In 2015 his picture "Industrial Geometries" has received international recognition being published in more than 5,000 articles on Magazine worldwide. The World Photographic Organization awarded him the title of Best Italian Photographer in 2015 awarding it the title of "National - Italy Award" at the Sony World Photography Award 2015/2016/2017. In the same year, he received other major awards, Honorable Mention in Fine-Art Architecture Professional to PX3 2015, a 2nd and a 3rd place in Fine-Art Architecture Professional to PX3 2015 People Choice, 1st in Industrial Architecture to IPA 2015. He has exhibited from 25 July to 10 September 2013 of three of my photos in a group show in New York “The Story of Creative” at Orange Foundation Gallery. At July 2014 screening at Time Square NY on big wall of three his photos. In 2014 he realized photo-shoot for cookbook Alpe Adria financed by the European Community. He at the Saatchi Gallery in London from March 2014 to 3 photos and other 3 photos from March 2015. During 2015 he presented his first solo exhibition titled "Anime Post-Moderne" at two locations in Italy, one in July and another in September. He continues to work as responsabile for the course planning and management at Civiform soc.coop.soc. (vocational secondary school) where in 2015 he began to teach photography to students and where even care as the official photographer for publications and events. From November 2015 he started doing freelance photographer. He was contacted by agencies and galleries but rather maintain freedom of expression for the moment and do not have to accept assignments only on the needs of others, but because he believes in the project. The award received the Sony Award in 2015 changed his life and beyond the great visibility obtained allowed him to learn about a new world, allowed him to create solid relations of friendship and professional collaboration that otherwise would not have been able to obtain. His field of action is architectural photography, but the passion for photography led him to also experience in other areas, he continued to study photography, to search for new communication styles and develop his style. Finally here he is at the Blind Pilots Project for a new adventure!
Paolo Ferrari is a sensational photographer with multi-year activity for stillife photos and industrial art photographs and art prints. His creations expand between photos of architecture, landscapes, portraits and fine art. Paolo is a "master of the image". When he talks about photography we are listening his words with a strong engagement and emotions. Ferrari can engage the public with its long experience and beautiful stories. He did everything in photography. He started with the dark room, with the optical bench and finally went to digital. His materials are wonderful tales and memories in a long journey into the world of photography.