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Showing posts from May, 2014

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QUARTEIRÃO DAS CARDOSAS | photos by Alda João

May 28, 2014

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About me

Architect and Photographer.

I'm all about Architecture, Design, Travel and Photography, both digital and analog.

In this blog you'll find a little bit of what I do as an Architecture Photographer, as well as side projects I'm working on.

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@aldajoao

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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

OLIVETTI SHOWROOM | Carlo Scarpa, Venice - Italy, 1957 - 1958

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PABLO PICASSO light paintings for LIFE MAGAZINE, 1949

When LIFE magazine’s Gjon Mili, a technical prodigy and lighting innovator, visited Pablo Picasso in the South of France in 1949, it was clear that the meeting of these two artists and craftsmen was bound to result in something extraordinary. Mili showed Picasso some of his photographs of ice skaters with tiny lights affixed to their skates, jumping in the dark — and the Spanish genius’s lively, ever-stirring mind began to race. “Picasso” LIFE magazine reported at the time, “gave Mili 15 minutes to try one experiment. He was so fascinated by the result that he posed for five sessions, projecting 30 drawings of centaurs, bulls, Greek profiles and his signature. Mili took his photographs in a darkened room, using two cameras, one for side view, another for front view. By leaving the shutters open, he caught the light streaks swirling through space.” This series of photographs, known ever since as Picasso’s “light drawings,” were made with a small electric light i

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