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TANSPARENCY DESIGN | desenhar a transparência

September 30, 2013

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IS KEVIN SAINT GREY THE MICHAEL KENNA OF ARCHITECTURE PHOTOGRAPHY?

Whoever is interested in Photography in general, and in landscape photography in particular, is familiar with Michael Kenna's work, and, in fact, it's impossible not to. The ethernal dawn and sunset, long exposed shots, are what made him so famous and distinguished beyond the contemporary photography realm. It was more recently, whan I was researching about the english photographer's work, that I stumbled upon another very unique portfolio: Kevin Saint Grey's. Kevin Saint Grey is a (mostly) fine art film photographer with an unique minimalist style. He shoots mostly landscape and architecture, and his work distinguishes itself for the serendipity of black and white, "humanless" and silent scenarios. He shoots with a Hasselblad 50mm lens, and has already won several prizes - much as Michael Kenna. He's not your common architecture photographer: one of his most characteristic composition techniques is symmetry and long exposures, although, h

CASA PITE | by Smiljan Radic, 2003-2005

Este projecto, do arquitecto Smiljan Radic, foi realizado entre 2003 e 2005, e destina-se a habitação unifamiliar em Papudo, no Chile. A volumetria está inserida na topografia, situada numa falésia sobre o mar. A entrada procede-se à cota alta, através de uma plataforma que constitui a cobertura de uma das volumetrias. Nesta plataforma foi também implantada uma instalação da escultora Marcela Correa, composta por 11 pedras de basalto, que assinalam a entrada para a habitação. O percurso, exterior, até à entrada, processa-se de forma descendente, acompanhando a pendente do terreno. Mais informações sobre o projecto da Casa Pite, bem como a memória descritiva do arquitecto, podem ser consultadas aqui , aqui e aqui . This project, a house in Papudo, Chile, by architect Smiljan Radic, was conceived between 2003 and 2005. The volumes are inserted into the topography, in a cliff over the sea. The entrance is located by the higher

BAIRRO DA BOUÇA BY SIZA VIEIRA | 35mm series

This year marks my return to film photography. Believe it or not, the last time I took my film cameras for a walk, other than my instant Fuji cameras, was almost a year ago. I absolutely love insties, and I love the magic process of watching a photo develop in front of my eyes, but when it comes to film, the waiting and the post processing makes me eager to see "that" photo, with"that" framing and "that" light. It's funny that whenever I go for a shooting with my film cameras, I always have in mind some angles I want to try, or some scenes I want to photograph. Funnier is how I remember, weeks, months, and even years after I made some images, the camera, and film, the ASA and sometimes the camera settings I used for certain images. It all makes part of the process of shooting film: you're limited to a certain number of "exps" per roll or cartridge, so you become a lot more sellective and counscious of what you're doing

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