rewind magazine - april/june (english version)

Editors Roberto RagnoSimone Savo

Featured photographersArt WolfeCristina HochEleonora PellegriGiovanni LicitraIlaria IngravalleKarolina RyvolovaLeon NealLuca ParetoLuigi di LoroMikko LagerstedtNicole LimSiiri KumariTimea Ruman-RokaVivianne IzzoWill Tee Yang

REWIND [email protected]: rewindmagazineitTwitter: @Rewind_Magazine

A rockin’ pair of months.Thank you for reading the second issue of Rewind Magazine, an on-

line magazine that has the purpose of promoting young pho-

tographers from all over the world and inspire our readers.

In this issue, as usual, we speak about photography. We had the pleasure

of interviewing many photographers that transformed their passion into

a real work. As an istance, the photoreporter Leon Neal, who talks about

his experience in the Winter Olympics Game of Sochi, Russia. We also had

a nice chat with the National Geographic photographer Art Wolfe, whose

pictures will set your mind free in the most beautiful corners of our globe.

Rewind Magazine, went also back to the origins of photography , as on the

27th of April we celebrated the Pinhole Day, with the photographer Eleonora

Pellegri, who tells us how photography was born.

Speaking about analogue photography, on this issue, you can also read and see

the work of Nanni Licitra, who will give you the energy of rock!

Since this month, we also introduced a new section in the magazine: Readers’

Portfolios. If you are a young photographer and you want to share your work

with our readers, this is the right place for you!

The picture in the cover is by the american photographer Will Tee Yang, who

told us some tricks of fashion photography, while the picture on the left is by

Karolina Ryvolova.

Roberto Ragno

Simone Savo

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Leon Neal has given us the opportunity to speak with him for an interview.

He is a press photographer for Agence France-Presse. Being a very kind and

down-to-earth person, he explains in detail how a photographer works be-

hind the pictures that we see everyday on the newspapers. Leon, tells us he

has also been pressing his shutter during the struggles in the Libyan Revolution, but also

covered plenty of other moments on the international scene, such as the big Royal Wed-

ding, catching the highly-anticipated kiss of William and Kate of England.

We decided to focus the interview on his experience in the Olympic Winter Games held

in Sochi, Russia.

This big event happened in February of the current year, and covered more than 15

winter sport disciplines. Leon was there as a team leader to catch every moment of the

event, and he shares some of his favourite pictures with us.

Learn a thing or two about the daily routine of a press photographer and have a last look

to the snow and ice before the upcoming summer melts it all away.

The insight

REWIND MAGAZINE - LEON NEAL

Your job can be exciting, since it keeps you travelling

around the world. Can you tell us one of the negative sides

about it, or about an accident that has happened to you

during your work as a press photographer?

As nearly every professional would tell you, the job is 90% waiting, 7% waiting for “it” to happen any moment now and

3% actually pressing the shutter release. Patience is a vital

requirement of the job so, if you haven’t got it, move along. I

was at a job this morning four hours before it was due to be-

gin and that was nothing out of the ordinary by any means.

Aside from that, it depends very much on what area you

work in. I’ve experienced combat photography during the

Libyan Revolution and, very quickly, decided it wasn’t for

me. Having four working limbs, a girlfriend and a young

son is far more important to me than any picture of someone

firing a gun. In a single day, I experienced four near-death

experiences. I know plenty of photographers that thrive on

that kind of thing. Sadly, some of those are only interested

in the rush and not sharing images that will bring the war

to an end.

Besides the photographic equipment, what is that a pho-

tographer should really take with him before going to the

Winter Games?

My honest answer is: “a lot less than I took”. Covering the

Winter Games, you would expect warm clothing, ice grips,

thermal gloves, hand warmers and torches to be a priori-

ty, but Sochi required suncream and shades for many of the

photographers working at the coastal cluster.

It’s always better to be over-prepared though, as it would

inevitably be the thing that you thought you could live with-

out that becomes a vital tool. Olympic sites are often quite

sterile environments with no access to regular shops, so if

you find yourself in desperate need of a souvenir pin-badge,

you’re in luck. If you’re after a spare charger for your phone,

you might struggle.

Regarding equipment, Agence France-Presse has a very close

relationship with Nikon, so we have access to every lens that

they make. This allows us to not only have a good play with

their latest toys but also saves on packing every lens you own

on the way out.

How do you visually prepare your shooting? Do expecta-

tions often come to reality?

Expectations are the worst thing that a press photographer

can have. Unlike a studio photographer who can shape the

world to match their preconceived concepts, we work with

what we’re given. I lost track of the times in my first few

years in the job that I got excited before an event because I

had an image in my mind that would be the big picture of

the event. When it comes to it, you have very little control

over what happens. This is a double-edged sword though, as

the downside is that you’re at the mercy of the situation but

the upside is that you can never tell when the picture that

stays in your portfolio for many years will happen. This isn’t

the job for control freaks!

EXPECTATIONS ARE THE WORST THING

THAT A PRESS PHOTOGRAPHER

CAN HAVE.

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Speaking about fast decisions: experiment with a pan-

ning in a certain situation can lead both to a success or

to a big failure. How do you avoid to blow an important

picture?

It is quite simple: try not to experiment during an important

moment! There are times when you’re forced to, but I would

do all I can to ensure that it will work before the moment

arrives.

Thankfully, in Sochi, the nature of the disciplines that I was

covering ensured that a photographer had plenty of chance

to work out “the shot” that they wanted well before the final

run of the day.

In Luge, Skeleton and Bobsleigh, the athletes complete two

runs per session. In the first run, the best go first and in the

second run the best go last. This works out perfectly for the

media as we get the chance to get an early “straight” picture

out of the potential winners, before having a play around

with technique, equipment or location ahead of the eventual

top five athletes coming past again.

Sadly, the athletes in the lower rankings often only serve as

test fodder.

As soon as the games end, and you realize it is all over,

what are the sensations you feel? Is it a release for you or

something else?

The Olympic Games are exhausting. Without a doubt, the

first thought that crosses virtually every person’s mind as it

draws to a close is; “Bed! Pillow! Food!”.

It’s only once you’ve had a chance to travel home, back up

your pictures, recharge your internal and technical batter-

ies, and eat a decent meal that you begin to think back with

a sense of pride at what you managed to achieve over the

previous three weeks.

Agence France-Presse, like many of the other agencies, has

an end-of-Games party, but I’m usually quite happy to crawl

to my bed and sleep.

Overall considerations. Was it a success for you?

Sochi 2014 was my first Olympics as a team leader, so I had

a bit more responsibility than usual and despite a massive

workload and demand for content, the photographers and

editors at AFP did a fantastic job.

Personally, I was concerned going into the Games that I

wouldn’t be able to find new angles on the sports, consid-

ering I covered the same disciplines at Vancouver 2010.

Thankfully, I think I managed that so I’m happy to say that

yes, it was.

The pictures in the article are the sole property of Leon Neal for Agence France-Presse.

You can follow more of Leon’s work on his website:www.leonneal.com

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LEON NEAL FOR AGENCE FRANCE PRESSE ©

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LEON NEAL FOR AGENCE FRANCE-PRESSE ©

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Some days ago, we contacted an american naturalist photographer, Art Wolfe. His images and his strict connection to the nature, tied to the will of preserving it in its poetical beauty, ensure that his pictures not only have an aesthet-ic value, but even a moral one. Everything, in Art’s works seems ethereal and immutable, as the testimonies of the

native populations that the photographer got to know in his long travels around the world.It isn’t easy to share a message coming from something as static as the natural flora is, yet Art is able to catch the hidden message, almost cryptic, that our planet sends us. « What we call Nature is a poem that lies locked in a mysterious, wondrous script », claimed the philosopher Friedrich Schelling. Let’s read it in the pictures of Art Wolfe.

REWIND MAGAZINE - ART WOLFE


How do you spend your time when you are not taking

pictures?

I am a photographer and an artist to my very core and there

is very little time that I am not taking pictures to be honest.

It is truly a 365 day a year job for me. That said - when

ever I return from a trip I have a beautiful garden land-

scape at my home in West Seattle, WA that was inspired

by the landscapes of the Hang Shan mountains in China. I

have flowing streams, waterfalls, and bonsaied trees of pines

and maples and a carpet of mosses and native plants. As I

return from every trip I’ll spend 4-6 hours that same day in

the garden trimming plants, pulling weeds, blowing leaves,

cleaning streams.

It is very grounding work for me and I love it. It’s definitely

a second passion for me.

Tell us a bit about your photographic process, from the

raw idea to the end.

I have an extensive library in my home full of art books from

photographers to painters to sculptors. Here I get a lot of my

inspiration for new works, for traveling the world to new lo-

cations and I’ll often sketch ideas for future photoshoots on

paper. At times these can come in handy when there is a lan-

guage barrier, a quick sketch of what I had in mind can con-

vey an idea much faster than trying to describe it through

an interpreter (where there is an interpreter available).

Once in the field I will go with the flow, I’m not rigid and

held to what I had pre visualized and often it is the unex-

pected and serendipitous moment that wins the day. I shoot

without artificial lighting nearly all of the time, as I think

that flashes and lamps simply can’t reproduce the beauty of

naturally lit subjects. I’ll shoot fewer images today than I

did with film in the past as I can verify focus and compo-

sition in the back of the camera quite easily. I know I got it

and I move on. I go through and edit all of the images I shot

during the day that same evening never allowing myself to

get behind. I delete images immediately and never look back

keeping only those from the shoot that are truly special.

I edit them using Adobe Lightroom and once back in the

office any final edits is done with Adobe Photoshop. In the

office we print with Epson printers, papers and ink up to 60

inches on a side.

What is your special secret for a good picture?

There is no “special secret” of course as each image is dif-

ferent. I will say that an image which evokes an emotional

response in the observer is the one that succeeds. One that

gives the observer pause to reflect on the image, to study

it. Elements of gesture and form play strongly in these suc-

cessful images. Beautiful light and the perfect moment come

through as well. A judicious and studied use of positive and

negative space in the image, pattern and repetition all come

in to play in what makes for a successful image.

I am strongly influenced by my studies of Art History and

the same elements that make for an amazing painting that

has stood the test of centuries will be found in the most suc-

cessful photographs as well.

Could you tell us what are the most annoying aspects of

constantly traveling around the world?

I love my travels, once I am there at my destination.

I’m afraid I won’t live long enough to see instant teleporta-

tion where you can take the 20 hours on an airplane out of

the equation. Once at a location the food and hotels really

don’t bother me all that much and the people I universally

find to be welcoming and pleasant. I believe this is because

of the image I project towards them, one of peace and hap-

piness and it is returned back to me.

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What is that ties you most to the nature?

I have been a naturalist and conservationist since I was a

young child. I roamed the wooded ravines of West Seattle

growing up getting to know the local flora and fauna through

guide books.

Once I could drive my circle expanded and it has never

stopped. My goal has always been to share the beautiful cor-

ners of the earth, the hidden wonders that most will never

see with their own eyes in the hopes that more and more

people will realize what an amazing planet this is that we all

share and why it is we should care about it and be the best

possible stewards of nature that we collectively can be.

If you could pick up an artist from the past to cooperate

with, who would you choose?

There would be a long list of them - most of my favorites are

painters from the classics of Monet and Manet to contem-

porary artists like Toby and Pollack. If I were to pick just

one I have always enjoyed the work of M.C. Escher. I even

did a book called “Migrations” where you can see a strong

influence from his work in my images.

So I suppose it would be fun to collaborate with him on a

project.

In your career, you published more than 65 books. Is there

a book that you love in particular that you want to sug-

gest to the readers who have just discovered your work?

I have always loved books, I buy my fellow photographers

books by the arm load and have an overflowing library of

them at my home.

My best book, my magnum opus, will be released later this

year and is titled “Earth is my Witness”. This is a collection

of my best work from throughout my carer and I spent the

last 3 years traveling the world specifically with that book in

mind finding new locations and photographing new species

of animals that I have always wanted to shoot (Humpback

Whales underwater, Pumas in Patagonia and Jaguars in

the Pantanal for example) and this will be the book that the

readers will want to see.

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The pictures in the article are the sole property of Art Wolfe.

You can follow more of Art’s work on his website:www.artwolfe.com

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NANNI LICITRANANNI LICITRA

REWIND MAGAZINE - NANNI LICITRA

In the interview of the next pages, we meet one of our readers, that is also an ama-teur photographer living in Bologna, Italy. Before reading it, please wear a pair of headphones and put some good music on your iPod, because we will talk about music! Indeed, the particular pictures of Giovanni, friendly called Nanni, are inspired to the great names of the rock, of which he is a big fan.


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Hello Giovanni, please introduce yourself to our readers.

I am a 25-years-old boy from Sicilia, Italy. Since 6 years I’ve been living in Bologna, where I study Law. Besides trying to get a degree, I spend my days listening to some music and imagining things that don’t exist. I like analogue cameras, Joy Division and Pizza.

Did you join the photography world on your own, or was this passion transmitted by someone else?Since I was a child, I was extremely attracted by the drawer where my parents used to put all our family pho-tos. I spent some hours looking at them, it calmed me to look at those albums. So, I would say that I liked more looking at pictures than taking them.

Who convinced me to buy my first camera was a friend, Peppe, who I thank profoundly for teaching me the ba-sis.

We noticed that you shoot mainly in analogue, why?Growing up, and starting to listen to some music, my attention moved to the pictures of the great bands of the past (The Smiths, The Doors, Pink Floyd, The Velvet Un-derground). Listening to that music, and watching those pictures, so real and surreal at the same time, fascinated me a lot. They had nothing to do with the modern digital photog-raphy. This pushed me to start shooting in analogue, exper-imenting with different kinds of films, sizes and tech-niques, such as using dust and digital prints on the nega-tives to be developed, a sort of ‘manual’ post production. Every time I am more and more surprised and satisfied from the results.

Recently, thanks to David La Tache, founder of the web-site ishotpix.com, I had the chance to get photographic passes for various musical events where I shoot galleries in analogue, trying to get that atmospheres from the pic-tures that used to fascinate me (a thing I like).

Photography: Head or Heart?I think that, more than head or heart, it’s about the eye or the point of view. Everyone of us has one. It’s just that the one of some people it’s more interesting than one of others.

Is there any camera or film that you prefer?I don’t have a favorite camera. I like to try new and dif-ferent things, even if I prefer the mechanic 35mm camer-as, because they are more comfortable. Speaking about films, there are many I use a lot, but my favorites are: for the black and white the Ilford films (if I want more grain i use HP5 400, if I want less, I use the Delta 400) for the colour, I prefer the Kodak Portra, especially the ISO 400 and 800: they make the colors more saturated in low light conditions.

The pictures in the article are the sole property of Giovanni Licitra.

You can follow more of Nanni’s work on his website:http://oneimaginaryboy88.tumblr.com/

Hello Giovanni, please introduce yourself to our readers.

I am a 25-years-old boy from Sicilia, Italy. Since 6 years I’ve been living in Bologna, where I study Law. Besides trying to get a degree, I spend my days listening to some music and imagining things that don’t exist. I like analogue cameras, Joy Division and Pizza.

Did you join the photography world on your own, or was this passion transmitted by someone else?Since I was a child, I was extremely attracted by the drawer where my parents used to put all our family pho-tos. I spent some hours looking at them, it calmed me to look at those albums. So, I would say that I liked more looking at pictures than taking them.

Who convinced me to buy my first camera was a friend, Peppe, who I thank profoundly for teaching me the ba-sis.

We noticed that you shoot mainly in analogue, why?Growing up, and starting to listen to some music, my attention moved to the pictures of the great bands of the past (The Smiths, The Doors, Pink Floyd, The Velvet Un-derground). Listening to that music, and watching those pictures, so real and surreal at the same time, fascinated me a lot. They had nothing to do with the modern digital photog-raphy. This pushed me to start shooting in analogue, exper-imenting with different kinds of films, sizes and tech-niques, such as using dust and digital prints on the nega-tives to be developed, a sort of ‘manual’ post production. Every time I am more and more surprised and satisfied from the results.

Recently, thanks to David La Tache, founder of the web-site ishotpix.com, I had the chance to get photographic passes for various musical events where I shoot galleries in analogue, trying to get that atmospheres from the pic-tures that used to fascinate me (a thing I like).

Photography: Head or Heart?I think that, more than head or heart, it’s about the eye or the point of view. Everyone of us has one. It’s just that the one of some people it’s more interesting than one of others.

Is there any camera or film that you prefer?I don’t have a favorite camera. I like to try new and dif-ferent things, even if I prefer the mechanic 35mm camer-as, because they are more comfortable. Speaking about films, there are many I use a lot, but my favorites are: for the black and white the Ilford films (if I want more grain i use HP5 400, if I want less, I use the Delta 400) for the colour, I prefer the Kodak Portra, especially the ISO 400 and 800: they make the colors more saturated in low light conditions.


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REWIND MAGAZINE - ELEONORA PELLEGRI

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Hello Eleonora, please introduce yourself to our readers.

I live in Castelnuovo Magra, a heavenly land near La Spe-

zia, Italy with the Alpi Apuane behind us and a spectacular

sea in front of us.

For the living, I am a bookkeeper on behalf of two local com-

panies. I have five dogs, ten cats and I am obsessed about

photography.

Did you join photography by yourself or was this passion

transmitted by someone else?

My first memory about a camera was a little toy that was

given to me in Torre del Lago (LU). Those souvenirs sold in

the stands where in the viewfinder you could see slide pic-

tures of touristic places. I was 5 years old perhaps. When I

had my first ‘real’ polaroid, I was about 7 years old. My un-

cle gave it to me, and 3 years later I had a kodak Instamatic.

I spent my lonely afternoons, typical of my land, with the

company of photography, drawing and some attempts to

create sculptures.

Since 7 years, I started to deepen my knowledge about pho-

tographic technique, thanks also to the meeting of the paint-

er, engraver and photographer Paolo Navalesi.

What makes you so passionate about this kind of pho-

tography?

I like to use this technique for the slow times before arrang-

ing the image, the fact that I have to count the seconds in

which I am shooting, the surprise and emotion that every

time I feel in the dark room when I see my image come real.

Can you tell us about a project you made using this tech-

nique?

I can show you a triptych of images that are now being ex-

posed in the Art display called ‘Artists for the resistance’ in

Fosdinovo (MS). The artwork is entitled “Pilgrmage”.

(pictures on the next page)

How do you prepare for the Pinhole day?

The Pinhole day morning, I loaded my Panda Van with box-

es, little boxes and cameras, and brought more than a cam-

era and precisely: my new Stenopeika 4x5, a Kiev 88 that I

have edited, a chest created by my friend Guido D’Apuzzo

and some tin that I want to create.

I repute the PinHole Day a real party, and I must come back

home with at least a decent image to insert on the pinhole

day gallery. It makes me proud. Actually, this year I am re-

lying everything on my Stenopeika 4x5. I want to get some

nice negatives to print them with the cyanotype technique.

Tricks or tips for using a pinhole camera?

I should advice that you don’t have to be afraid of the sup-

port you use. When I started my pinhole adventure, I was

only worrying about the correct exposition, so the anxiety

I was feeling was destroying the pleasure of shooting and I

couldn’t really feel the magic of the place I was shooting.

Every pinhole camera, both bought or made by you, needs

a test. Take a paper sheet and a pen with you and note the

best shutter speeds. This will help you to get to know better

your camera, and will give you a clue about the times to use.

When you get past the exposure time problem, you can look

around and compose your image.

On April 27th, the world of photography celebrated the Pinhole Photography Day. In this day, we remembered on our online page the birth of photography thanks to the pinhole. On this kind of photography, our italian friend, Eleonora Pellegri, has based her lifestyle.

Before reading further, let us introduce you to the pinhole world. Imagine that this technique exists since 800 and more years ago. A pin hole is a very small hole made on a box which contains a film. The hole, works like a sort of lens and the light from a scene passes through this single point and projects an inverted image on the opposite side of the box. The resulting image, isn’t very sharp and usually a smaller hole gives better outcomes, but it requires a longer time of exposure.

The picture on the left, was shot by Eleonora this year’s Pinhole Day. Let’s read what she has to tell us about this process!

REWIND MAGAZINE - ELEONORA PELLEGRI

The pictures in the article are the sole property of Eleonora Pellegri.

You can follow more of Eleonora’s work on his website:www.eleonorapellegri.wordpress.com

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In this issue, we introduce a new section: Readers’ Portfolio.To clarify the matter, we explain what we mean below. A portfolio is a set of images that have in common a final idea or feeling, or a certain photograph-ic technique. In our case we ask you to send us a portfolio with an open theme, with a minimum of 4 photos to a maximum of 12. The maximum size should be 20x30 in 300DPI via mail to [email protected] We would also like a brief description of your pic-tures. Rewind Staff

Filippo Danilo Livera

Arabesques of FireThe pictures I am presenting represent a particular moment that I live when I photograph the fireworks: the happiness. This is why my project is called “Arabesques of Fire”. It might seem strange, but with everything that usually photographers take pictures at, I chose to shoot fireworks using long exposures. These, go along well with the concept of joy, armony, happiness, freedoom. This kind of photography let me travel around the world, sharing joy with other people who were seeing this games of fire into the sky, giving light to people’s feelings. I like to put into the composition some monuments or objects that make the moment unforgettable. I used a Canon Eos 1100D and a Canon Eos 70D with aTamron 17-50 mm F2.8, a Samyang 8 mm F3.5, and a Tamron 10-24 mm F3.5-4.5

REWIND MAGAZINE -FILIPPO DANILO LIVERA

Picture by © Filippo Danilo Livera

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Pictures by © Filippo Danilo Livera

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REWIND MAGAZINE -FILIPPO DANILO LIVERA

Andrea FaccoPanocreative

The pictures that I present here are part of a photographic proj-ect on architecture called ‘Panocreative’, a word which combines the words of panorama and creativity.As you can see from the title, this is a set of pictures really differ-ent from the common panoramas, usually applied to landscapes instead of architecture, as in this case. The idea of vertical panoramas of buildings is born from my search of documenting the architectures in a personal way.

Indeed, I am a student of the Faculty of Architecture of Genova, and in my years of study, I had to approach this kind of photog-raphy. For this reason, I later thought of a new work, dedicated to ar-chitecture photography, that could represent me.

The common technique to take a picture of architecture, is often tied to an extreme precision, and I think that this is sometimes hard to use or it is just not enough interpretive, unable to ex-press feelings. I chose a completely different and against-the-stream technique to document buildings that could be descriptive of the places I visit but, somehow, could also use a personal point of view.

The pictures follow and take the point of view of an ideal ob-server that moves his sight in different directions, from the ground to the ceiling.

This pictures were taken without a tripod, with a Nikon D300s and a 12-24 mm f4 by tokina.

The pictures are taken in Genova, Milan, Turin, Barcelona.I searched for similar buildings in every city to compare the different epoques.

Follow Andrea on:

Website: www.andreafacco.com

Facebook: https://www.facebook.com/andrea.facco

REWIND MAGAZINE -ANDRA FACCO

Pictures by © Andrea Facco

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REWIND MAGAZINE -ANDRA FACCO

Pictures by © Andrea Facco

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OurSelectionsEvery image and text in Rewind Magazine are the

sole property of the author.

Selected authors:Will Tee Yang, Ilaria Ingravalle, Viviane Izzo, Karolina Ryvolova, Luigi di Loro, Luca Pareto, Mikko Lagerstedt, Siiri Kumari, Cristina Hoch, Nicole Lim.

Will Tee Yang“...I like how shooting film slows down my process and actually makes me focus on composing the shot and pressing the shutter at the right moment. I also feel more connected when working with older manual film bodies. I also like the mystery of not knowing precisely how the shot will turn out when shooting film...” Complete Interview: http://rewindmagazine.it/post/81715252939/willteeyang

Website: http://blog.willteeyang.comFacebook: https://www.facebook.com/willteeyangphotographyVimeo: http://vimeo.com/willteeyang

REWIND MAGAZINE -WILL TEE YANG

Pictures by © Will Tee Yang

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Ilaria Ingravalle“...The heart gives us a direction, guides us and it starts beating faster when we see something that catches our eye. Taking a picture is falling in love with the subject, desire it....” Complete Interview: http://rewindmagazine.it/post/82130157900/ilariaingravalle

Flickr: https://www.flickr.com/photos/ikorosphotography/Lomography: http://www.lomography.it/homes/opheliaWebsite: http://asibrokethesilence.tumblr.com

REWIND MAGAZINE -ILARIA INGRAVALLE

Pictures by ©Ilaria Ingravalle

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Viviane Izzo“... Photography and love are strictly tied to me; both have the capacity of making special things and people that seem ordi-naries to most people.In my opinion, though, photography has the extra oomph, in-asmuch it is able to immortalize the perceived peculiarity, and to make it a tangible reality, known also by who wasn’t able to recognize it in the first place....” Complete Interview: http://rewindmagazine.it/post/83603222813/vivianeizzo

Website: http://vivianeizzophotography.wordpress.comFacebook: https://www.facebook.com/vivianeizzophotography

REWIND MAGAZINE - VIVIANE IZZO

Pictures by © Viviane Izzo

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Karolina Ryvolova“...Mostly I’m inspired by nature, places, photos and art I see every day. Dresses are often a huge improvisation based on the location; most of it is made just with pieces of fabric and clothes we bring. I also started to make headpieces and crowns, I really enjoy creating it but it never looks how I planned it. I really should get better...” Complete Interview: http://rewindmagazine.it/post/84358442579/karolinaryvolova

Facebook: https://www.facebook.com/KarolinaRyvolovaPhotography500px: http://500px.com/KarolinaRyvolova

REWIND MAGAZINE - KAROLINA RYVOLOVA

Pictures by © Karolina Ryvolova

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Luigi Di Loro“...I love to portray people, I observe their faces, I read their stories and I tell them through my shots.My main subjects are moments, ordinary life becoming poet-ry, places that tell a story, details and contrasts...” Complete Interview: http://rewindmagazine.it/post/84761550885/luigidiloro

REWIND MAGAZINE - LUIGI DI LORO

Pictures by © Luigi Di Loro

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Luca Pareto“...I have always admired the photoshoots about mood fashion, even if they are difficult to perform for several reasons: the model with all the suitable traits for the genre, the availability of the out-fits, etc. Anyway, step by step I approached this genre and I hope to progress fast...” Complete Interview: http://rewindmagazine.it/post/85462728480/lucapareto

Website: http://lucaparetophotographer.tumblr.comFacebook: https://www.facebook.com/LucaParetoPhotographer

Mikko Lagerstedt“...What are the words that a landscape photographer hates to hear?

“Only if I had the same camera. Well it’s not that bad, but it’s not the most im-portant thing in landscape or most of photography....” Complete Interview: http://rewindmagazine.it/post/86015883802/mikkolagerstedt

Facebook: https://www.facebook.com/pages/Photography-Mikko-Lagerstedt/137616549627247Website: http://www.mikkolagerstedt.com

Siiri Kumari“...Improve the way you communicate with the model(s). There are so many good posing books out there. I would personally recommend “Picture Perfect Posing” by Roberto Valenzuela, he explains how to direct your subject and what to avoid if you want to achieve a natural look. Every small detail - fingers, toes, jaw position - it matters more than you can imagine....” Complete Interview: http://rewindmagazine.it/post/86537903958/siirikumari

Facebook: https://www.facebook.com/siirikumariphotoWebsite: http://siirikumari.com

Cristina Hoch“...I try to photograph people being natural. I don’t want them to pose as a fashion model would - I just want my models to enjoy nature - that’s what I try to catch...” Complete Interview: http://rewindmagazine.it/post/87237619958/cristinahoch

Website: http://cristinahoch.tumblr.comFlickr: https://www.flickr.com/photos/whiteface_greeneyes/

Nicole Lim“...I started out doing portraits in nature because of the bokeh. I’ve always been re-ally fascinated by how different backgrounds produce different blurred effects and, if I had to choose, natural light would always be my first choice...” Complete Interview: http://rewindmagazine.it/post/88601510367/nicolelim

Facebook: https://www.facebook.com/thepixelbunnyInstagram: http://instagram.com/jesuistigerlily

Timea Ruman-Roka“...I think that there is a passion hidden in everyone of us, you only need to let it out. I’ve always cultivated the passion for the images - and the emotions that my cousin, who had recently joined a school photography, showed me, fostered me further in photography. As a consequence, after the high school, I attended and then graduated in the official photogra-phy school in Budapest. After this, I had the certificate for joining the Film & Studio Pho-tography Lighting Master Course...” Complete Interview: http://rewindmagazine.it/post/89271659247/timearumanroka

Website: http://rumanka.wix.com/rumanka-photographyFacebook: https://www.facebook.com/pages/Rumanka-Photography/104670469576855

In the previous issue we asked you to play with us with a contest on flickr : www.flickr.com/groups/rewindmagazine/. The chosen theme was the natural light. Many of you joined our game, but only three could win. Here we present you the winners!

lickr ontest CFREWIND MAGAZINE - CONTEST

CREWIND MAGAZINE - CONTEST

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1st Nico Coratella

Flickr: https://www.flickr.com/photos/nicocoratella/10266423706/

2nd CRY BOYREWIND MAGAZINE - CONTEST

Flickr: https://www.flickr.com/photos/cryboy/13938572587/

3rd Lollo

Flickr: https://www.flickr.com/photos/lorenzoborghi/13968654104/

REWIND MAGAZINE -CONTEST

Keep on sharing your pictures on our group, or join our next competition.We want to see some nice long exposition photography. Therefore, take yourself a good tri-pod and a lot of patience and go and photograph some landscape, a building, or a model. The picture has to be longer than 2sec.

Do you know how to share your picture? Surf to our Flickr Pool (Pool of Rewind Magazine) by following the link: www.flickr.com/groups/rewindmagazine/

Send us a picture

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REWIND [email protected]: rewindmagazineitTwitter: @Rewind_Magazinewww.rewindmagazine.it

rewind magazine - april/june (english version)

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