Interview of Alisa Valerieva Uzunova. Photos by Vadim Stein.

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  1. Алиса, быть балериной – значит открывать душу зрителю и все время быть на публике. Сложно ли это для Вас или Ваш характер сам располагает к этому?

Dear Alisa, being a ballerina means opening your soul to the public and always being exposed to the viewers. Is it hard for you or your character is disposed to it?

  • Для мену это большое удовольствие находятся на сцене и передавать свои чувства и эмоции зрителям.
  • It is a great pleasure for me to be on stage and transmit my emotions to the public.

 

Alisa Valerieva Uzunova. Stein1

  1. В чем психологические отличия выступления для зрителей и работы с профессиональным фотографом?

What is the psychological difference between performing on stage and posing for a professional photographer?

  • Это очень разные вещи. Когда ты на сцене у тебя только один шанс, а во время фотосессии ты можешь кадр много раз повторить и добиться лучшего результата.
  • These are two completely different things. You have only one chance to do everything perfect on stage,  yet during a photo session you can repeat one element many times and search for the best performance.
  1. Вы работали с разными известными фотографами. Что бы Вы могли посоветовать юным балеринам, которым еще только предстоит такой опыт?

You worked with different well-known photographers. What would you advise to young ballerinas who have this experience ahead of them?

  • Я бы посоветовала им чтоб они расслабились перед камерой и были уверены в себе! Если ты не уверена в себе и в движениях которые делаешь то и фотография будет не понятной и чёткой.
  • I would advise to relax in front of the camera and be sure of themselves. If you are self conscious you will not be “sure”in your movements and  the images  will not be clear and comprehensible.

Alisa Valerieva Uzunova. Stein3

  1. Представьте свою идеальную фото сессию. Где она должна проходить?

Can you imagine your ideal photo session? Where should it be held?

  • Для меня идеальная фотосессия бы была где то на супер красивом и экзотичным острове.                
  • My ideal photo session should be organised on a beautiful exotic island!     
  1. Вы предпочитаете студийную съемку или работу на открытом воздухе?

Do you prefer studio or open air shootings?

  • Я предпочитаю съемки на открытом воздухе.
  • I prefer open air photo sessions.

Alisa Valerieva Uzunova. Stein7

  1. Важно ли для Вас как для модели выглядеть идеально или в процессе съемки Вы забываете о внешности?

Is it important for you to have the ideal appearance for a photo shooting? Or do forget about the beauty while posing to photographers?

  • Конечно я стараюсь перед съемками сделать красивый макияж и причёску. Когда я себя чувствую некрасивой, то сразу знаю что и фотографии будут не очень удачными.
  • Surely I do my best to look good before a shooting. I know in advance that if don’t feel myself beautiful the photos will not be too great.
  1. Человек, который еще не видел Вас на сцене, но смотрит на Вашу фотографию – что бы Вы хотели чтобы он понял и увидел в Вашем образе?

A person who has never seen you performing but who is looking at your photo portrait – what would you prefer him to see in your image and understand about you as a dancer?

  • Я всегда пытаюсь через снимок передать те  эмоции которые я на тот момент чувствую. Я не люблю когда снимок получается пустым без души и эмоции.
  • I always seek to express the feelings that I have inside at the moment of a shooting. I don’t like it when a photo is “empty” and without emotions.
  1. Что Вам ближе – классический “балетный” портрет или необычная арт фотография, фотографические эксперименты?

What do you like more – a classical ballet portrait or an unusual artistic photograph, an experimental shooting?

  • Я очень люблю экспериментировать!! Я всегда стараюсь  придать фотографии что-то необычное, чтобы люди глядя на снимок не сразу понимали а чем идет речь. Что бы было загадочно.
  • I love experimenting! I like it when people don’t understand right away what a photo represents. This way there is some mystery in it…..

Alisa Valerieva Uzuniva. Stein2

Photos by @Vadim Stein, interview by @Anna Pavlova Network

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Artyom Shlapachenko. Road to Frontier

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Artyom Shlapachenko shares with us his new project with participation of Ballet Nacional de Cuba dancers. It’s called “ROAD TO FRONTIER” and it is dedicated to the feelings of a person who decided to “cross the border” and start a new life abroad.

Paul Seaquist has taken part in this project as a poet, giving poetic “comments” to every image.

Here you can read his thoughts about this artistic collaboration:

– Emigration is without a doubt one of the experiences which marks the spirit of all men; because of this same reason it can be the source of the biggest expression a human heart can reach.

For many, it has had devastating consequences. Every sky when not our own deepens the feeling of loneliness. And a special courage is required, a heroic decision to find blind and without horizons a revelation of our own destiny. To leave our comfort zone not only of our homes, friendships and common experiences, but that of our own lives, gives us the gift of tears as well as the one of laughter’s; maybe even both at the same time. The garden in front of ours is always greener since it is not in front of ours  it becomes our present. To advance or not to advance is the question that freezes us even under the hot sun of Havana ́s midday. What will I miss? Who will miss us? Will there be any value in leaving all behind?

 Artyom dives into these questions with his photography and explores not only the pain of leaving but also the pain of staying. His images are sweet although painful and in them you can see the doubts, the illusion, the heartbreak of those who wanted and not, of those who could and could not, and now only have the option to look ahead and imagine.

Behind the Curtain.

My sight resides far away

In a place where there is doubt

But no rest.

Behind the curtains A.Shlapachenko

Routines.
The path between light and shadows
Flood me with fear
Midnights and awakenings.
Routines. A.Shlapachenko
It’s Never Easy.
The remains of yesterdays are not indifferent to me
Tomorrows are always warm, unforgiving
Far away…
A.Shlapachenko, It's never easy
 Further Away.
The last will always be the first?
Further away, A.Shlapachenko
 Silent Scream.
The doors are closed
From inside and out
Locks are not eternal
They are only moments,
Memories and moments.

Silent Scream, A. Shlapachenko

Mi Tierra.
Bare and tired
Dust frees me
Liberates me
Stalks me
Strengthens me
Mi tierra A.Shlapachenko
The Doubt.
The lack of perception
Takes, gives, is reborn and disappears.
The doubt A.Shlapachenko
 Missing You.
The weight of the form does not rest
On the rock that sustains
But on the aim of the shot
Towards whites and shadows
Far away…
Missing you A.Shlapachenko
Foto by Artyom Shlapachenko, poetry by Paul Seaquist. ©Anna Pavlova Network 2016. All rights reserved. 

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Bożena Pazgan about Dancers with Beautiful Hearts charity project

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Bozena Pazgan about DANCERS WITH BEAUTIFUL HEARTS, charity photo session organised by Centrum Baletowe Neoclassica and Natalia Wojciechowska for the Warsaw Hospice for Children:

I have been taking ballet photos of  Natalia Maria Wojciechowska, her “Warsaw Ballet” and “Neoclassica Ballet Centre” dancers since one year. Photography and especially ballet photography is my real passion and love.  My first photo of Natalia was a red haired ballerina jumping up. I was happy as a baby taking this photo and afterwards when I could see on my computer how nice it looked like. Then I got to know some of other dancers from her group and I really liked them.

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What I learnt about ballet and ballet photography ? I learnt respect, appreciation, patience and …. counting. The photographer has to respect the work of a ballet dancer. The body of the dancer looks like this, I mean so beautiful, because he or she had to work on it whole life. As they say hours of exercises, sometimes pain, sometimes tears and sometimes disappointment .  So me as a photographer I had to learn how not to hurry them up, how to work together to catch the most beautiful moments (counting is very helpful),  and that sometimes they just know better. They know better which of dance figures is good or bad and that a photo you think is quite good in reality is not. What I also learnt is that the dancers like to be appreciated. So you have to tell them how beautiful they dance and look. But in most cases you do not even have to lie. Because they do.

The dancers I know don’t only have beautiful bodies, they dance beautifully but also they have beautiful hearts. Natalia Maria Wojciechowska has organized the charity photo session BALLET PHOTO SESSION 22 czerwca “Black, red white”. We as photographers could take photos of  dancers of Neoclassica Ballet Centre. And the whole  income that we and dancers paid was given to Warsaw Hospice for Children. The motto of this session was “I live beautifully – I help“. I was not only honored that I could be a part of such an event but also as usually  I was so happy that I could take photos of  ballet dancers.

Dancers with beautiful hearts2

How the session like this looked like ? I think as an ordinary photo session. The light was adjusted by the employee of the studio. Every photographer had some time for him or herself and a dancer or a group of dancers (although as I was the only woman I could take photos first). Then every dancer made some ballet figures we took photos or rather caught the moments. My favorite photos are “jumping ” ones so I had to concentrate a little bit and “click” – I did it.  After the session I chose some of the photos but the last word about publishing as usually belonged to the dancer. Is that all? Not quite. In my opinion even though this photo ballet session looked ordinary in reality it was extraordinary. It was the ballet photo session full of very positive emotions and generally speaking we could say it was a photo session with “HEART”.

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Text and photos by Bożena Pazgan, Poland. All rights reserved.

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Alex Pankov about Dance Open Festival

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Так уж сложилось что моя первая поездка на Dance Open сразу пришлась на юбилей фестиваля.

К сожалению, первый  вечер в исполнении Венской Оперы мне пришлось пропустить, а началось для меня все 18 мая на репетиции Пермского Театра Оперы и Балета, который привез в северную столицу «Ромео и Джульетту» МакМиллана. В спектакле участвовали солисты Лондонского Королевского Балета: Сара Лемб, Мэттью Голдинг и Гэри Эвис( Джульетта, Ромео и Тибальд соответственно). Очень яркий и красочный спектакль весь спектр цветов в костюмах, великолепная декорация спальни Джульетты! Из множества ярких партий особенно запомнился Тибальд в исполнении Гэри Эвиса! Мощный, брутальный! Два дня показа спектакля пролетели быстро.

It happened that my first visit of the Dance Open concurred with  a Jubilee of this Festival.

Unfortunately I missed the first evening with the Viene Opera performance.  The Festival began for me on the 18th of May with a rehearsal of the Perm Opera and Ballet Theatre which brought MacMilan’s “Romeo and Juliette” to Saint Petersburg. London Royal Ballet soloists Sara Lamb, Matthew Golding and Gary Avis took part in the ballet as Julietta, Romeo and Tibald accordingly. It was a really striking performance with costumes of all possibile colors and splendid decorations of Juliette’s bedroom! Tibald by Gary Evis was unforgettable among many other beautiful perfomancers. So strong, so powerful! Two days of performances passed very quickly.

Dance Open6 

Следующим был вечер одноактных балетов от Дрезденской Земперопер. Из трех спектаклей особенно запомнилась третья часть «Кактусы» Александра Экмана. Несколько раз слышал о  экспериментальном стиле его постановок, но в живую наблюдал впервые. Было очень интересно и интерактивно, единственное неудобство мог доставить зрителям Александринского театра  английский язык в диалоге дуэта в последней части, но мне все было понятно и удовольствие от юмора я получил большое!

 Третьим в ряду увиденного был «Пер Гюнт» театра Марибора с Денисом Матвиенко в заглавной партии. Очень драматичное зрелище! Абсолютно драматическое произведение через пластику и жесты танцоров. Даже во время сценического прогона чувствовалось нарастание напряжения в течении двух актов. Все было прекрасно и словенские артисты и Денис, и отдельно хочется поблагодарить постановщика Эдварда Клюга за партию Смерти, в которой был неотразим Гай Жмауц!

The next event  was the Evening of one act ballets of Zempera Opera of Dresden. The third part of the performance – “Cactuses” of Alexander Ackman – has become the most memorable for me. I heard several times about his experimental style, but it was the first time that I have seen his choreography on stage. It was all very interesting and interactive, the only inconvinience for the Mariniisky Theatre audience could be the English language of the final part duet dialog, but I understood it and enjoyed the humor very much!

The third performance that I’ve seen was Pergunt of Maribor Theatre with Denis Matvienko in the leading role. A very dramatical spectacle! Such a powerful expression through the plastics and gestures of the dancers! Even during the stage rehearsals there was this feeling of extreme tension encreasing from the beginning till the end of both acts. Everything was just great, the Slovenian dancers and Denis were stunning and I would like to thank  Edward Klug for the role of Death which was wonderfully performed by Gaj Zmavz!

Dance Open1

На Dance Open заведено проводить мастер классы для юных артистов и Гала Юных Звезд, которое проходит в Эрмитажном театре. Очень интересно наблюдать за детьми и уже грядущими выпускниками балетных школ со всего мира! Все разные по эмоциям, но многие уже не в первый раз участвуют и активно помогают друг другу в репетиционном процессе. Среди стран представлены США, Япония, Панама, Малайзия и ногие другие( ну и Российские ребята в том числе, конечно).

 Финалом и апофеозом всего юбилейного сезона фестиваля стал Gala Dance Open. Россыпь звезд со всего мира и множество номеров и падеде в их исполнении. Тут было сложно выделить когото отдельно. Сначала была сводная репетиция, где все общались, много смеялись при большом показателе мастерства, а затем начался и сам галаконцерт. Были представлены ведущие театры и постановки России, Германии, Голландии, США, Испании, других и их коллаборации. Отдельным сюрпризом для всех стало выступление руководителя Венского Балета Мануэля Легри в дуэте с Марией Яковлевой в сцене из балета «Летучая мышь».

Dance Open has this tradition of holding master classes for young dancers and a Young Stars Gala which takes place at the Ermitage Theatre. It was very interesting to watch these children who arrived  from different parts of the world! All of them are so different but they all help each other in their studies and rehearsals. There were kids from the USA, Japan, Panama, Malaisia  and many other countries, including Russia.

The Gala Dance Open has become a real apotheosis of the jubilee of the Festival. Many etoile from all of the world and many perfect pas de doux performed by them. It would be very difficult to destinguish someone’s performance as the best. During the main rehearsal it was interesting to see so many professionals together loughing, talking and having a really great time.

The Gala consisted of performances of Russia, Holland, Germany, USA, Spain and other  countries including internatonal collaborations. Manuel Legris of Wiener Staatsoper performed with Maria Yakovleva in a scene from “The Bat” ballet.

Dance Open4

В небольшом постскриптуме, хотелось бы поблагодарить организаторов фестиваля: Екатерину Галанову, Аделию Мухамеджанову и всю команду Dance Open! С юбилеем и новых начинаний!

Before finishing my little story I would like to thank the organizers of the Festival Ekaterina Galanova, Adelya Muhamedzhanov and the whole team of Dance Open! Happy Jubilee and many new successes!

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Text and photos by Alex Pankov, in collaboration with annapavlova.network. ©2016 all rights reserved

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Antonio Azzurro and Marianna Lupo. Street shooting in Milan

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Dance photographer and video maker Antonio Azzurro:

La città di Milano, come sembra a Lei? Fredda? Caotica? O invece piena di energia, interessante?

The city of Milan, what do you think about it? Does it seem cold? Chaotic? Or  full of energy and interesting?

Sicuramente la città di Milano, come le grandi metropoli è una città caotica, che offre tanti spunti dal punto di vista emozionale e fotografico. L’impressione che mi ha dato è quella di una città presa da un frenetico movimento: tutti vanno di fretta!!!

Surely Milan, as all big megapolises, is chaotic and at the same time it can inspire in many ways  from emotional and photographical point of view. The impression that I had is that it is a city of frantic movement: all in a hurry!

Antonio Azzurro Milano2

Il Suo progetto artistico porta la danza fuori del teatro, della sala posa. Scattare per strada – è più difficile o più facile?

Your artistic project takes the dance out of the theatre, out of the studios. Shoot on the streets – is it more difficult or easier?

Scattare per strada non è affatto semplice, la luce non è sotto il tuo controllo come le condizioni meteo e l’ambiente circostante: passanti, auto, mezzi etc.

It is not easy at all to shoot on the streets, you can not control the lights or program meteo conditions. And the environment is full of distracting objects like cars, passers-by.

Antonio Azzurro Milano1

Secondo Lei, tutti i ballerini possono fare shooting di strada? Come deve essere una ballerina o un ballerino per essere un modello ideale per tale shooting?

As for you, all the dancers can do on the streets photo sessions? How should a ballerina be to fit ideally for this type of shooting?

Tutti possono fare shooting si strada, l’importante è essere predisposti per tali shooting, dove l’attimo, la velocità d’esecuzione, l’intesa con il fotografo, l’improvvisazione, sono elementi molto importanti per la buona riuscita delle foto.

Everybody can do open air shooting, it’s important to be disposed to such type of shooting when the moment,  velocity of execution, the understanding with the photographer, improvisation are all very important elements of the success and of how good will be the result of your photo session.

La città “del sogno” per Lei, dove sarebbe il suo prossimo location preferito?

The city of your dream, where you would like to have your next location?

Tutti i posti conservano una storia, nelle mura, nel suolo , nelle gente che ci vive. Non ho una location preferita, ma adoro scoprire e vivere posti ed esperienze nuove ogni volta che possano sorprendermi e farmi dire questo posto è “da sogno”.

All the places have their own unique story that is kept in the stones, in the soil, in the people who live there. I don’t have any specific dream location, but I love to discover and new places and go through new experiences that every time surprise me and make me call it a “dream location”.

Antonio Azzurro Milano5

Pensando dello shooting a Milano, quali sono i Suoi emozioni? C’era qualcosa di particolare in questo impegno?

Thinking of the shooting in Milan, what emotions do you have? Has there been anything special in this experience?

Lo shooting di Milano mi ha dato forti emozioni. Tutto è stato realizzato velocemente e l’intesa con la coreografa Marianna Lupo ed i suoi allievi Nino, Silva e Francesca è stata forte sin da subito. In poche ore abbiamo realizzato gli scatti che avete visto, tra la gente , il freddo e la luce che scivolava via dalle nostre mani.

This shooting gave me very strong emotions. Everything has been realised so quickly and  understanding with the choreographer marianna Lupo and her students Nino, Silva and Francesca has been very strong from the beginning.  Having just several hours we have succeeded to realise the picks that belong to this project, among the people, in the cold and the light that was literally slipping away from our hands.

Marianna, shooting Milano

Choreographer and dance teacher Marianna Lupo:

Vedere i Suoi allievi posare per un fotografo – assomiglia un po l’emozione di vederli in scena?

To watch your students posing for a photographer – does it remind you your emotions when seeing them on stage?

Si, è comunque un’emozione forte!!

Yes,  it is definitely a strong emotion!

Che consiglio potrebbe dare ad altre maestre al riguardo di foto session per strada? Come preparare meglio i ragazzi?

What advice you would give to other teachers about possible street photo sessions? How to prepare the students for it?

È un’esperienza molto bella e forte che dovrebbero provare tutti i ragazzi!! Non bisogna preparare i ragazzi per le foto, bisogna insegnargli ad essere spontanei e naturali!

It is a beautiful experience  that all the young dancers should try! There is no need of any special preparations, you must teach them to be spontaneous and natural.

Antonio Azzurro Milano6

Esperienza di esposizione di fronte alla gente per strada. Lo sa in anticipo chi degli suoi allievi è più adottato a fare questo?

Experience of dancing in front of many people in the street. Do you know in advance who of your students is more disposed to do it?

lo so in anticipo perchè il ballerino non può mentire, nè quando balla nè quando posa, quindi richiede tanta spontaneità e disinvoltura!

Yes I know it in advance, a dancer cannot lie, nither when dancing nor posing. There are a lot of spontaneity and naturalness required!

Antonio Azzurro Milano4

Esiste un’altra città dove a Lei piacerebbe portare i suoi giovani ballerini per un progetto del genere?

Is there a certain city where you would like to bring your young dancers for this project?

Si, Londra! Oppure Capri e Positano!

Yes, London! Or Capri and Positano!

Come devono sentirsi e comportarsi ballerine per essere brave modelle per un fotografo di danza?

How should feel and act dancers in order to be good models for a dance photographer?

Devono interagire con il fotografo, ricevendo e dando dei consigli sulle varie pose!

They should interact with their photographer, receiving and giving advice on various poses!

Quale è la Sua fotografia preferita di questo shooting?

Which photo of your Milan shooting do you like best?

Tutte, ho l’imbarazzo della scelta!

All of them, I just cannot choose!

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Andrey Stanko about his workshop in Milan

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Мой первый воркшоп в Италии отличался прежде всего тем, что пришлось вести его на трех языках одновременно. Пришлось урезать часть программы, поскольку хотелось дать участникам возможность сделать как можно больше кадров самостоятельно. В Украине я провожу более интенсивный курс, но с точки зрения получения практических навыков, итальянский вариант более эффективен, поскольку каждый участник, помимо новой информации получает достаточное количество исходного материала для своего портфолио. Ну и надо же оставить что-то на следующие воркшопы)

Our Italian workshop was different from my usual classes in Ukraine, first of all because it was held in three languages at the same time. A small part of the program was left out because I wanted to give a chance to everybody to make more picks on their own. In Ukraine my course is more intense, but the Italian variant is more practical, it has been more effective because every participant has created a lot of material of their own for their portfolios. And we have something to work on left for the next workshops)

Workshop Milano1

Итальянский фотограф мне ближе, поскольку уделяет намного больше внимания качеству самого исходного кадра, а не постобработке. Как говорят мои друзья галеристы, в восточной Европе слишком мало фотографий и слишком много фотошопа. С точки зрения коммуникабельности – итальянцы более активны, задают больше вопросов и проявляют больше самостоятельности. В нашей стране, подобные мероприятия чаще выглядят как бенефис одного актера, а не как коллективное творчество.

Italian photographers are “closer” to me because they pay a lot of attention to the quality of initial picks and not to post production. My friends who have their galleries in the Eastern Europe say that they see too much photoshop and too little photographs. Italians communicate more actively, they ask many questions and they express themselves easier. In our country such events usually look like a benefit performance of one actor  – the leading photographer, not as a collective work of art.

Я стараюсь дать понимание азов работы со студийным светом. Ничего сложного в студийной работе нет, главное научиться видеть, как работает свет. Собственно этому я и пытаюсь научить аудиторию. Видение света помогает работать в любых условиях. Как на улице, так и в помещении. А студия дает уникальную возможность самому полностью моделировать свет и научиться его эффективно использовать для любых условий съемки. Плюс получить начальные навыки быстро адаптироваться на месте, независимо от условий освещенности.

I always try to give the basics of work with studio lights. There is nothing too difficult in studio work, but you have to know well how the lights function. That is the main thing that I seek to teach the audience. The right seeing of the lights help working in all types of conditions. On open air photo sessions and inside. Studios give a unique opportunity to model the lights and learn to work in different lights conditions. And you can learn to adjust to the situation quickly and work no matter what type of light you have.

 Психологическая связь при проведении подобных фотопроектов возникает очень быстро. Главное заинтересовать и увлечь участников чем-то новым для них. Поэтому формат коллективного творчества, как воркшоп,  самый интересный и эффективный. И главный фирменный прием – дать возможность участникам сделать как можно больше кадров. Иногда, проводя подобные фотопроекты, мне самому удается сделать всего с десяток кадров – на большее у меня не хватает времени и возможности, поскольку приходится держать под контролем весь процесс съемки. Одному нужно помочь с настройками, другому с выбором ракурса, плюс следить за тем, чтобы каждый мог сделать свой хороший кадр, плюс поправлять свет и работать с моделью. Фотографы – весьма сложная аудитория) каждый по отдельности, увидев кадр может забыть о том, что он не один в студии, и нужно дать другому участнику тоже сделать кадр. Иногда возникает массовый ажиотаж – за этим приходится следить.

The emotional connection  on such projects appears very quickly. The most important thing is to attract the participants with something new and different from what they already know. These events of collective activity such as workshops are usually the most “vivid” and “alive”. My winning combination is to let people make more photos of their own. Sometimes, holding workshops like this, I make only about ten picks myself because I don’t have time to shoot, I have to hold under control  the whole process of shooting for all the participants. One photographer needs help with settings, another one needs an advice about foreshortening. I need to keep an eye on everyone’s work, sometimes people get so involved and forget that they are not alone in the studios. Photographers are a very special type of audience, sometimes they create chaos and I have to control it.

Собственно выбор модели не столь важен. Критериев два – желание и готовность работать, и умение слушать и слышать.  Самое главное – увлечь модель процессом съемки, зажечь ее, дать энергетику, дать возможность проявить свою собственную инициативу. Как мне кажется, мне это удалось.

The choice of a model itself is not crucial. There are two guidelines – she has to be interested in working and she has to know how to listen and understand. It’s important to inspire the model, make her feel the energy of the creative process, let her express her own initiative also.

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Вера Сантагата была великолепна! По готовности и умению работать – она Best Of The Best. Она не только работает, она сама творит. Не модель, а мечта художника. Она, как минимум, полноценный соавтор. 10+ из 10 возможных.

 Vera Santagata, our model in Milan, was just awesome! She is the best of the best on the level of work capability. She does not only work, but she creates art herself. She is an artist’s dream. And she is a full value coworker. 10+ out of possible 10 grades.

Я очень рад и доволен их результатами. По их результатам я могу однозначно сказать – воркшоп удался.

I am very content with the results of our Milan workshop participants work, with what they have created. As for me, the event has become a great success.

Panatronics Studios – отличная студия. Единственный минус для меня, как фотографа – это ее специализация для съемки видео. Мне не хватало фонов и источников света с высокоскоростным импульсом для “заморозки” движения. Статику снимать – великолепно. Динамику – очень сложно. В этом смысле ожидания не совсем оправдались. Но с учетом специализации студии – чтобы снимать видео (его я тоже снимаю) великолепная видео студия с огромным выбором источников постоянного освещения.

The Panatronics Studios, our  location in Milan is a great studios. It is more adapted to video shooting, it was great shooting static moments and a bit more difficult working with movement. But, being a video maker myself, I can say that it is a perfect location with a great choice of lights.

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Поскольку воркшоп будет происходить на открытом воздухе – главное внимание будет посвящено движению и динамике с учетом условий освещения и места съемки. Будем использовать дополнительные источники освещения и отражающие поверхности. Будет интересно!

Our next workshop in Italy (Naples) will be held outside, with breathtaking backgrounds of the old city.The most part of the workshop will be dedicated to movement and dynamics in different light and location conditions. We will be using additional lights and reflecting surfaces.

 

Дорогие друзья! Большое спасибо за выше внимание и тот теплый прием, который вы мне оказали в Италии. Жду нашей скорой встречи!

Dear friends, thank you very much for your attention to my art and your hospitality. Looking forward to our next meeting!

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Federica Capo. Project with Luisa Ieluzzi

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Come è iniziato il suo rapporto collaborativo con Luisa Ieluzzi? L’ha visto sul palco per la prima volta o c’è un’altra storia?

How did your collaboration with Luisa Ieluzzi begin? Did you see her on stage for the first time?

Da sempre sono alla ricerca di danzatori professionisti per realizzare i miei lavori fotografici. Prima di conoscere Luisa avevo collaborato con altre ballerine del corpo di ballo del Teatro San Carlo e grazie a loro ho scoperto un nuovo modo di lavorare, totalmente diverso da quello che avevo affrontato fino a quel momento.

Con i danzatori del Teatro abbiamo iniziato delle collaborazioni e quando ho visto Luisa in un ruolo da solista le chiesto se fosse disposta a partecipare ad uno shooting fotografico in studio.

I have always been in search for professional dancers for realisation of my photographical works. Before getting to know Luisa I collaborated with other ballerinas of San Carlo Theatre in Naples and thanks to them I discovered a new and absolutely different way to work.

I began my projects with San Carlo dancers and I saw Luisa as a soloist and I asked her if she could possibly be interested to take part in a studio shooting.

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Che significa per Lei lavorare con una modella così dotata e bella?

What does it mean to you working with such a talented and beautiful model?

Vedo nella danza dei canoni imprescindibili di grazia, delicatezza e armonia.

Lavorare con una ballerina come lei, sicuramente, ti semplifica il lavoro. Allo stesso tempo, se si tiene conto che chi lavora in questo campo non può permettersi passi falsi, la responsabilità aumenta e bisogna creare non solo un prodotto che sia in linea con le nostre idee, ma che sia anche rispettoso della loro immagine e della loro professionalità.

I see harmony, grace and elegance as inalienable canons of dance.

Working with a ballerina such as she is surely makes the process easier. At the same time, understanding that those who work in this field can not allow themselves any false step makes you feel more responsible. You must not only create a product that fits their ideas but also respect their professional image.

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L’idea del set nasce sempre in anticipo in tutti i dettagli oppure c’è improvvisazione?

The idea of your set is born in advance with all the details or there is always some improvisation?

Mi piace partire da un’idea, che sia un colore, uno sfondo, un abito e poi una volta sul set lasciarci trascinare dal momento.

Spesso viene fuori qualcosa di totalmente diverso da quello da cui si era partiti, ma sicuramente più ricco e più completo, essendo qualcosa frutto non solo di chi fotografa ma anche di chi è fotografato.

I like to begin from some idea, like a color or a background or a dress and after that when the shooting begins we let us follow  the moment.

Often we arrive to something absolutely different from what was the the idea of the set in the beginning. It’s different but surely more complete, being a creation not only of the photographer but also of the model.

Il ruolo di Luisa nella vostra collaborazione. Lei fa esattamente cosa vuole la fotografa o propone qualcosa durante il lavoro?

How can you describe Luisa’s part  in your collaboration? She does exactly what you ask her to do or does she propose something during your work?

Mi piace costruire le mie foto seguendo le forme all’intero dell’inquadratura. Partiamo da un’idea di base, che può essere tanto una posa classica quanto un intreccio di corpi, se si lavora con più di un ballerino, e poi come un puzzle cerco di comporre tutti gli elementi per arrivare a creare un’armonia del tutto.

Tuttavia sono contenta quando i ballerini si lasciano trasportare, improvvisando qualcosa di diverso e collaborando a creare nuove, infinite, possibilità.

I like creating my photographs stepping out of standard forms. We start with some basic idea, that can be a pose or how  the bodies interlace if there are two or more  dancers on the set. After that I seek to set all elements into the whole picture, just like a puzzle, and obtain harmony of everything in the picture. And I still enjoy it when the dancers express themselves through improvisation and come up with  entirely new unlimited opportunities.

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Quali sono i tratti di Luisa che lei vuole trasmettere tramite la sua fotografia?

What are the strains of Luisa that you want to transmit with your photos?

In generale mi piace esaltare le linee dei danzatori, ovviamente con Luisa ci siamo divertite parecchio. Ma credo che al di là delle sue doti fisiche quello che colpisca sia una grazia nei movimenti e una dolcezza nelle espressioni del viso che la caratterizzano.

Sembra quasi che tutto avvenga senza il minimo sforzo.

In general, I love praising and exalting the lines of dancers and we had a lot of fun doing it with Luisa. But I believe that even more than her obvious physical talents, the grace of her movements is striking, so as the sweetness of  expressions on her face that characterise her.

 

Dalla sua esperienza fotografica, è più facile o più difficile lavorare con ballerine di grandi teatri?

From your experience in photography, is it more difficult or easier to work with dancers from great and well known ballet companies?

Ovviamente lavorare con danzatori che hanno una predisposizione fisica innata significa facilitarsi le cose…Allo stesso tempo, quando si lavora con ballerini di importanti compagnie, lo shooting richiede una maggiore concentrazione e cura dei dettagli.

Naturally, working with dancers who are more gifted and physically advanced makes many things easier. But at the same time shooting dancers of important theatres is a great responsibility and huge concentration on the details is required.

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Quale sarebbe la location ideale per fotografare Luisa, secondo lei?

What would be the ideal location to photograph Luisa, in your opinion?

Premetto che mi piace lavorare ovunque, soprattutto con la danza, ma Luisa la vedo bene in uno shooting in studio, piuttosto che in una location in esterni, dove l’ambiente tenderebbe a contaminare l’immagine facendo perdere la forza dei movimenti e i dettagli della sua figura.

I would assume that I like working everywhere, in particular with the dance. But I see Luisa fit ideally in studio location, more than outdoors, where the environment tends to “spoil” the image and diminish the forse of her movements and the details of her figure.

Potrebbe condividere con noi le sue emozioni durante shooting con Luisa 

Could you share with us your emotions about collaboration with Luisa?

Questo shooting per me ha rappresentato sicuramente un traguardo. Sono partita da zero e arrivare al giorno in cui qualcuno di importante si mette nelle tue mani, lo considero un momento molto emozionante.

Ringrazio quindi Luisa per aver avuto fiducia in me e nel mio lavoro e sicuramente lavoreremo ancora insieme, al più presto!

This shooting has become a real landmark for me.  I began from zero and one day  I  arrived to this level where someone as important as Luisa has entrusted with me and my work. I consider this a very special and emotional moment.

I am very grateful to Luisa for her trust and I am sure that we will work together again, as soon as possible!

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Natalia Maria Wojciechowska in Piotr Leczkowski’s series “Broken Foot Not Broken Spirit”

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Natalia Maria Wojciechowska about her story behind the shooting:
Ever since I remember I wanted to dance. When I was a kid I always danced and danced and I imagined myself on stage dancing “Swan Lake”. This dream was strong enough to overcome many obstacles and is still strong enough to keep on surviving no matter how many bad things happened.
As a dancer I went trough every possible stadium including quitting dance few times. I was a corp de ballet member, I was a soloist, I danced in musicals, ballets, revues, on pole. I was employed in Poland and abroad, I was unemployed. I was injured few times and already thought it’s the end of dance for me. All that to now teach others at my own school, do many dance projects of different nature and to create spectacles for my own company.
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Exactly three months ago I broke my foot… What an amazing thing for a ballerina to break a foot. I felt like I lost my hand. All I felt back then was fear and many emotions without name. I was crying without knowing why I cry. I had to learn from the very beginning to name the emotions, to separate them from what I see and experience and feel and think. I had to teach myself what my emotionality is and how it affects or doesn’t affect on me life. I had to see myself as somebody new. a person I knew for such a long time, but didn’t want to let in for the same long time. Now I can only say/write – I am so thankful for breaking my foot.
This experience not only taught me what is patience. It exposed myself in front of me and showed that I have always been  patient only couldn’t show it in a appropriate way and couldn’t express in a way I wanted in front of others…oh well….I am still learning it and it is not an easy process. I loose patience mostly with myself sometimes…loosing it, because I can’t always be as patient as I’d wish with others and it takes me aught…why? because all I can do is laugh about it and try to be more patience – mostly with myself – and it helps. It also helps to understand that everything is a process and not short one and also it helps to understand that maybe I will never get where I want to be, I can only HOPE I will.
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Any way – all I know is that my dancing will never be same, because of every/any experience I had – especially my broken foot and oh….I hope it will not…I do hope it will be simply…different…

PS: Today I heard from doctor that I can start to really walk, to put body weight on my foot

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Broken Leg Not Broken Spirit4make up/stylization/idea:
photos: Piotr Leczkowski – www.foto-gramy.pl
dancer: Natalia Maria Wojciechowska

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