It is rare that a photographer can excel at capturing the beauty of both a human and an animal in the same photograph. Katerina Plotnikova does just this. It is not either the person or the animal that is the focal point of the picture, but how they interact together. The results are simply stunning. Continue reading
What if verbal abuse left the same scars as physical abuse? Would it be taken more seriously? That’s what photographer Richard Johnson hopes to accomplish with his new photo project, “Weapons of Choice.” Continue reading
Joy to the world
“What appears in the pictures was the subject’s decision, not mine. I took what they presented—delicate moments—unadorned and unglamorous, yet tender and exquisite. —Ray Metzker
Kamil Vojnar was born in the former Czechoslovakia in 1962. He studied at the School of Graphic Arts in Prague and began his career as a Graphic Designer. He left the country illegally (still Communist at the time) and moved to Vienna, and then eventually became a US citizen and finished his studies at the Art Institute of Philadelphia. He continued his career in Graphic Design which later led to illustration and imagery based on photography, working mostly for book and music publishing houses in New York City. At the same time, he continued to make his own imagery. After meeting his partner and having children, going back and forth between France and New York, they finally settled in St. Remy de Provence in South France where Vojnar has concentrated on his own work since 2005. He opened up an Atelier in St. Remy and then one in Paris in 2009, both of which carry his own work.
His work consists of images digitally layered from many different photographs and textures. They are mixed-media archival prints on fine art paper or mounted on canvas. Some of his images are layered pictures printed on semitransparent Thai paper. These unique photomontages are then varnished with oil and wax, and on occasion painted with oil paints. Kamil, as a painter, points out, “In a painting, you can paint anything you want. In the photographic , it must, on some level, exist first. That tension between what exists and what is made up is what interests me.” Thus, his images are often subject to very different interpretations
Dutch photographer, Ruud Van Empel gives us a glimpse of pure innocence, even though these children do not appear to be life like. His characters seem surreal. The artist constructs his photographic image by making use of photomontage, but never uses morphing techniques. The artificiality is visible but the final image is a convincing, autonomous reality. Every image consists of photographic sources that are digitally assembled on the computer. He uses his camera to record his building blocks. Van Empel’s working method is a complex one. He photographs 4 or 5 models in his studio, and takes many series of detailed photos of leaves, flowers, plants and animals. Having gathered hundreds of pictures in his database, he select those images with which he can achieve the best results. He creates new images of mainly children, black and white, set in a paradise environment.
Youth captured for that moment so we can cherish a lifetime. To be forever young and innocent. This is a series of artist freezing time and reminding us of our youth. Carefree. A series of images that take us to a place and find beauty in the age we take for granted.