User Profile Fields Own View
Ernesto Bazan 2
Summary:
Ernesto Bazan 1
Summary:
In this first part of Ernest Bazan's photography, Bazan focuses on the emotional attachment to his photography and the meaning behind his images. The transition from professional photographer to an intimate picture taker is how Bazan describes himself on a 'Photographic Revelation". One of the most relevant project Bazan discuses with much feeling is his first published book on Cuba. He arrived in Cuba in 1992 and that forever changed his life and the path of his career. He met his future wife, who bore two twin boys and after that moment Bazan knew that he would always have a deep and emotional connection to Cuba, forever. It's quite interesting how Bazan came to be a photographer.
Through a dream he heard a distinct voice tell him to be a photographer. Upon waking the next day he set out to follow that dream much to the dismay to his parents, especially his father who had another career choice in mind. Bazan then set off to learn English in order to study in New York at the School of Visual Arts in 1979. Four years later he graduated. Soon he made his first trip to Cuba based on the notion that Cuba was like the thought of an exotic woman he could not get out of his thoughts. With these motivations he booked his first week package tour and was mesmerized the moment he stepped of the plane. The similarities between the daily street life in Palermo and Cuba were stunningly uncanny, which made him feel right at home, comfortable and ready to shoot. Well, it was on his second trip to Cuba where his worked started to change more towards to an intimate subject approach. With the marriage to his wife and birth of his twin boys he started to incorporate his family into the stories and picture book on Cuba.
One picture that made it into the book, he describes as the "Quintessence" of motherhood, is of his wife feeding her children with a milk bottle and disheveled hair, giving motherly care without even thinking about her vanity. Bazan becomes friends with most of his subjects, like the farmers he met on the countryside. It became a more personal journey and a way to feel more through shooting people who would otherwise not even make the daily news. Bazan is not interested in shooting war or tragedy; he is more interested in photographing the poetry of life, everyday occurrences that we are all not so privileged to see.
And we are thankful that Bazan shares his thoughtful and poignant work with an average to eclectic audience that would otherwise be to jaded by the media world of photography to take time out for the beautiful simple things in life, or otherwise not have the means to research or purchase his books or work. Through the Internet Bazan makes a lot of his work available for the pleasurable viewing of others.
Bazan has also won several admirable photographic awards throughout his career, which shows no signs of slowing down. Please take a look at Ernesto Bazan Part 2 to be released her on FotoTV.com
Create a Movie Scene
Summary:
In this video Kate Breuer shows, how to create a cinematic effect, that makes your pictures look like they were taken out of a movie.
She adds a hue/saturation adjustment layer to create the brown-golden color typical for movies and to add some contrast and satuartion.
In the next step, she adds some black bars at the top and bottom to make the viewer think of 16:9 movies at television.
Finally, she draws in some back lighting by painting with a white, smooth brush on a new layer.
Learn how to make your own images look like cinematic art!
Richard Kalvar on the Streets
Summary:
FotoTV has developed FotoTV-Tech, a forum within the FotoTV platform dedicated to covering all photography related topics such as, prominent photographers, camera hardware, software services and products. For this further installment of FotoTV Tech founder Marc Ludwig speaks with legendary Magnum photographer, Richard Kalvar to discuss his work and technique.
Kalvar, a member of Magnum since the 1970’s, is a classic, black & white street photographer uses Kodak tri-x film, “for the unbelievable grain and rich grey tones”, he boasts. Although he considers the term “street-photography” to be anywhere from a bar or restaurant, to a visit to someone’s house, his photographs always reveal an intimate and most likely, a humorous setting.
Kalvar has an exceptional eye and a talent for catching unexpected moments between human interactions, be it two people arguing or talking on the street or two grown men dressed as daisies. He shares numerous techniques and gives guidelines on how photographers can best make themselves “invisible” when photographing on the street. One interesting story Kalvar shares is that of being accosted on the street during shooting for FotoTV and he also gives valuable tips on how photographers can make the best of almost any situation. Kalvar also talks about his latest project “Earthlings”, a photo book that showcases the best of his work throughout his extensive career.