Rainy ANNECY – Ivan Vessela a.k.a. FIN FILM

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Rainy Annecy – Ivan Vessela a.k.a. FIN FILM – Annecy, France

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Since some time ago I’ve got obsessed with Tilt-Shift lenses. Since I’m not a professional photographer I just walk around with a camera and shoot lots of pictures. I’m trying to achieve a miniature look of the shots without using software or postproduction. I’m just getting accustomed to those kind of lenses.
In that sense this image, like many others I shot, is a tryout and doesn’t really have a deeper meaning or statement. As one can notice here, all my pictures are taken from a high ground in order to make the subjects look like in a toy model. What really pleases me is the change of the scale: you shoot something that’s big but it looks rather small and fake. I like that.
In the case of this particular shot I was attending the animation film festival in Annecy, and as I exit the projection hall I found myself on the second floor in front of the big window. I wouldn’t miss a chance to take a shot like that. I wouldn’t say that this is the best miniature look, but it’s definitely an odd looking image.

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Tilt-Shift photography refers to the use of specific lenses that can change the plane of focus with a tilt, rotation of the lens plane relative to the image plane, and a shift, movement of the lens parallel to the image plane. The effect is often used to simulate a miniature scene.

marmellata di ALBICOCCHE

Frutta e verdura in abbondanza, è estate e tempo di marmellate. Per preparare le migliori ci vuole quella matura: dolce, morbida, maturata al sole. Quindi meglio evitare la frutta del supermercato, va bene quella del fruttivendolo sotto casa al quale magari possiamo chiedere uno sconto per i pezzi più maturi e che difficilmente riuscirà a vendere. Non so perché ma c’è chi preferisce frutta acerba e più bella che buona. Ottimo sarebbe avere un albero in giardino e raccogliere quelle cadute dopo il vento o un temporale, oppure grazie a una scrollata, leggera, dei rami. Quando ne avete raccolti 2 kg., il minimo per mettervi a lavorare, eccovi un ricetta semplice e naturale con un gusto leggermente diverso.

Preparazione: lavate bene le albicocche e togliete il nocciolo, è sufficiente aprirle in due parti, metterle in una pentola grande e accendere il fuoco basso. Aggiungere una banana ben matura, una mela rossa dolce, lo zucchero di canna e un pezzetto di zenzero fresco e pelato. Mescolare con un cucchiaio di legno e chiudere la pentola. Dopo qualche minuto tornare a mescolare il tutto e, se la frutta ha iniziato a perdere il liquido, si può frullare direttamente nella pentola. Toglierla e metterla in un frullatore, e poi rimettere il frullato nella pentola, è un processo più laborioso ma fattibile. Il livello di frullatura dipende dal gusto di ciascuno: marmellata morbida, con pezzetti, a pezzettoni, quasi intera. Va da sè che se la frutta si taglia fina prima di metterla in pentola non c’è bisogno di frullarla. Cuocere a fuoco lento per 5 – 10 minuti dal momento del bollore; il tempo dipende dalla quantità di acqua contenuta nella frutta e dalla consistenza della marmellata che si vuole raggiungere. La marmellata calda è sempre più dolce e liquida di quella a temperatura ambiente. Per provarne il sapore e la consistenza fare la prova piattino: se ne mette un cucchiaio su un piattino, si aspetta che si raffreddi e poi si inclina il piattino per verificarne la consistenza, quindi la si assaggia per il sapore. Manca zucchero, ci mettiamo un’altra banana o ancora zenzero?

Ingredienti: 2 kg. di albicocche senza nocciolo, 1 banana grande ben matura, 1 mela rossa dolce, 500 g. di zucchero di canna, un pezzo di zenzero.

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il TONNO ROSSO alla maniera di CARLOFORTE, in Sardegna

Carloforte è l’unica città dell’isola di San Pietro, alla quale a volte da il nome, situata a poca distanza dalla costa sudoccidentale della Sardegna. Colonizzata nella prima metà del XVIII secolo da pescatori liguri di corallo rosso, ne mantiene la lingua e molte delle tradizioni. La pesca del tonno nella regione del Sulcis risale invece al XV secolo, mentre la sola tonnara sulcitana ancora in attività, quella dell’Isola Piana, a circa mezzo miglio marino dalla punta nordorientale dell’isola di San Pietro, alla fine del XVII secolo. Si pesca da aprile a metà luglio in tonnara, oppure usando la tonnara volante, con rete da circuizione, o con un sistema di lenze indicato come palamiti. Quando la pesca è buona le reti si riempiono del pregiato tonno rosso, Thunnus thynnus, o tonno a pinna blu, per intendersi quello che si consuma pure crudo nei piatti di sushi sashimi, e per il quale i giapponesi sono disposti a pagare autentiche fortune.

La cucina di Carloforte è a forte identità mediterranea: prodotti freschi e genuini sposano aromi e sapori locali in piatti gustosi e dai colori intensi, come nella ricetta del tonno con pomodori al profumo di alloro.

Preparazione: si taglia il trancio di tonno rosso a grossi tocchi e lo si rosola, sui due lati, nell’olio bollente avendo cura di non spezzarlo; meglio usare un cucchiaio o una pinza di legno per girarlo. Quando la cottura inizia a entrare nella carne, che cambia colore, abbassare la fiamma, aggiungere le foglie di alloro spezzettate e il vino bianco spruzzato abbondantemente che va fatto sfumare a fiamma più forte. Poco prima che si asciughi completamente il vino aggiungere i pomodori tagliati a dado. Salare e fare addensare il sugo. Generalmente, da questo punto in avanti, 10 minuti di cottura sono sufficienti. Per chi preferisca un tonno semi crudo, solo rosolato sui lati, la cottura si interrompe quando il vino bianco è sfumato, e la salsa rossa, preparata a parte, va aggiunta direttamente nel piatto.

Ingredienti per 4 persone: 600-800g di trancio di tonno rosso, olio extravergine di oliva, foglie di alloro, pomodori maturi, sale. Il vino bianco di Sardegna si sposa alla perfezione: Vernaccia di Oristano o Vermentino.

foto e contributo al testo © Valerio Griffa

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BERLIN MITTE – Jörg Schmiedekind

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Berlin Mitte project – Jörg Schmiedekind – Berlin, Germany

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Denn oft ist das Gewöhnliche spektakulär genug = Because the ordinary is often spectacular enough.

Jörg Schmiedekind started painting at the age of 16. After copying surrealists masters like Magritte, Tanguy and Max Ernst he found interest in photorealism. While painting he was also photographing his hometown, which is nearly free of classical points of interest; he lately decided to take some of these photographs as pattern for photorealistic oil paintings on canvas.

That was the beginning of a serious occupation with cityscape photography, it was around 1983.

The following year Jörg went to Berlin to study architecture; since 1992  he’s working as an architect.
After wandering the city without a camera for many years,  in 2005 he decided that cityscape photography should enter his daily routine. He now carries around, most of the time, a Canon Eos 5d mark II.

As one can see in his photographs, gray and cloudy skies are his favorites, and that’s because of an homogenous tracing of all objects and of the possibility to act free with no restriction resulting from sunlight-direction.
He considers that in an ideal, and touching situation, beyond their everyday usage trivial objects could stand for themselves in a photograph, no people around.
Berlin Mitte is a work-in-progress that develops in a new city which has changed a lot in the last 20 years. Schmiedekind’s photography is not about documenting, although he considers that great jobs have been done along with some bad ones, but mostly a quest for interesting situation beyond architectural photography.
“This is my personal look on what’s happening in Berlin, putting so-called ugly things into an aesthetic context”.
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la BOULOGNAISE – Amandine Paulandré

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la Boulognaise – Amandine Paulandre – Paris, France

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I was wandering the Bois de Boulogne, a forest near Paris, with a friend, I wanted to shoot her. I like to say something different with my images, I think I have a pretty neutral style but I also like to play with the lines of Nature. So, when I saw the big tree on the ground I knew I found what I was looking for, since I wanted a shot in the serie without the face of the model. It’s more a one of a kind i guess. I’m not sure what it conveys to other people but for me it has a certain sense of serenity. The hair look like octopus’ legs, i liked this idea.

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No matter how perfect and inspiring the result image is, model photography can be utterly boring in the dullness of repetition: beautiful model, beautiful setting, beautiful everything and again. In la Boulognaise, Amandine Paulandré breaks out from the cristal box and create a connection between a perfect setting, a forest by end of summer, and a beautiful girl … We can’t see her, that’s true, but how could it be otherwise with all that beauty around?! Imagination.

Berlin LOVERS – Jürgen Bürgin

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Berlin Lovers – Jürgen Bürgin – Berlin, Germany

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‘Berlin Lovers’ is one of my earlier photos, it’s made in the subway station at Berlin Alexanderplatz. For me it’s somehow one of my own classic photos. Some of my photos I’ve seen too often for myself, but with this here it’s really different, I still can look at it, and somehow the scene touches me still. Maybe it’s one of my photos that explains best my understanding of photography. It has much to do with storytelling. I like to tell those untold stories that are happening every day in every place on this planet, those small little stories of love, hate, deception, sympathy, pride and so on… But I’m not telling the real stories. Although this photo isn’t staged, although the people here aren’t actors, although they are real persons that were there accidentally on the day on which I took the photo – despite all this, this is a piece of art, that is telling its own story. To be exact: Not the artwork, and neither the artist is telling the story. The artwork is only evoking innumerable different stories – in the mind of the viewer, in the fantasy of the beholder. So the viewer – and his individual perception of the artwork – is becoming an essential, or even the only relevant part of the artwork. The artwork is coming to existence in the perception of the recipient, and nowhere else. And I still like this photo for its openness, for its big variety of connotations it is evoking in me: connotations to movies and novels, connotations to my own experiences with loving someone, the connotation of a big city jungle.

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Bürgin’s Lovers are unique people in a dull environment. Dark green edited image creates a Metropolis’ setting that steers the focus on people instead of the surrounding architecture (beside the artificial, Alexanderplatz train station is to be seen, as many others along U-bahn). The photographer catches that very single moment capable of stimulating a wide range of emotions in the viewer. What are those lovers talking about?

from the WEDDING Album – Roman Tripler

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From the Wedding Album – Roman Tripler – Hennef, Germany

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I don’t do wedding pictures, I don’t want to screw up freedom with contracts. When Miriam and Bodo, very good friends of mine, asked me if I could do some shots, beside the ones taken by the official wedding photographer, I accepted with pleasure. The other guy, whom by the way always swaggered with Camera Porn, was standing in the way all the time, but the few occasions in which I was alone with my friends we had great fun. The results are photos like this one, because they could and would not pose for me. They really loved the album I gave them, it’s full of life and emotions.

I love life as it is and I want to show things that people forget or not see. This awareness will be also slow but steadily lost and we have the task to save it.
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Unconventional Wedding Photography is a new trend which aims to fix feelings and emotions instead of focusing on dull aesthetics. Strip the newlyweds from tight formality and show they love each other … and that are having fun together.
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