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...

DAVID HOCKNEY compositive polaroids

David Hockney, OM, CH, RA, is an English painter, draughtsman, printmaker, stage designer and photographer, who is based in Bridlington, Yorkshire and Kensington, London.An important contributor to the Pop art movement of the 1960s, he is considered one of the most influential British artists of the twentieth century.David Hockney has also worked with photography, or, more precisely, photocollage. Using varying numbers of small Polaroid snaps or photolab-prints of a single subject Hockney arranged a patchwork to make a composite image. One of his first photomontages was of his mother. Because these photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, which was one of Hockney’s major aims – discussing the way human vision works. Some of these pieces arelandscapes such as Pearblossom H...

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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