“I’ve been fascinated with the origins and history of our collective Western aesthetic and the realization that no matter how advanced our tools and vision may become that we (as Westerners) are forever bound to a universal aesthetic initiated by the visionaries of the renaissance, and realized by kings.“
WIDE is a section devoted to promoting landscape photography. This section strives to expand our presentation of these kind of photos, which have been somewhat underrepresented in BLUR magazine in their classical form.
Sometimes it seems that landscape photography isn’t very creative because it relies mostly on Nature’s beauty and is, therefore, more technical than artistic. In this section we want to prove that human creativity, indeed, plays a major role in capturing the beauty of Nature in its full glory. Since “landscape photography” is a rather general term, we will try to present various approaches to this genre in this section, regardless of techniques used.
“My images of Icelandic glaciers are also a metaphor for anatomy and decay. The dirt cones left behind by glacial melt, aged counterparts of the gravelly striations visible within clefts, mimic human anatomy in their shape. Both the fissures and the cones reveal a gritty beauty and fragility as the glaciers retreat, and more of their interiors begin to decompose.“
“My aim for this series is to make photographs that spark the imagination and tell a story. The work in this portfolio is heavily influenced by Hollywood’s film noir period, which lasted from the early 1940s to the late 1950s. Black and White lends itself to strong composition, moody atmosphere, and in many of my photos, grainy texture. The images present places and situations that invite the viewer to wander down an old road, stand on a dimly lit street, or to view a scene that hints of danger.“
“My photographs encourage the viewer to reconsider the relationship between humans and nature. Seeing people helping each other physically and emotionally after the disaster made me reconsider the act of prayer. I realized that this act of praying, a part of Japanese society since ancient times, is the foundation of this society.“
“These photographs are part of a series begun in 2007 when I observed my first controlled prairie burn. I was immediately struck by the burn’s visual and expressive potential as well as the way it evoked themes that are at the core of my photographic work. A controlled burn is deliberately set; its violent, destructive force reduces invasive vegetation so that native plants can continue to prosper."
“In my work I try to connect to the land and express an emotional response to the location, communicating to the viewer the feel of environment and the elements. This desire has driven me not only to explore the wild landscapes of the Northern Pennines near my home, but to travel to the far north of Scotland and Iceland.“
“I prefer to work with images that are very conceptual. In my photos I often like to portray subjects that are isolated in quiet contemplation with the surrounding landscape, or oppose the idea of freedom and the sense of peace that only the sea and nature can give to the human soul, thus transferring the emotions I feel when shooting. I try to re-project the same emotions for the viewer.“
“My goals are to create landscapes that come alive with the acts of war, and cause, at least, contemplation of the nature of being American, to allow understanding, communication, and cooperation with fellow citizens. These photographs are an attempt to preserve American history, not to relish it, but recognize its cyclical nature and to derail that seemingly inevitable tendency for repetition.“
“a dot red, a series of hand-pulled photogravures, explores new perspectives on traditional genres and images found in landscape and portrait photography. By combining historical photographic techniques with more contemporary conceptual strategies, these works shift the focus of attention, and enable a reconsideration of its classical subjects.”
"All the credit for me now being in photography goes to a friend who wanted to take photos of the sunset when we went to the lake one day. When he finished, he gave me the camera so I could try to take some photos. The next day I went to the same lake with a camera that was purchased for family photos."
“One of the prime motivators for this series lies in the depiction and interpretation of vast, seemingly boundless, space. When space becomes the motivating concept, the image moves through a distillation process where only the most primitive elements remain: earth, sea, sky. The delineation of these elements by that universal separator—the horizon, creates a graphic strong point that also interests me."
„“Beyond My Eyes” is a project about what the eyes of mind can see. Working with long exposures, I realized that you don’t freeze just a moment, but an entire period of time. You can transform your picture in an hourglass. It’s the concrete representation of the parallel universe I mentioned before.
“Beyond My Eyes” is a universe where the main characters are Time and Silence, that take shape through what the mind is able to see.“
„Yes, I love nature very much, like the pure and wild nature, but I really also love the cultivated landscapes with human elements (rural landscape and villages). During the workshops I organize, we have wonderful moments sharing the experience of being in nature at, for example, early sunrises with the serene beauty and calmness of a cold morning when the light slowly illuminates the landscape. The most beautiful moments are not necessarily those that make the best photographs though. “
"Investigating and documenting the rich history of the American West has become a passion of mine. What appears to be a desolate, abandoned, corral most of the time, comes to life in the Spring when cattle are gathered and the annual ritual of sorting and branding occur. I am drawn to the stark landscape of the Great Basin where ranching still happens the old fashioned way."
"Why Pag, why not Ugljan or Pašman? What attracted you? It is magical, unreal, extraterrestrial, inspirational landscape, the atmosphere and the creations of the nature. It is really impossible to remain indifferent to the stimuli offered there."
"Are you married, because I suppose your spouse has to be full of understanding because you are far away for weeks at a time?
I know what you mean – no, I’m not married, and I think at least photography wise it is a big advantage to be fully independent. And no one will call me crazy when I come back from a trip with one single photograph. I repeatedly have been to the U.S. with only one particular shot in my mind which could be taken only within a small window of time, usually a couple of days, since only then the light conditions are right. There are some cases where a photograph can be taken only on a single day of the year, since only then the alignment of the sun and of the rocks used as picture elements is perfect. Explain to your spouse, that for this particular photograph you need to travel thousands of miles and be away for a week or two..."