Elena Lekhova. Interview

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  • Ballet or photography – what came into your life first?

Surely, it was ballet! In Russia it’s quite usual to take children to the ballet very early, at the age of 3-5 years. I don’t even remember my first visit to a ballet theatre. I can only tell you we used to go to performances very often. At one time I even dreamed of becoming a scene artist.

Балет или фотография – что для Вас было первым открытием?

Конечно, балет! У нас в России принято водить детей на балет с 3-5 лет. Я не помню своего первого посещения театра, ходили на спектакли мы очень часто. Это всегда был настоящий праздник для меня. Одно время я даже мечтала стать художником-декоратором.  

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  • Who is your teacher and unquestionable authority in ballet photography?

Speaking of modern photographers, it is Alexander Gulyaev. In the field of studio photography – Richard Avedon.

Кто Ваш учитель и бесспорный авторитет в фотографии балета.

Из современных фотографов это Александр Гуляев. Студийные съемки артистов балета, конечно, Ричард Аведон.

  • The dancer’s personality – does it mean much to you? Do you seek to know your models better?

Yes, the dancer’s personality means a lot. It is always interesting for me to show the individuality of the dancer, his or her charisma and that’s why I need to know more. I listen to some interviews, watch some videos of performances. Personally, I am very fascinated by the people of ballet. They are very unusual, outstanding, persons of high integrity . I respect and admire them very much. Ballet dancers have such extreme will power and capacity to work overcoming all the limits, both physical and emotional.

Личность танцовщика – имеет ли она для Вас значение, стремитесь ли Вы узнать больше о персонаже Ваших съемок?

Да, для меня личность танцовщика имеет огромное значение. Мне всегда интересно показать индивидуальность артиста, его харизму, а для этого важно узнать о нем больше – послушать интервью, посмотреть видеозаписи выступлений. И просто по-человечески мне очень интересны люди балета. Это всегда неординарные, яркие, цельные личности. Я глубоко уважаю и восхищаюсь ими. Танцовщики балета обладают невероятной силой воли и работоспособностью, это люди, способные, кажется, преодолевать границы возможного – физические, эмоциональные.

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  • How can you describe you as a photographer in three epithets?

Sharing, inspired and daring.

Как бы Вы могли охарактеризовать себя как фотографа в трех эпитетах?

Сопереживающая, воодушевленная, смелая.  

  • Your dream model?

Diana Vishneva

Модель Вашей мечты, из прошлого или настоящего.

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  • Has your style been changing with time?

Sure. Now I pay more attention to emotions, feelings, demonstrations of individuality, hidden depths of a dancer’s personality both on stage and off stage.

Меняется ли Ваш стиль со временем?

Конечно. Сейчас я в большей степени уделяю внимание эмоциям, чувствам, проявлениям индивидуальности, глубины личности артиста на сцене и за ее пределами.  

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  • What does your experience in dance photography give you? Understanding that you can’t program every step of your work? Being sure in your every movement while working?

My experience of stage photography has taught me to make fast decisions about the parameters of my shooting which can let me take better picks in each specific situation and to react to all unexpected changes. It helps developing maximum concentration on my work and mobilization of all possible creative recourses.

Что дает опыт в сценической фотографии – уверенность в каждом следующем действии? Понимание того, что течение съемки нельзя предугадать?

Опыт сценической фотографии помогает быстро принимать решения о том, какие параметры съемки позволят получить наиболее интересные кадры, мгновенно реагировать на изменения, развивает навык максимальной концентрации внимания и мобилизации творческих сил.        

  • On stage or backstage?

Both are interesting.

Сценическая фотография  или бэкстейдж?

Интересно и то, и другое.

  • Black and white or color?

Depends on specific aims of the shooting.

Черно-белое или цвет?

Зависит от задач съемки.

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  •  Your   most impressive experience in ballet photography?        

 One of the most impressive was my first ballet spectacle shooting. I was working at a very innovative spectacle of Viacheslav Samodurov, the artistic director of Ekaterinburg Ballet, contemporary ballet “H20”. It was performed as a part of the second Ural Industrial Biennale of Contemporary Art. The performance was very special because it was held at a department of one of the oldest machine construction plant of Ekaterinburg, Russia. The scene and the lights were put right in the middle of this department, there were moving projections on the background.The bodies of the dancers were covered with paint. In the culmination moment the streams of water began falling on the scene, raining on the dancers and the pain began washing off. The whole performance was very beautiful, unusual and astonishing. During that shooting I felt that every performance is unique and dancers can’t repeat it exactly in the same way as you can’t step in the same river twice.The photos from that ballet performance were published in the Theatre Newspaper and other Russian media.

Ваш самый впечатляющий опыт, связанный с фотографией балета. 

Одной из самых запоминающихся была моя первая съемка балетного спектакля.   В 2012 г. я снимала новаторскую постановку Вячеслава Самодурова, художественного руководителя екатеринбургского балета, современный балет «H2O». Этот балет был показан в рамках 2-ой Уральской индустриальной биеннале современного искусства. Уникальность спектакля заключалась в том, что он был поставлен в действующем цехе одного из старейших машиностроительных заводов Екатеринбурга (Россия). Прямо в цеху была установлена сцена, выставлен свет, на задник сцены транслировались  проекции. Тела артистов были покрыты краской. В кульминационный момент на сцену полетели струи воды, как дождь, краска начала смываться. Все действие было невероятно красивым, живым, необыкновенным.   
И тогда на съемке я почувствовала, насколько каждый спектакль уникален: как нельзя войти в одну и ту же реку дважды, также нельзя дважды станцевать свою партию, сыграть роль одинаково.  Фотографии с той съемки были опубликованы в театральной газете и других российских СМИ.

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  • What would you advise to young photographers?

The most important thing in our profession is to find your own idea of art, as it is in every creative profession. For example, if you love  ballet and start working at a theatre, you should find what strikes your heart most. You must shoot what impresses you. When you find your own  theme and idea of the shooting, you can lay down your creative aims. And it will become easier for you to choose “instruments” for your work – what type of technique to use or from which perspective to shoot to express your idea in the best way possible. Your individual artistic approach is very important, otherwise shooting ballet becomes an ordinary photo record of a performance. 

Что бы Вы посоветовали начинающим фотографам? 

Самое главное в профессии фотографа, как и в любой творческой профессии, найти свою идею творчества. Допустим, вы любите балет и начинаете снимать в театре – что вас цепляет? Что трогает вашу душу? Что заставляет вас трепетать, волнует вас больше всего? Именно то, что не оставляет вас равнодушным, и нужно снимать.    Когда вы найдете свою тему, идею съемки, сформулируете творческие задачи, вам будет легко выбирать и средства для осуществления замысла: с какого ракурса снимать, какую технику использовать,  какие выразительные средства помогут наилучшим образом раскрыть вашу идею. Здесь очень важен авторский подход к работе, в противном случае съемка в театре превращается в обычную фотофиксацию спектакля.     

  •  Are there any specific traits of Russian ballet photography? Please give an advice to foreign photographers who want to shoot in Russian theatres.

    It is difficult to distinguish any special traits of ballet photography in Russia. Most ballet companies are very international now. Russian ballerinas dance all over the world. The first rule for every ballet photographer – do not disturb and always respect dancers and all other participants of the performance, including the audience.

    Особенности российской традиции фотографии балета и чтобы Вы посоветовали иностранным фотографам, мечтающим работать с русскими балеринами и российскими театрами.

    Мне сложно выделить какие-то российские особенности фотосъемки балета…  Сегодня балетные труппы большинства театров мира интернациональны. И балерины из России танцуют по всему миру.  Основное правило для фотографа в любом театре – не мешать, относиться с уважением к артистам и всем участникам процесса создания спектакля, а также к зрителям.      

     

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Santiago Barreiro about his artistic project

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This series is an extract of work in progress and makes part of an artistic project dedicated to my personal research on  the world of dance.

Within this project I work on the conceptual idea of the aesthetics being a fundamental tool of interpretation of freedom in the dance. It is not an objective study but a kind of my own “investigation” answering one question – “Who is the one who dances?”.

Part of being a dancer for me is the internal struggle of a human being whose body becomes an instrument to represent other lives, up to the point of losing their identity.

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The photo selected as the Photo of the Month by Ballet Insider and Anna Pavlova Ballet Photo Contest was made on a trip to Argentina to a godforsaken slaughterhouse. We crossed the border between Uruguay and Argentina without being sure that we succeed with our plans because we didn’t have any official permission. They let us in only after being told that our model worked with a famous ballet dancer Julio Bocca. We were given a very limited period of time for the shooting.

When we found this amazing room full of rolls and ancient books I suggested to our ballerina Marina Sanchez to get inside the library. It was not easy but we managed to make this photo that became the iconic image of the project.  We had to leave the place after a little bit, but we did it with the happiness of having achieved several awesome pics.

Ten days later we found out that the building was destroyed by fire. Sadly this was the last picture made in this ancient room….

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Photographer of the Month

[vc_row][vc_column column_width_percent=”100″ overlay_alpha=”50″ gutter_size=”3″ medium_width=”0″ shift_x=”0″ shift_y=”0″ z_index=”0″ width=”1/1″][vc_column_text]Our partners and friends of BALLET INSIDER, Moscow, have announced the winners of our first PHOTOGRAPHER OF THE MONTH Competition. The chief editorial board of one of the world’s best ballet related media recourses chose three best photos from all the  publications on ANNA PAVLOVA BALLET PHOTOGRAPHY CONTEST FB page made in April 2016.

And the Winners are

SANTIAGO BARREIRO, Uruguay, 1st Place

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Dancer: Marina Sanchez

 

SHOUN HO, Singapore, 2nd Place

Shaun Ho April 2016

Dancer Wang Wen

 

 

DUNSKI ARI, Uruguay, 3d Place

Ari Dunski April 2016

Dancer: Joyce Liziane

CONGRATULATIONS!

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Ari Dunski about his Hotel Carrasco Project

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Hotel Carrasco situated in Montevideo, Uruguay,  stands as a focal point of the urban French styled landscape of the city designed by Charles Thays and Edouard André in the first decades of the twentieth century.

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The architecture , inspired by classical and baroque tradition , appealed to a formal language of eclectic and historicism strongly identified with France root paradigm of civilisation and good taste to the society of the time . It is witnessed by the mansard, monumental staircases and luxuriously decorated interiors even today.


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 I thought that it would be nice to combine this great architecture with the aesthetics of a Ballet dancer, so I chose Sofia Carratu , a great young professional who immediately  felt comfortable and danced for the Hotel, and for my camera.

 

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Irina Mattioli about the Anna Pavlova Contest 2016 winning image

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A few years ago, in a nice sunny Sunday, I asked my two dancers friends Francesco and Alessandro and my friend Martina to join me, in order to realize an outdoor ballet shooting in the mountains.
Martina, who is one of my oldest and dearest friend, was there to help me whit the smoke bombs that I brought – so as to create an eerie, timeless atmosphere – and the two guys where obviously there to model for me. I was very close to Alessandro, with whom I was studying ballet since we were teenagers and, in that occasion, I had the chance to get to know better Francesco, that in those days was attending the National Ballet Academy in Rome. The guys have been amazing: without any hesitation, they naturally started to dance in front of me, barefoot on the wood’s ground. One of the resulting pictures is the one that – with my surprise – allowed me to win the first place at the Anna Pavlova Ballet Photography Contest 2016.

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The place chosen for the shooting it has not been random, in fact – apart from being a place of beauty and peace – It has a peculiar value to me. It is located in Valnerina (Umbria, Italy), nearby the village from which my parents, my grandparents, my great-grandparents and my great-great-grandparents are from: the pine grove of Capodacqua di Postignano, near Sellano. It was actually one of the favorite places of my grand-mother Maria Adelaide and I am truly happy that it ended up being scene of such an amazing personal reward.

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The dancer portrayed in the winning picture is Francesco Arduino Leone, he firstly trained at the Hungarian National Dance Academy and then at the National Dance Academy in Rome. He is now a dancer in the renowned company “Le Supplici” lead by Fabrizio Favale, with which he will soon exhibit in the Biennale de la Danse in Lyon.
The other dancer, unfortunately underrepresented in this very shoot (you can just see his harm), is my dear friend Alessandro Sebastiani. He is an extraordinary dancer that began his training with me at Spazio Danza (Foligno), and then carried on with his studies firstly graduating at the Codars Rotterdam Dance Academy (Netherlands), and then at the National Dance Academy in Rome, where a both human and artistic empathy with the well-known choreographer Laura Martorana allowed him to develop his talent abroad, at Santiago de Chile, where he now lives and works.

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Qualche anno fa, in una domenica di bel tempo, ho chiamato i miei due amici e ballerini Francesco ed Alessandro e la mia amica Martina con l’intenzione di realizzare uno shooting di danza all’aperto, in montagna.
Martina, che è una delle mie più care e vecchie amiche, era lì per darmi una mano con i fumogeni che avevo portato – per creare un’atmosfera fuori dal tempo – e i due ragazzi per farmi da modelli. Conoscevo molto bene Alessandro,  che studiava danza con me da quando eravamo al liceo e in quell’occasione ho approfondito anche la conoscenza di Francesco, che allora studiava a Roma. I ragazzi sono stati stoici, senza esitare hanno iniziato a ballare scalzi, davanti al mio obiettivo, nella pineta.  Uno degli scatti risultanti è quello che – con mia sorpresa – ha vinto il primo posto all’Anna Pavlova Ballet Photography Contest 2016.

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Il luogo scelto per ambientare gli scatti non è stato casuale, oltre ad essere un’oasi di bellezza e di pace, per me ha un valore particolare. Si trova in Valnerina (Umbria), nei pressi del paese dove sono nati e cresciuti i miei genitori, i miei nonni, i miei bisnonni e i miei trisavoli: la pineta di Capodacqua di Postignano, vicino Sellano. Era uno dei posti preferiti di mia nonna Maria Adelaide e sono felice che abbia finito per contribuire ad  una soddisfazione così grande.

Il danzatore ritratto nello scatto vincitore del concorso è Francesco Arduino Leone, formatosi prima all’Hungarian National Dance Academy e successivamente presso l’Accademia Nazionale di Danza a Roma. Da due anni balla per  la prestigiosa compagnia “Le Supplici” di Fabrizio Favale, che prossimamente si esibirà anche alla Biennale Danza di Lione.
L’altro ballerino, purtroppo sottorappresentato in questo scatto (si coglie solo il braccio), è il mio caro amico Alessandro Sebastiani, un danzatore straordinario che ha iniziato la sua formazione con me presso la scuola Spazio Danza di Foligno ed ha proseguito i suoi studi laureandosi prima al Codarts Rotterdam Dance Academy in Olanda, poi all’Accademia Nazionale di Danza di Roma dove la sintonia umana ed artistica con la nota coreografa Laura Martorana gli ha consentito di  sviluppare il suo talento all’estero fino a Santiago del Cile, dove vive e lavora tutt’oggi. 

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Alessio Lupo. Interview. Exclusive Anna Pavlova Contest shooting

[vc_row][vc_column width=”1/1″][vc_column_text]How can you describe your style in photography?

In some way I can say that I am still looking for my own style in photography…. I like telling  an emotional  story, find a special message in every dancer’s movement and let it go right to the heart of those who see my work. Our lives are too chaotic and they are passing too quickly. I try to “freeze”some precious moments and make them last forever.

Come potrebbe descrivere il Suo stile fotografico?

In effetti sono ancora alla ricerca di un mio stile… posso dire che mi piace raccontare un’emozione, tirar fuori delle movenze di ogni ballerino/a un messaggio che giunge dritto al cuore. Conduciamo una vita frenetica che va avanti troppo velocemente. Con i miei scatti cerco semplicemente di “congelare” istanti preziosi per farli durare in eterno.

 

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Your  mode of working with models – have you found it or does it change constantly?

I don’t believe that there exists a “manual for young dance photographers”.  You can only do your best to find a feeling that helps you approach every dancer in a personal way. That’s why the way of working  with dancers changes and depends on what type of person you are working with.  It can change to make each  shooting a beautiful experience  for all the participants.

Come ha trovato il Suo proprio modo di lavorare con danzatori? Oppure si cambia sempre?

Penso che non esiste “il manuale del giovane fotografo per danzatori” ma bisogna raggiungere quel feeling che ti permette poi di poter fare uscire il meglio di ogni danzatore. Quindi si cambia sempre in relazione alla persona con cui ti stai rapportando cercando di rendere lo shooting un momento goliardico da ricordare con piacere.

 

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Are there strict rules in photography for you?

Yes, the rules do exist.  Yet they can be departed from  once in a while, for the sake of originality and, why not, in order to find your own style in photography. I have to admit that I have taken some dance classes also, for better understanding of the theme and my models, and to be able to recognize when the foot is in the “right” position and when there is a better moment to make a shoot.

Esistono le regole assolute della fotografia di danza per Lei?

Le regole ci sono ma è anche bello trasgredire per ottenere risultati originali (e perché no, per cercare un proprio stile). Però ammetto che ho dovuto fare qualche lezione di danza anche per capire il momento utile per scattare oppure riconoscere un piede corretto o meno…

 

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How do you think your art will be changing with time?

I am fascinated by creative movement and improvisation and I have also several long time projects. Definitely  my curiosity and experimenting with new techniques will help me grow.

Come secondo Lei si cambierà la Sua arte col tempo?

sono affascinato dal mosso creativo ed anche dai progetti a lungo termine. Di certo il tempo e la curiosità a sperimentare nuove tecniche mi aiuteranno a cresce e migliorare.

 

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How and when have you decided to become a photographer?

I swear that I have not decided anything! One day my friend Fabio gave me his camera (I believe it was a Nicon d80) and asked me to make some photos. Obviously I didn’t know the rules of photography, I just tried to catch what I liked best and what of this moment I wanted to remain with us. My friends liked the pictures very much. After that I was happy to meet such wonderful photographers as Giovanni Tidona, Silvio Rizzo, Daniele Cascone, Marcello Bocchieri, Roberta Tocco, Massimo Pantano, Dario Broch Ciaros and others who were very kind to  me and introduced me to their techniques and different methods of this passionate art.

Quando e come ha deciso di diventarsi fotografo?

non l’ho deciso, giuro! Un giorno il mio amico Fabio mi ha messo una macchina fotografica (ricordo una nikon d80) e mi ha chiesto di fare foto, ovviamente non ho rispettato nessuna regola ma ho inquadrato soltanto ciò che mi affascinava in quel momento e quegli scatti sono piaciuti. In seguito nel mio cammino ho avuto la fortuna di incontrare validi fotografi disponibili e gentili come Giovanni Tidona, Silvio Rizzo, Daniele Cascone, Marcello Bocchieri, Roberta Tocco, Massimo Pantano, Dario Broch Ciaros e tanti altri  i quali mi hanno in un modo o nell’altro insegnato tecniche e metodi di questa appassionante arte.

 

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Is there a dancer of your dream with whom you would like to collaborate? Is there a location that you would love to work in?

I haven’t  found my one and only Dancer yet, maybe because I like all the dancers with whom I work. My aim is to give more value to my local reality, distinguish  the talents that I have close to me working with the schools and collectives of my Ragusa region. The ideal location for me is every ancient Sicilian theatre and there are many of them where I live and work. They are beautiful, each one is different and makes a perfect frame for a dancer.

Esiste il ballerino oppure la ballerina dei Suoi sogni, con chi vorrebbe collaborare di più? Il luogo dove Le piacerebbe fare shooting fotografico?

Sono alla ricerca del ballerino o ballerina dei miei sogni (anche perché mi piacciono tutti) ed allo stesso tempo vorrei valorizzare i talenti della mia realtà locale fotografandoli con uno stile consono alla loro particolarità artistica come un pittore dipinge la sua tela, perciò mi piacerebbe collaborare con tutte le scuole della mia provincia (Ragusa). Il luogo dove vorrei fare shooting è in tutti i teatri antichi siciliani nella mia zona ne esistono parecchi e tutti particolari ad un ballerino o ballerina farebbero da cornice.
Where do you find your inspiration?

My wife is a pianist and I am inspired by the notes that she plays.

Dove Lei trova la Sua ispirazione?

Nelle splendide note eseguite da mia moglie (ho sposato una pianista).
What is Dance for you?

It’s a Feeling that goes to the soul through the music and movements of the dancers….Emotion. When I see a great ballerina who doesn’t bring emotions, she remains just another great ballerina. But if a dancer succeeds in giving movement and sentiment to the music, what she does  becomes the Dance.

Cos’è Danza per Lei?

Sentimento che giunge dritto all’anima attraversando la musica per mezzo dei movimenti dei danzatori. Emozione. Se vedo una ballerina brava ma non mi emoziona rimane una brava ballerina e basta ma se riesce a dare un sentimento alla musica o un movimento alla musica allora quella è Danza.

 

Who do you consider the best dance photographer?

I would say there are many very good dance photographers, everyone with his own style. Lately, an Italian photographer Luigi Abbondanza has been creating astonishing things  on the theme of water reflections and  you can see his more traditional dance images that are very interesting as well.

Esiste un fotografo chi Lei considera il migliore in questo campo?

ne conosco diversi tutti bravissimi nel loro stile… Ultimamente Luigi Abbondanza mi sta stupendo sempre di più con le sue creazioni riflesse sull’acqua ma giornalmente vedo nuove bellissime foto realizzate in modo magistrale.

 

Your advice to young photographers who want to shoot dance.

Take a course of ballet and find a dance school that will “adopt” you and trust everything else to come along.

Un consiglio ai fotografi giovani chi stanno per lavorare con danzatori.

fatevi un corso di danza e poi trovate una scuola di danza disponibile ad adottarvi il resto abbiate fiducia arriverà da se.

 

Three words that can describe you as a photographer

Curiosity, sentimentality and modesty because in my field there is always something new to learn.

Tre parole con quali si può caretterizzarLa come fotografo.

Curiosità, sentimento ed umiltà perché in questo settore non si smette mai d’imparare e anche un osservatore può essere utile a migliorarti.

 

Dancer: Federica Arezzi

Choreographer: Saveria Tumino

Assistant: Andrea Panuzzo

Location: Progetto Danza Ragusa -IT

 

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Gabriel Davalos. Cuba

[vc_row][vc_column width=”1/1″][vc_column_text]How can you describe your style in photography?

I don´t even think about a proper style. My pictures are the way to express myself. What I feel:

my longing, my wishes, my happiness, my sadness. If they have a style it should be the way I

understand the life. My style is me, my people, my culture, my country.

 

Ni siquiera pienso en un estilo propio. Mis fotografías son mi forma de expresión. Reflejo de mis

sentidos: mis nostalgias, mis deseos, mis alegrías, mis tristezas. Si tienen algún estilo: es solo la

forma en que entiendo la vida: mi estilo soy yo, es mi gente, mi cultura, mi país.

 

Movement and passion - Gabriel Davalos - First International Ballet Photography Contest Anna Pavlova (2)

 

 

What are the specifics of your work?

I just need complicity, passion, motivation. I don´t take pictures of the body, I try to get the

essence. It is a constant search about the beauty in the secret world of each dancer.

 

Solo necesito complicidad, pasión, motivación. Porque no tomo fotos de cuerpos. Intento

fotografiar la esencia. Es la búsqueda constante de la belleza en el mundo íntimo y a veces

inaccesible de las almas que habitan temporalmente esos cuerpos tan físicos.

 

Gabriel Davalos per Essence13

 

What are the “laws” of ballet photography for you?

I have a holy rule: each picture has to seduce me, shake every part of my flesh and bones, only this way I can

feel complete . The picture that does not move me, I´d rather not to take it.

 

Tengo una regla que nunca violo: cada foto que tomo debe seducirme, estremecer cada parte

de mi carne y espíritu. Solo así siento me siento pleno. La imagen que no me conmueve,

prefiero no tomarla.

 

Gabriel Davalos for essense 17

 

How do you think your photography will be changing with time?

Life is a continuos change. Transformation is growing up. I don´t know how is gonna be the

future. But I am a deep revolutionary. My camera and my way of thinking will be united. I will build my way

walking.

 

La vida es dialéctica constante. Renovarse es crecer. No sé cómo será el futuro. Pero soy un

revolucionario profundo. Cámara y pensamiento, iremos juntos. Se hace camino al andar.

 

Gabriel Davalos per Essence14

 

What is your professional goal? Who is the dancer of your dream?

More than a goal, I have a place that I always wants to touch: people’s heart. When my pictures

get connected with  with the feeling of the people who see them, they “spring their wings”, leave me behind to go to all the

people who open their heart to them. Obtaining this  there makes me feel really happy.

The dancer of my dreams is the dancer of all days: Grettel Morejon; Principal dancer of the

National Ballet of Cuba. She has been with me, exactly from the first picture.

 

Más que una meta, tengo un lugar a donde siempre quiero llegar: al corazón de la gente.

Cuando una foto conecta con los sentimientos de las personas, abren las alas y dejan de ser

mías para ser de todo aquel que les abre su corazón. No hay nada que me haga más feliz, que

llegar hasta allí.

Tengo el privilegio de que la bailarina de mis sueños, es la bailarina de todos mis días. Mi

bailarina cotidiana, no deja de ser extraordinaria: Grettel Morejón, Bailarina principal del Ballet

Nacional de Cuba, me ha acompañado exactamente desde la primera foto.

 

Where do you find your inspiration?

Inspiration is  everywhere: the people, the city, our history, the feelings… life the ways it is;

with white and black swans.

 

La inspiración está en todos lados: en la gente, en la ciudad, en la historia, en los sentimientos…

en la vida cual es, con sus cisnes blancos, y los negros.

 

Movement and passion - Gabriel Davalos - First International Ballet Photography Contest Anna Pavlova (3)

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Photographer BAKI about his “UNDER” Series

[vc_row][vc_column width=”1/1″][vc_column_text]Under Series is a part of “Project VISION”

I could define the project VISION with those words: Imagination, a Change of Perspective, and Vision (Fantasy) about an ObjectNow, as for Under series;One day, I saw a tutu laid on floor upside down. Various colors were mingled and layered in that tutu, and that makes me think of flowers. There, a tutu started to turn into a flower that I haven’t seen before. Then I was wondering what if I create things from different perspective like, under: Looking at things from under. And then I was also wondering what people would think of and how they feel about my creation from different perspective. I wanted to share the thoughts and imagination.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”48953″ media_width_percent=”70″ alignment=”center”][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”48954″ media_width_percent=”70″ alignment=”center”][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”48955″ media_width_percent=”70″ alignment=”center”][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”48962″ media_width_percent=”70″ alignment=”center”][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_single_image media=”48963″ media_width_percent=”70″ alignment=”center”][/vc_column][/vc_row]