CHASING LIGHT AND LIFE IN BAJA CALIFORNIA SUR by Pamela Haberman

 

Longshore Drift
Longshore drift

The Baja Peninsula is one of those Jungian archetypes that ignites an immediate and strong reaction in anyone who experiences it. Whether it’s the culture or the geography, something happens that either attracts or repels a new visitor. There is never a middle ground, an absence of effect or indifference. For me a personal rebirth is instantly met and I feel something akin to a spiritual affinity for the area.

remnants

Remnants

Sneetches

Sneetches

As a photographer I am overwhelmed by the sensory gifts of Baja—the rugged mountains and canyons, bare-foot blonde beaches, inscrutable deserts and the paradox of wild coast on one side of the peninsula and glass calm sea on the other. Underlying all of it is the quality of Baja light.

sun worshippers

Sun worshippers

Thelma and Louise

Thelma and Louise

umbrella

Umbrella

This collection of photographs is from the Tropic of Cancer region of Baja California Sur during a couple of my annual motorcycle sojourns to Baja.

To enjoy more of Pamela’s work visit her Flickr page and her JPG page

ON THE LIMINAL EDGE by Anne McGinn

Perspectives of Fall, secrets and reflections of a season in transition.

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reflectionlong500

Concrete Sky500

trees-500 copy

the dark season500

Winter Frenzy.bronzed500

Anne McGinn is an image maker from Los Angeles, California. She expresses emotion, reveals beauty and explores the liminal edge between reality and dreams throughout her work.

See more of Anne’s work here and her previous contributions to aamora here.

CHILDHOOD by Michael Ast, Jeff James and Llorenç Rosanes

MICHAEL AST

MichaelAst_Childhood_1

MichaelAst_Childhood_2

MichaelAst_Childhood_3


“The photographs here are meant to illustrate the energy of young children; in particular, two siblings close in age – one with male energy, one with female energy, and the impulsive energy ignited from their combined sense of elation, adventure and unconditioned imagination. As a father, entirely in love, and loved in return, their joy has earned me an exclusive, second take on life in this world.”

 


JEFF JAMES

Chiri in the garage


Chiri in the garage

Gideon on the swing


Gideon on the swing

Jasper in the wagon


Jasper in the wagon


LLORENC ROSANES


Most of us enjoy the feeling of being naked, but children have no inhibitions about being free of their clothes!

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Michael’s posts on aamora


Jeff’s posts on aamora


Llorenç’s posts on aamora


Aamora asked three excellent photographers, who are young fathers, to give us their vision of childhood. Our thanks to all three for sharing their intimate images of childhood on Aamora!

THE AAMORA INTERVIEW. 2. Michael Van Der Tol

For our second interview we’ve asked aamora founder member Michael Van Der Tol to answer our questions.

Lasqetti_Storm_1 (1)

Lasquetti Storm

 Why photography?

At one time in my life it was oils & water colors, but that soon gave way to photography for the simple reason that I can capture moments that turn into memories. With my painting I would recreate memories of past moments. At this point in my life I prefer the former.

Cellphones.

A good conduit for consuming shared imagery, but a lot of photography is better viewed in a larger form factor – like a print or a higher resolution screen or tablet.

Digital v. Film – still a topic?

Not relevant – it’s like oils v. acrylics; or instant film vs. lab processed film.

 Is the equipment important?

At one time it was, as very few had access to basic equipment and processes because of the cost; not anymore.

 How did you learn to photograph?

I’m still learning, but I started practising on film and then began practising using digital.

Are photographs “taken” or “made”?

Some are made – some are taken. I enjoy the process of making photographs. For me the process starts with the capture of the image. The making comes in the processing of the image. On rare occasions I am happy with a “taken” photograph.

Is photography art?

Photography is art. You may get arguments from purists who say Visual Art and digital photography are at two different ends of the artistic spectrum – with technology having no place in art. I would encourage those who think this way to consider watching an eye-opening documentary called “Tim’s Vermeer”, about one of the great Dutch painters, Johannes Vermeer.

Where do you go to look at photographs?

Like most people I consume a lot of photography via the internet. Sites like VSCO, 500px, Flickr, Instagram are some of my favorites for different reasons.

Who is it for – you or them?

A lot of what I take is for me and I share a small fraction with others. A lot of what I don’t share is more experimental – as I prefer to hone the concept before sharing.

View Michel’s contributions to aamora here.

C∀M∃R∀ 0bSCUR∀ (part one) by Simon J Powell

empty chair


empty chair

follow me

follow me

 

C∀M∃R∀ 0bSCUR∀ is an ongoing street photography project motivated by a desire to explore fresh and intriguing perspectives on the world. Shadows are often used for dramatic effect in black and white street photography. However, they are usually contingent on the depiction of the subject that casts them and are of incidental, purely aesthetic significance. By making the shadow itself our principle focus, we can glimpse a surreal and curious realm, often overlooked, that resides within the commonplace and everyday.

footprints


footprints

foursome


foursome

interstellar


interstellar


A shadow is at once real but intangible, familiar and magical, clear in form yet obscure in meaning. It is an accurate reflection of the figure it clings to, but like a dream filtered through the prism of the mind, is transformed through the angles of light and surface, and the photographer’s lens, which imparts his own meaning into the darkness between the lines. Just as painters in a bygone age sat in small dark rooms tracing images of what stood outside a tiny window, in the bright sunlight. The image is precise, but not exact. Everything is reversed or upside down. But, perhaps this is all we ever see of anyone: shadows, projections, our associations.

For more of the artist’s work, visit Simon’s facebook page

IDEA DI SILENZIO di Carlo Pisa


Welcome back Carlo Pisa with the second chapter of his DE STRUCTURA 3 portfolio.

02 - IDEA DI SILENZIO

Milano Bovisa #1


Milan (Italy).The Bovisa district

There is a border that Carlo Pisa wanted to cross.To see beyond the sharpness, to perceive the shapes outside, over those completed borders, resolute. To catch a glimpse of other universes, to provoke the differences between them.
Light opens new visions. The known matter disappears and transforms, regenerating itself. The colors reconceive, renewing themselves in an endless dance.
To deduce (to take away) the visible, and induce (to give) the mechanical/human eye to concentrate on the full emptiness, looking away from the immediate.To perceive the harmonics of the image – not the dominant, but the hidden movable or immovable.
The work of Carlo Pisa is here, within these inexact borders. Not out of focus, or outside the focus or even inside of it, that is the space that the exact focus hides. The blurring of the images shows the life of the middle, which investigates the choking of light that an aware and direct eye perceives, and to subvert the hierarchy of shapes and lines, capturing the poetry which is in everything.

Text by Oxana Maleeva (Curator)

Milano 2006 / 7.0a


Milan (Italy). The Bovisa disrict

Milano 2006 / 4.32


Milano (Italy) near the Arena Civica

Milano Bicocca #1


Milan (Italy) The back of the Pirelli Cavi Building. Bicocca district.

Sant Petersburg  #31 (Санкт Петербург #31)


St.Petersburg (Russian Fed). Vosstanya st.

Milano Rogoredo. #4


Milano (Italy) near Rogoredo station

Carlo Pisa was born in Italy. Currently he lives and works between Italy and Russia.

In 1982, he started studying photography and began work as David Lees’ assistant on the staff of the photographers of the Time Life group. He also was part of international working teams and was involved in international workshops on photojournalism hosted by Alex Webb, Jeff Jacobson, Bob Sacha, Tomasz Tomaszewski and Jane Evelyn Atwood.

From 1984 to 2004 he worked as a professional photojournalist.

As of 2004, he has been engaged in individual researches meant to be the first step of an exclusively artistic path.

To read more about Carlo’s professional work and exhibitions go to his first post on aamora.

To see more of his work go to his website and Facebook page.

“A DAY WITH THE MERMAIDS” Coney Island NYC by aamora member Danielle Kelly

coney island mermaid parade 2014-3

coney island mermaid parade 2014

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coney island mermaid parade 2014-5

coney island mermaid parade 2014-8

coney island mermaid parade 2014-9

coney island mermaid parade 2014-10

Enjoy more of Danielle’s work on tumblr and on her website

 


You can see Danielle’s earlier contributions to aamora here.

DROMEN/DREAMS by Caroline Penris

Dromen_C.Penris.aamora1

 

 

By chance I wandered into a dream,

Dromen_C.Penris.aamora2

 

and in that dream I was the sky,

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and in that dream I was the sea,

Dromen_C.Penris.aamora4

and across my still waters a small boat sailed.

Dromen_C.Penris.aamora5

Enjoy more of Caroline’s work on her website.

See Caroline’s earlier contributions to aamora here.

(words by Catharine Amato)

The Aamora Interview. 1- ALEXIS GERARD

Founder member of aamora, Alexis Gerard answers some questions on photography.

Museuminsel, Berlin, Germany (July 2014)reduced

Museuminsel, Berlin, Germany (July 2014) by Alexis Gerard

Why photography?

To pay attention to the world. To remind ourselves and hopefully all those who look at our images, that even what we consider most ordinary is in fact extraordinary and amazing. We knew that as children but we forgot it over time.
Photography is a magical tool to help us remember.

 

Cellphones

A camera we have with us even when we have no other camera, one that gets better with every generation of phones.Also the device that enables us to converse visually with others, a shift in our communication patterns that will have profound impact on our culture and even on our brains over time.


Digital vs Film -still a topic?

Not really, the characteristics of each are known and we choose between them according to our temperament and goals.


Is the equipment important?

Absolutely. Great images can be made with any kind of equipment, but the equipment’s characteristics determine one’s options with respect to visual style. You can’t make any kind of image with any kind of equipment, at least not well.


How did you learn to photograph?

At first by doing and reading. I’d go out and photograph, and when my images had technical problems I read books to try and figure out what I’d done wrong.That got me far enough to build a portfolio on the basis of which I was accepted at The International Center of Photography as a full-time student for a year. That was a huge learning experience.


Is photography art?

It’s the most accessible form of personal artistic expression.Whether or not it qualifies as art with a capital “A” is determined by the cultural powers that be and by the eye of the beholder.


Where do you go to look at photographs?

I look at tons of images online, mostly Flickr.There are some amazing creators there.I am also fortunate that there are many wonderful museums and galleries in the SF Bay Area that show photography. I look at painting, too.


Who is it for-you or them?

I’d photograph even if no one else could see my work, but I’d really miss the interactions.

Alexis Gerard’s contributions to aamora

m4s0n501

BEYOND THE GIVEN KNOWN by Carlo Pisa

01 - OLTRE I CONTORNI DELLA PRIMA LUCE

There is a border that Carlo Pisa wanted to cross.To see beyond the sharpness, to perceive the shapes outside, over those completed borders, resolute. To catch a glimpse of other universes, to provoke the differences between them.Light opens new visions. The known matter disappears and transforms, regenerating itself. The colors reconceive, renewing themselves in an endless dance.To deduce (to take away) the visible, and induce (to give) the mechanical/human eye to concentrate on the full emptiness, looking away from the immediate.
To perceive the harmonics of the image – not the dominant, but the hidden movable or immovable.
The work of Carlo Pisa is here, within these inexact borders. Not out of focus, or outside the focus or even inside of it, that is the space that the exact focus hides. The blurring of the images shows the life of the middle, which investigates the choking of light that an aware and direct eye perceives, and to subvert the hierarchy of shapes and lines, capturing the poetry which is in everything.
Text by Oxana Maleeva (Curator)

San Pietroburgo #9 ( Санкт Петербург #9 )

At Saint Petersburg , in the garden of the Fontanka theatre.

Verso Montisi #1

The road to Montisi, Siena

 

San Pietroburgo #10 ( ????? ????????? #10 ) . San Pietroburgo 20At Saint Petersburg , the Neva river towards the Dvortsovy bridge, the Admiralty and the Winter Palace.

San Pietroburgo #33 (Санкт Петербург #33 - Кам

At Saint Petersburg, on the Kamennostrovskiy Prospekt

Mosca #5 . Park Kultury (?????? #5 . ???? ??????«??)     M

Moscow, Gorky Park

01 - OLTRE I CONTORNI DELLA PRIMA LUCE 06

Moscow , close to the Novodevichy Monastery

Carlo Pisa was born in Italy. Currently he lives and works between Italy and Russia.

In 1982, he started studying photography and began work as David Lees’ assistant on the staff of the photographers of the Time Life group. He also was part of international working teams and was involved in international workshops on photojournalism hosted by Alex Webb, Jeff Jacobson, Bob Sacha, Tomasz Tomaszewski and Jane Evelyn Atwood.

From 1984 to 2004 he worked as a professional photojournalist.

All his editorial works are a sensitive attempt to tell stories about people and places making use of a language which enabled him to express the frailty of the images of the life we have before our very eyes.

As of 2004, he has been engaged in individual researches meant to be the first step of an exclusively artistic path.

 Main Exhibitions and Fairs:

 2004 Group exhibition at Galleria Goethe Arte Contemporanea, Bolzano (Italy)  2004 Solo exhibition at Galleria Fabbrica Eos Arte Contemporanea, Milan (Italy)  2004 International Biennale of Photography, Contemporary Art section, Brescia (Italy)  2005 MiArt Fair with Fabbrica Eos Arte Contemporanea  2006 Solo exhibition at Marina Gisich Gallery, St. Petersburg (Russian Federation)  2011 Solo exhibition at Museum of History of Photography, St. Petersburg (Russian Federation)  2011 54th International Art Exhibition, the Venice Biennale, Pavilion Italy  2012 Light of Silence, Group exhibition at Galerie Iragui, Moscow (Russian Federation)  2012 Solo exhibition at MIA – Milan Image Art Fair – with Galerie Iragui.  2012 Art Moscow with Galerie Iragui, Moscow (Russian Federation)  2013 (February) Group exhibition at Galleria Goethe Arte Contemporanea, Bolzano (Italy)  2013 Solo exhibition at NYBA . New York Biennale Art New York City (USA)  2013 20 Years or 5 Minutes, Group exhibition at Galleria Fabbrica Eos Arte Contemporanea, Milan (Italy)  2013 (July) Summer exhibition: Group exhibition of the artists represented by Galleria Goethe Arte Contemporanea, Bolzano (Italy)  2013 Vienna International Art Fair with Galerie Iragui, Vienna – Austria • 2013 Vienna International Art Fair with Galerie Iragui, Vienna – Austria  2014 Through Waters project – Phnom Penh, Cambodia.

 

Carlo’s website d and his Facebook page

 

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