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Challenge Creativity
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Alex Tomazatos
Alecsandra Raluca Drgoi
Marie Laigneau
Magdalena Berny
7 | Editorial
8 | Events
Photo Romania Festival is ON!
World Press Photo exhibition
The 7th annual Sony World
Photography Awards
Exhibition with a touch: China Dolls
14 | Photo Books
Herb Ritts: L.A. Style Hardcover
Annie Leibovitz at Work
Polaroids
Masters of Photography
18 | Portfolio
Marie Laigneau
Alex Tomazatos
Magdalena Berny
50 | Advice 4all
54 | Photo populis
66 | Project4all
Good Bye, Ica!
76 | Journey = Photography
Photography and relaxation in Southern UK
90 | Street Core Photography
Summer 2014 Selection
94 | PhoneCam Project
98 | Guy Tal on photography
Senior Editor: Cristina int
(cristina.tinta@foto4all.ro)
Editors: Dorin Bofan, Andrei Baciu, Emilian Chiril,
Ana Neaca
Contributors: Bence Makkai, Toma Bonciu, Guy Tal
Translators: Irina Dinescu
Graphic concept: studio seven (www.studioseven.ro)
DTP: Ilie Popa (ilie.popa@gmail.com)
Cover photo: Magdalena Berny
Marketing: Cristina int
Online editor: Ionu Dorneanu
Legal owner: S.C. SALES EXPRESS NETWORK S.R.L.,
VAT no. 28241939
Suporters: ANZI SOFT SRL, Andrei Zincenco
The authors of each article shall be liable for the
content they provide. Any copyright infringement,
whether it is total or partial, shall be punished
according to the applicable law. The property of
each image and article published by our magazine
belongs to the authors and to FOTO4all.ro.
e-mail: publish@foto4all.ro
FOTO4ALL.ro 20122014
Summary
34-35 MAY - JUNE 2014
foto4all.ro 7 foto4all.ro 7
We are constantly asking for progress. For new
stuff. For new ideas and so on. Art and photography
make no exception either. Great energies are
invested by photographers trying to distinguish
themselves from one another and in front of their
audience. But do they manage to do that? And if yes,
how? Repetitiveness is often present and we are
desperately trying to avoid it. And so come into play
the question whether originality truly exists or not?
And how can one be original? Is he/she only getting
better at something? Or is there more to originality?
Einstein used to say that being original means to
know how to hide your sources. We often react against
earlier works, sources etc. , fnding our predecessors
ways of understanding faulty. But doesnt that mean
that we didnt actually free ourselves from them?
And how could we ever do that when photography
also includes the books were read, the music we
listen to, the flms weve watched, the experiences
weve had, the history we have inherited. It would
only imply being superfcial and that doesnt go
along with creativity, as the latter implies emotion,
authenticity and being conscious of who you are.
Maybe that is the actual point here. That the basics,
the message may be broadly the same, but the
essence lies in the details, in the examples.
The really original artist does not try to fnd a
substitute for boy meets girl, but creates the illusion
that no boy ever met a girl before. (A. Hyatt Mayor)
The roots can be the same, but the infuences must
be dominated. Dont condemn yourselves to live
only by the view of others, even if their visions are
shared by you as well. Borrow but bring your true self
into it. In whatever it is that you are doing, further
most in art. Dont be afraid of that. Believe you are
going to see what others didnt and eventually
you will. And especially in photography, there will
always be something new for you to discover. Just
pay attention to the facts of this world, to the true
appearance of life and put them into a new light,
your own.
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Editor-in-Chief
So whats new?
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Events Events
Photo Romania Festival, the largest festival
dedicated to photography in Eastern Europe,
awaits its visitors! Between May 16th and
25th, more than 500 photographers, both
professional and mere enthusiasts, are
awaited in Cluj-Napoca. The organizers have
prepared for this fourth edition 40 exhibitions,
16 workshops, 6 competitions, and 20 special
events.
The main attraction of the event for those
interested in improving their work with the
camera is the Photo Romania Academy, a
concept designed to facilitate dialogue with
well-known professionals. The Academy
will consist of 16 small-class workshops,
held throughout several hours a day by
photography gurus such as Drew Gardner,
Joshua Hoffine, Bert Stephani, Giuseppe
Parisi, Juha Mustonen, Ivica Matic, Mihai
Moiceanu, and Julieanne Kost. They will
each develop a specifc theme, from horror
photography to nature photography, lighting,
nude photography, wedding photography,
portraits, and even editing. The workshops will
take place in different areas (for example, the
horror photography workshop held by Joshua
Hoffne will take place at the Corvinilor Castle
in Hunedoara), especially selected for the
theme, and the participants will not only learn
about important theoretical aspects of the
theme, but will also develop their portfolios
by shooting and then discussing their work.
More information on the workshops, registration
and other details can be found at http://www.
photoromaniafestival.ro/en/academia/.
At Photo Romania Festival, photographers can
participate in contests such as Photo Romania
Award (with three sections: Photojournalism,
Lifestyle, and Landscape), Expo Debut, and The
Viral Photography of the Year. During the festival,
in Cluj-Napoca will be open a temporary exhibit
of the Photography National Museum, a project
started by the organizing team with the help
of Colin Ford, the founder of the Photography,
Film, and Television Museum (nowadays the
Mass-media National Museum) in the UK that
is projected to open permanently in 2015.
In the meantime, for all those enjoying the
art of photography, the festival will host 40
different photo exhibitions of Romanian and
foreign photographers such as Ferenc Berko, a
pioneer of color photography, Elena Shumilova,
famous on social networks with her photo series
Kids, Sorin Onisor and Bogdan Comanescu, the
authors of the Romania. People and Places
exhibition.
All the information up-to-date about Photo
Romania Festival is available at http://www.
photoromaniafestival.ro/en/.
Photo Romania Festival is ON!
About Photo Romania Festival
Created in 2010, Photo Romania Festival
has brought photography in the focus of the
Romanian cultural life and succeeded in
entering Cluj-Napoca in a worldwide network
of high-class photography festivals. Last
years edition meant 40 exhibitions, 5 national
premiers, 1.500 printed photographs, 500
photographers form 15 countries, and over
70.000 participants. The festival is organized
by Photo Romania Association and is produced
by Fapte organization.
Events
World Press Photo exhibition
The annual World Press Photo exhibition is the best known of World Press
Photo's activities and is a highlight in the organization's calendar.
The World Press Photo 2014 will be displayed in Romania as well, in the University Square, between Friday
9 May 2014 Wednesday 28 May 2014, daily (11.00 - 21.00).
Events
The 7th annual Sony World
Photography Awards
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INTERNATIONAL
The beginning of May marked the7th annual Sony
World Photography Awards. The winners were
selected from over 70,000 entries submitted by
photo enthusiasts and amateurs from across the
world. Awards, talks, special presentations, 'how to'
photography workshops, book signings have been
the main activities of the days, as well as featuring
appearances by world class photographers (including
William Klein, Zackary Canepari and Mary Ellen Mark)
and introduction of Sony's new Global Imaging
Ambassadors.
Romania has been represented by Vlad Eftenie, the
winner in the Low Light Open Competition.
Winner, Low Light, Open Competition: Bucharest,
Turda Blvd. , 41 tram station. As the weather got
worse in the evening, I hesitated to use the camera
before. Before i spotted one interesting situation,
with pedestrians walking against car lights, on a
zebra crossing. The snow had become chaotic as
sharp cold wind became annoying. Cars where barely
advancing, the light was diffcult, the woman with
umbrella was standing there petrifed. I pulled out
the camera and took the picture, handheld, marking
the frst snow of the year. ( Vlad Eftenie, 2014 Sony
World Photography Awards)
And if you want all the winners in your library, dont
forget to order the winners book. Also, keep an eye on
the WPO websites as new interviews and information
are updated from time to time.
by Vlad Eftenie,
the winner in the
Low Light Open Competition
Every year following the World Press
Photo Contest, the winning images
go on tour. In April, the exhibition is
officially opened in Amsterdam and
can be seen at venues around the
globe until March of the next year. The
tour program takes in approximately
100 cities in 45 countries and is still
expanding.
The exhibition is a showcase for
creativity in photojournalism and a
platform for developments in the
profession, part of World Press Photo's
aim of encouraging and stimulating the
work of press photographers around
the world. The show also attracts a
broader public and, because of the
wide-ranging focus of the contest,
forms an eyewitness record of world
events from the previous year.
For more information, you can search
the 2014 World Press Photo Exhibition
Guide app that brings another dimension
to the worldwide exhibition tour.
The Exhibition Guide app provides
visitors with extra information about the
award-winning images in 9 languages,
audio commentary about the photos
from the photographers themselves,
and lots of other information not found
in the exhibition alone.
More details on:
http://www.wppromania.ro/
The 2014 Exhibition Guide features:
Translated photo captions and app interface in nine languages
Audio commentary about the prizewinning photos from the photographers themselves
Camera detail information
Location information
Bookmarking of your favorite images
Sharing
In 2006, Nathalie Daoust went to China for an artist
residency with the Red Gate Gallery and fell in love
with the culture. Since then, she has looked for
any excuse to go back and has spent many months
exploring the country.
Over the years, she became more and more intrigued
by the role that women play in society, how quickly
it's changing and especially by the consequences of
the one child policy - what it means for woman and
how this generation is dealing with it. (Both with the
daughter who were not wanted, as with the mothers
that believed it was a disadvantage to have a daughter).
Intrigued by this new generation of women and their
struggle in the modern world, Nathalie decided to
photograph them individually, documenting their
separate stories within an overcrowded society. She
created a human size room, so they could sit in the
dark, alone with their thoughts, while I photographed
them with light painting.
Shown for the frst time in Rome, the photographic
installation is comprised of portraits - black and
white prints, hand-colored and then printed on more
than 200 ceramic tiles that cover the gallerys walls
and foor. Daoust wanted people to be able to walk
on the tiles to re-enforce the notion of the China
Doll - the fragile and delicate situation which refects
the current situation for women of China, and the
particular care which is needed to ensure them a role
in their countrys future. She was also curious to see
how people walk over the tiles I have been testing
the tiles in my studio over the last six months and I
have noticed the different approach people have to
the installation - some try to walk beside the faces,
slowly and with care, while others do not even notice
- not even looking down.
In this series of portraits, Nathalie wants to pay
homage to the women who have long remained in
the shadows.
Events Events
Exhibition with a touch: China Dolls
by Nathalie Daoust
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About the artist
My objective as an artist
is to push the boundaries
of photography through
experimental methods,
wor k i ng wi t h new
mediums and discovering
new techniques in the
darkroom.
The Canadian Daoust,
who studied the technical
aspects of photography
at the Cgep du Vieux-
Montral , spent two
years in the late nineties
living in the Carlton
Arms Hotel in New York.
The rooms, all themed
and decorated with wild,
colourful murals formed
an excellent background
for Daousts photographic
projects which focused
on the dark, obscure and,
especially in those years,
the ghostly. Daoust has
traveled extensively and
took photos not only of
New York hotel rooms but
also of Tokyos red light
district, Brazilian brothels
and Swi ss nat ur i st s
populating the Alps.
Daoust has cr eated
an oeuvre that is both
di verse and i ntense.
Seeking to translate her
almost childlike curiosity,
her perseverance and
her highly individual
interpretation of the
world into fairytale like
stories, Daoust single-
handedly creates new
myths about modern day
society, as well as real-life
stories of the underdogs.
www.daoustnathalie.com
Photo book Photo book
Herb Ritts: L.A. Style Hardcover
BY PAUL MARTINEAU (AUTHOR), JAMES CRUMP (CONTRIBUTOR)
Through hard work and a distinctive vision, Herb
Ritts (19522002) fashioned himself into one
of the top photographers to emerge from the
1980s. Rittss aesthetic incorporated facets of
life in and around Los Angeles. He often made
use of the bright California sunlight to produce
bold contrasts, and his preference for outdoor
locations such as the desert and the beach
helped to separate his work from that of his New
York-based peers. Rittss intimate portraiture, his
modern yet classical treatment of the nude, and
his innovative approach to fashion brought him
international acclaim and placed him securely
within an American tradition of portrait and
magazine photography that includes Richard
Avedon, Robert Mapplethorpe, and Irving Penn.
Herb Ritts: L.A. Style traces the life and career of the
iconic photographer through a compelling selection
of renowned, as well as previously unpublished,
photographs and two insightful essays. Also, a
new 12-minute documentary flm has also been
released. You can watch it on YouTube (https://
www.youtube.com/watch?v=jvhdWwJRytY).
Annie Leibovitz at Work
BY ANNIE LEIBOVITZ (AUTHOR)
The celebrated photographer Annie Leibovitz, author of
the New York Times bestselling book A Photographer's Life,
provides the stories, and technical description, of how some
of her most famous images came to be. Starting in 1974,
with her coverage of Nixon's resignation, and culminating
with her controversial portraits of Queen Elizabeth II early
in 2007, Leibovitz explains what professional photographers
do and how they do it. The photographer in this instance
is the most highly paid and prolifc person in the business.
Approximately 90 images are discussed in detail -- the
circumstances under which they were taken, with specifc
technical information (what camera, what settings, what
lighting, where the images appeared). The Rolling Stones'
tour in 1975, the famous nude session with John Lennon
and Yoko Ono hours before Lennon was killed, the American
Express and Gap campaigns, Whoopi Goldberg in a bathtub
of milk, Demi Moore pregnant and naked on the cover of
Vanity Fair, and coverage of the couture collections in Paris
with Puff Daddy and Kate Moss are among the subjects of
this original and informative work. The photos and stories
are arranged chronologically, moving from flm to digital.
Leibovitz's fans and lovers of great photography will fnd
her stories of how one learns to see -- and then how to
photograph -- inspiring.
Photo book Photo book
Polaroids
BY HELMUT NEWTON (AUTHOR)
Polaroids occupy a special place in the hearts
of many photo enthusiasts who remember a
time when "instant photography" meant one-
of-a-kind prints that developed within minutes
of clicking the shutter. What was once a crucial
tool for photographers to test their shots before
shooting on flm has now become obsolete in
the face of digital photography. Luckily for us,
legendary photographer Helmut Newton saved
his test Polaroids, allowing a privileged and
rare chance to see the tests from a selection
of his greatest shoots over a period of decades,
including many from the TASCHEN titles SUMO,
A Gun for Hire, and Work. Selected by his widow,
June Newton, from over 300 photos featured at
the 2011 exhibition "Helmut Newton Polaroids"
at the Museum fr Fotografe in Berlin, this
collection captures the magic of Helmut Newton
photo shoots as only Polaroids can.
THE ARTIST:
Helmut Newton (1920-2004) was one of the
most infuential photographers of all time.
Born in Berlin, he arrived in Australia in 1940
and married June Brunell (a.k.a. Alice Springs)
eight years later. He frst achieved international
fame in the 1970's while working principally for
French Vogue, and his celebrity and infuence
grew over the decades. Newton preferred to
shoot in streets or interiors, rather than studios.
Controversial scenarios, bold lighting, and
striking compositions came to form his signature
look. In 1990 he was awarded the Grand Prix
national de la photographie; in 1992 the
German government awarded him Das Grosse
Verdienstkreuz for services to German culture,
and he was appointed Offcier des Arts, Lettres et
Sciences by S.A.S. Princess Caroline of Monaco. In
1996, he was appointed Commandeur de l'Ordre
des Arts et des Lettres by Philippe Douste-
Blazy, the French Minister of Culture at the time.
Working and living in close companionship with
his wife until his death at 83, his images remain
as distinctive, seductive and orginal as ever.
Masters of
Photography
A COMPLETE GUIDE TO THE
GREATEST ARTISTS OF THE
PHOTOGRAPHIC AGE
BY REUEL GOLDEN (AUTHOR)
From the pioneers of the early part of the
century to the experimental artists who
will take us into the future, Masters of
Photography is an indispensable guide to
over 70 of the world's best-known and most
infuential photographers, from the pioneers
of the early part of the century to the
experimental artists who will take us into
the future. . Arranged in alphabetical order
by photographer, from Eve Arnold to Weegee,
each entry contains fascinating biographical
and technical details along with sumptuous
reproductions of representative and
groundbreaking works. In addition there is
an incisive appreciation of each of these
most well-known or groundbreaking artists,
including the technical background to their
pictures, and a key facts panel detailing
biographical details and the development
of each photographer's career.
C..: How did you become interested in photography?
I know you started with travel photography. Was that
helpful for the later street shots?
M.L.: I just loved seeing the world differently,
through my lens. The most trivial detail was
becoming a source of delight and excitement for
me the light playing on the glass of a window,
a splash of red contrasting against a blue wall. My
travel photography years fuelled me with curiosity
about the world, and showed me the power of
composition to extract meaning and beauty out of
the ordinary. This was also an initiation to street
photography, and what it would become for me later
on. I was already fascinated by people on the streets,
by the way they seemed to belong to their city a
relationship as unique as the city themselves.
C..: Why street? What attracts you to it? How would
you describe your style?
M.L.: Street photography to me is in essence
photography. . . . It is the art of telling compelling
stories that will change the way people understand
the world and themselves. And people are key to
make this happen: this is through them that I try
to convey emotions, beyond aesthetic beauty. Street
photography also heavily relies on intuition, as
opposed to staged photography. Staging people is
much more diffcult to me and much less exciting
as well. I just feel alive on the streets, looking for
that moment when all elements come together to
create new meaning, far beyond what I could have
imagined myself.
How would I describe my style? Thats a tough
question. I am defnitely not documenting the world
and I am not interested in being very realistic.
My goal is to generate emotions in people by
suggesting human stories that they can easily relate
to at a personal level.
Portfolio Portfolio
Marie
Laigneau
-an interview by Cristina int
I am not trying to shock them, or to make them
laugh, or to make them cry. On the contrary: what I
want is for people to make up their own story, one
that will resonate with them, and them alone.
C..: Favorite subjects in the street?
M.L.: Light and the absence of light are of great
importance to me. While not my primary subject,
light is an inevitable component in all of my
compositions and I actively look for the best way
to use it. Secondly, I have a thing for umbrellas.
They mean something special to me - they seem
to protect you from the sadness of the rain. I
have a deep attraction for the night as well, and
the way it transforms the world into a mysterious
and magical place. I often go out at night to try to
capture moments that remind me of fairytales and
dreams.
C..: Many photographers are afraid of getting closer
to people. Whats your recipe?
M.L.: With time, I have learned to detect the
places and times when people wont care too
much about being photographed. And in general,
adults in developed countries couldnt care less!
So I just go upfront, straight in their face with
my big camera, and dont worry too much about
what they may say. When I shoot, I am generally
fearless. Not because I am brave, but because I am
in a world of my own
C..: How did living in Chicago influence your
photography? Was that different from your images
taken in Europe? And do you have any favorite places?
M.L.: Chicago changed everything. This is where
everything started, and this is my frst real encounter
with street photography. My images refect the way I
feel about Chicago: a city sumptuous and magical at
times, silent and overpowering at other times. It will
be interesting to see how moving back to London
will impact my photography, and how the city itself
will shape the next evolution of my work!
C..: Is it easier for a woman to be a street photographer?
Why?
M.L.: I dont think that it is. Its clearly less creepy to
take children in pictures, but apart from that, we all
have to fnd our path women and men alike.
C..: Do you think that certain photographers nowadays
are too concentrated in getting the perfect shots
and are too concerned about rules and conventions
established well ahead? Can that stand in the way of
creativity or not. Tell us your opinion on sticking to the
rules vs. breaking conventions.
M.L.: Yes, absolutely. There is this narrow-
minded view of what street photography is and
is not, what you can do and cannot do. I believe
that street photography should not be defined
by anyone but by yourself. In order to develop
your own artistic vision, you need at some
point to question yourself and identify whether
established conventions make any sense to you.
Unfortunately, in current street photography
communities, many will try to force their own
rules on people not only affecting their
creativity, but, ultimately, preventing them from
forming a unique vision to guide their work.
My own creative process comes with breaking the
rules, and often stepping outside of established
conventions. When I realized that this was what I
needed to move forward, everything became a lot
simpler, and a lot more exciting
C..: What are the three most important lessons that
photography taught you?
M.L.:
I have learned that when I think I have seen it all, I
just need to get on the street again to see an entire
new world around me.
I have also discovered that I keep changing and
evolving all the time as an artist. Its beautiful and
exciting I think.
Finally, and most importantly, I have learned that art
comes from oneself. Photography is no exception
my eyes are only an instrument to make it happen.
C..: You are also a moderator in the Blackandwhitestreet.
com. Does that help you improve your work and
knowledge in photography as well?
Portfolio Portfolio
M.L.: It absolutely does! As a moderator, I constantly
review pictures from our members for selection
and feedback. I not only get truly inspired by the
amazing work that you can fnd over there, but I
have also learned to better analyze pictures in
order to provide valuable feedback.
C..: Youve had several exhibitions. One is actually
going to take place soon and we have a Romanian
photographer in it as well (Mirela Momanu). Is it hard
to get your work exhibited in Chicago? How does one
get there?
M.L.: To be fair, it has been very easy for me in
Chicago, very surprisingly! I sent a few pictures
to a few places willing to exhibit new artists, and
thats really how it worked. I am also going to give
a lecture on storytelling in street photography at a
conference in June and the person contacted me
directly for this via Google + in this case. I think that
there are opportunities to exhibit your work in any
city, and you can start with simple places like cafes,
restaurants, hair salons, before even thinking about
art galleries. We all start that way anyway ;-)
C..: Who are your infuences?
M.L.: I wish I could give some important names
of photographers here, but I wont as I am fairly
uneducated when it comes to photography. My
infuences, if any, comes from the world of cinema
from a variety of directors that have shaped my
artistic sensibility throughout the years, starting
with Fritz Lang, Wong Kar Wai, Wim Wenders, Jim
Jarmusch, and so many others that I cant possibly
cite all of them!
Portfolio
C..: Color or black and white? What do you like most
and why?
M.L.: Although most of my work is in B&W, I really
like both techniques. Black and white is a fascinating
technique when you remove all colors, all that
stays is light and shapes. But most importantly,
I believe that B&W often takes you away from
the constraints of time and place these images
resonate differently in peoples mind. B&W, to me, is
the world of forgotten memories.
Color is more challenging as a technique, but can be
extremely rewarding. Unlike many photographers,
I would never use color to create more realistic
settings. My use of color is meant to take viewers
out of the real world, into some other place where
theyve never been before a world of urban dreams
and fairytales.
C..: Tell us a few words on one of your favorite images.
M.L.: I recently work on a photo entitled the couple.
This is a very simple image, as many of my images
in fact, featuring an old couple walking side by side
in an empty street. What I love about this image
is the absolute contrast between the couple on
one side, and the empty, overpowering city on the
other side. It was a very cold day that day, and very
few people were venturing outside. The way they
seemed to brave the unforgiving Chicago winter
arm in arm was absolutely marvelous. This feeling
was compounded by that brief instant when the sun
brightened up their faces, making them stand alive
and united against the silent city.
C..: What would you consider the most crucial advice
to any aspiring street photographer?
M.L.: Be fearless. Try often and try again. Stay true
to yourself.
Thank you!
Portfolio
A Romanian photographer with a quite structured manner of approaching any
photographic project and images that will never let you be indifferent.
Portfolio Portfolio
C..: How did you discover photography? How did it
all begin?
A.T.: Discovering photography and beginning to
photograph are, thinking of my case, two different
moments. I dont know when I discovered it because
I grew up in front of my fathers camera. I started to
photograph in high school, shortly after my father
came home with a small digital compact.
C..: How would you describe your own photographic
work?
A.T.: Wellits a bit diffcult for me to do that. The
word that could sum it up is visual schizophrenia.
Generally is like picking small bits of life as it goes
Alex Tomazatos
-an interview by Cristina int
along. Even when I dont do anything but lay in bed,
light and life in insignifcant quantities
C..: You documented the Danube Delta area for a
quite long period of time, concentrating on the everyday
aspects and the simplicity of life. What attracted you
towards that? What motivated you so much?
A.T.: The work that I did so far in Danube Delta
does not span over such a long time, I think. For
me it may seem a long time as I have spent the
last ffth of my life doing it on and off, but its just
a few years from someone elses point of view. It
all came by itself: I grew up in the delta, one day
I had access to a camera so all I had to do was
photograph what was around me. Then I grew up
a bit, I thought of it more seriously and most of
the fun part was over. Regarding why I do it, I was
never able to give a proper answer. I am attracted
to the delta, by its natural side and how that shapes
the life of people there. The other thing is the
constant change and forced alignment to civilized
and European standards, changes that alter the
natural and human landscape forever. Change is
normal and adaptation is paramount. But when
these two worlds collide there are an enormous
number of stereotypes and misconceptions that
make their way in peoples mind. Especially in the
minds of the outsiders. I hope that my images can
give an insight about life in a place isolated and
often misunderstood.
C..: The Danube Delta area is undergoing continuous
changes and not all of them for the good. What are the
main problems these lands are confronted with?
Portfolio Portfolio
A.T.: Except for a few specifc problems related to
the natural environment, infrastructure and social
structure of the delta, the main problems in Danube
Delta are the main problems anywhere in Romania.
It is basically plunder of a rich land and a false
direction in its development.
C..: You travelled quite a lot as well, from what Ive
seen and read. You wandered, as you Roam section of
the websites suggests. Would you like to live elsewhere
or good photographic subjects can be found anywhere?
What is your opinion on this?
A.T.: Interesting issues to photograph are
everywhere, it ultimately depends on you what you
make of them. For me this aspect is clearer every
day since I chose to return back to my country after
leaving somewhere else. Being back here in a place
full of fascinating stories fying bellow the radar is
great, even if there is no one to pay you for your
work. Obviously there is more respect abroad for
this kind of work, and money too! But if it does not
make you vibrate, I dont see the point. Romania and
its proximity is where I want to be now.
C..: Is documentary photography nowadays too
concentrated on war/conflicts and the so called
sensational?
A.T.: Documentary photography has always been
busy documenting. Sensationalism and confict are
used by the media to sell. I could never digest black-
on-yellow breaking news and I stopped consuming
imagery or content related directly to war. So I cant
really say much about it.
C..: What are the fundamentals of storytelling in
photography?
Portfolio
A.T.: I have no idea. Probably patience and empathy
have a place somewhere.
C..: Who are your infuences?
A.T.: When thinking of images, I fnd infuence from
non-visual sometimes as clear as the one from
visual arts. Film, literary work on my subjects of
interest, music and just about anything that can
help get more close to it. I owe a lot to classical art
in general.
C..: How would you defne a good image?
A.T.: I am not sure a good image can be defned,
the same way you can follow a recipe in order to
obtain it. Leaving the babbling aside, an image that
can arrest you for a short while before going to the
other is good enough for me.
C..: Three important lessons photography taught you.
A.T.: Be patient and available; Less is more; Dont
believe everything the media communicates.
Portfolio Portfolio
C..: What do you think about the Romanian
photographic scene? What are the good and the bad
aspects we are dealing with?
A.T.: I dont know much about this scene, mainly
because I am not very active on social media or
photo communities (not active at all). So you could
say I havent dealt with it. I know a few people who
are serious, competent and admired photographers
and many others that spend their time trying to
look as one. The frst ones I fnd always preoccupied,
working on their projects, trying to make a living
in an increasingly diffcult market. The latter ones
usually show off in tech-discussions, fash bulky
professional gear, perhaps having not much time
left for photography.
C..: You received several awards and have been
published on different website or online magazines etc.
You also got the Emerging Talent Award for Reportage
by Getty Images if Im correct. Do you have a well set
plan for what you want to achieve as a photographer
or you prefer to take things as they come?
A.T.: I am a man of plans and lists, I love to make
them. Sticking with them is boring, though. So I take
things as they come. I should try to go on the feld
and photograph longer and more often and be there
when magic happens, that is what I should do.
C..: What would you consider the most crucial advice
to any aspiring photographer?
A.T.: As an aspiring photographer myself, I have
none.
C..: You said once that the world that lies ahead is
waiting for you to take a dive. How do you imagine your
future? Did you take that dive?
A.T.: Yes. After I fnished my master degree, I packed
my stuff and bought a one-way plane ticket only to
convince myself that my place was right where it all
started. I fnd more intensity at home.
Portfolio
Magdalena Berny is an amateur photographer from Poland. Shes the mother of
two. Her adventure with photography started with recording the events and life
of her children. She captured the moments of their childhood, innocence, fun or
even sadness and managed to transform all that into art and ethereal feelings.
Magdalena Berny
-an interview by Ana Neaca
A.N.: Your work is sweet and mature at the same time,
as the children you are photographing. How do you
establish this connection with your little models?
M.B.: The most important thing you should understand
when photographing children is to be patient.
My shooting style changes as along as my children
are changing. When they were very small I could only
observe them through the lens, I could only be their
companion. I was rather documenting things than
creating or playing with the camera in order to be
creative. Now when the children grew up, I can pursue
my own visions. I always try to talk to them about my
ideas, ask what they think and feel about it, whether
they like it or not. It is very important that children
feel good during the session.
A.N.: I see that, in most of your pictures, children seem
to be very serious, very thoughtful. Is this because you
want something different?
M.B.: I want my pictures to be calm and peaceful
and I think I manage to transmit this feeling. Modern
Times are nervous and anxious, I want people to fnd
peace and harmony when watching my photographs.
A.N.: A world with fairies, something pure and peaceful
comes out of your photos. Is this you?
M.B.: That's true. I love fairy tales and fables. In
my photographs children often appear as fairies,
elves, guards of secrets or magic places. I think I
have something of Peter Pan (the female version).
Photography in which I create a fantasy (a bit unreal)
world allows me to still remain a child. On the other
hand, I think you have to be a child (at least in a
certain way) to look at the world like I do. Children
have a special gift that allows them to see the
extraordinary in the ordinary things. I think I'm able
to see the same way.
Portfolio Portfolio
Portfolio Portfolio
Portfolio Portfolio
Portfolio Portfolio
Portfolio
I want my images to looks like the illustrations of
fairy tales, those written and those which have not
been written yet.
A.N.: What do you like besides photographing and what
inspires you?
M.B.: What inspires me? The truth is that I found
inspiration everywhere. My biggest inspiration is the
world around me, especially nature. I am also inspired
by art (broadly defned). I love to read, watch flms,
listen to music. I'm looking for inspiration around
me, in my immediate environment. It's really great. I
do not have to go anywhere far to fnd sceneries for
my photos. I can see it through my house window.
A.N.: Can you please tell us the reason for which you
are photographing?
M.B.: I photograph because I love doing it. It's my
way of expressing myself and also a way of fnding
balance in life. I love that feeling when I see through
the viewfnder what I imagined before. Thanks to
photography, I can go back to childhood.
A.N.: Do you have nature as a model or as a background?
M.B.: Nature is my biggest inspiration. In my outdoor
picturesnature provides the background for a model
but it is often a very important element, as important
as the model. In my photographs children live in
perfect symbiosis with the nature that surrounds
them and gives them shelter. Nature is the world
into which they invite us.
A.N.: I would describe your work as simplicity. How
would you describe it?
M.B.: My works are pure and simple. I do not need
sophisticated objects as props for my photos. I use
fowers, leafs, a blade of grass etc. I think less is
more. Everything I need for my photos I try to fnd
in my location. I also use a reduced and harmonious
color palette. In my photographs I avoid fashy color
combinations and patterns. Everything is rather
subdued and creates a harmonious whole.
Advice 4all Advice 4all
How to use blending modes in
Photoshop
to enhance your photos
by Toma Bonciu
(1) IDEA, STORY & CONTEXT
The idea behind this tutorial is to present you with
a method to quickly enhance the contrast, saturation
and the overall feel of an image by using a simple
technique like blending modes. First of all, what are
blending modes and how you can use it. Blending
modes are ways to combine layers in Photoshop.
(2) THE PICTURE
For this tutorial were concentrating on more than one
photo in order to see the effects of using blending
modes. One thing to keep in mind is that this method
doesnt substitutes other editing techniques and is
more like a quick way to enhance your photos or just
a step in the overall editing process.
(3) POST-PROCESSING AND
OUTCOME
Just go ahead and open a photo in Photoshop and
duplicate the main layer (the one that contains
the photo). There are several ways to do it: you
can right click on the layer and from the option
menu that opens you choose Duplicate layer, or
you can select the layer you want to duplicate
and press CTRL+J.
After youve duplicated the base layers you should
end up with two identical layers that are both set
to Normal blending mode. Now its time to start
experimenting with your blending modes. In most
cases youll use Overlay or Multiply, but nothing stops
you to go creative on your images and use some of
the other blending modes as well.
Below are some examples of before and after images
that were obtained using this simple technique.
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3
foto4all.ro 52
Advice 4all
(4) HINTS
Always be careful to set the blending mode for the
layer on top
Make sure you frst select your layer before applying
your blending mode
Dont be afraid to experiment with blending modes:
youll never know when something interesting might
come up
If the effect is to strong you can also adjusts the
Opacity of the layer.
(5) ADDITIONAL
INFORMATION
You can contact Toma for questions or photography
projects at bonciutoma@yahoo.com or you can add
him as a friend on Facebook at www.facebook.com/
tomabonciu
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foto4all.ro 54 foto4all.ro 55 foto4all.ro 55
Photo populis
in ours
We are publishing your photos. We are eager to
publish what you photograph. If you want to see your
own photos inside our magazine, you can either send
them to this section or to Under the magnifying
glass column. One other way of having your images
published is to participate in the thematic photo
contest or challenge we put up every month.The idea
is simple: keep sending your photographs to us at
publish@foto4all.ro.
Every month we will select and publish 5 images in
color and 5 in black and white.
The photographs you send should
meet the following specifcations:
JPEG fle, 1600px on their long side,
150 dpi, no frame attached. They
can be in color, black and white,
edited or not, its up to you. Please
send them without watermark.
1
Together with your images (not
more than 3) please add to the
email: your name, your age, some
details about the camera you are
using and a few words or a title
for your photographs.
2
There is no special theme. We are
looking for photographs that tell
stories.
Only your talent counts.
3
publish shoot
in your world
My portraits are more about me than they
are about the people I photograph.
(Richard Avedon)
Goodtoknow
Photo populis Photo populis
Black & White
In photography there is a reality so subtle
that it becomes more real than reality.
Alfred Stieglitz
Gabriel Tihoi
Emanuel Ptrscioiu
Iulia Iacoban
The camera makes you forget youre there. Its not like you are
hiding but you forget, you are just looking so much.
Annie Leibovitz
Black & White
Dacian Dorca
Dacian Dorca
I think that emotional content is an images most important element, regardless
of the photographic technique. Much of the work I see these days lacks the
emotional impact to draw a reaction from viewers, or remain in their hearts.
Anne Geddes
Photo populis
Color
Wherever there is light, one can photograph.
Alfred Stieglitz
Cristina int
Gina Buliga
Valentin Sarca
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Send yor work at:
publish@foto4all.ro
Photography is a love affair with life.
Burk Uzzle
Color
Dominic Cristofor
Mirela Momanu
Project4all
Good Bye, Ica!
By Alecsandra Raluca Drgoi
My grandmother died a while ago. I took these images
straight after her death, when I came back for my
Christmas holidays. I did not have the chance to see
her while she was ill, and I did not know she died on
the 2nd of December, I only knew when I came back
on the 13th of December, but I knew in my heart that
she was gone, she have spoken to me in my dreams.
The images show my frst time returning in her house
without having her physical presence, however I
could of see her all around the house by seeing the
objects she left behind, untouched, things that waited
for her to come back from the hospital, as the freshly
grated walnuts waiting to be used for my favourite
Christmas cake, cozonac.
I have kept these images hidden for one year and
I always go back to them as a memory of her, but
today I have decided to share her last moments of
living with you. I say moments of living, because the
objects can guide us to her story, even her presence
is absent from my images.
This is an intimate project, from a subjective point
of view and all the objects connote her personality
and the moment I shared with her. This is the frst
time when I decided to explore the family history
in my portfolio; therefore it was a great challenge.

02 December 2013, Alecsandra Raluca Dragoi
Journey = Photography Journey = Photography
Photography and relaxation
in Southern UK
(photos & text by Carmen and Dragos Ioneanu)
For most of the non-British people, UK means mostly
London, Liverpool and maybe a bit of Scotland.
However there is much more about UK than this, and
you can use as testimony the multitude of landscape
photographers based in British Islands. South UK is
blessed with a lot of beauty but it is not a renowned
landscape destination as Iceland or Norway which are
always in the top of the wish lists of photographers
from around the world. This trip was our second time
in UK, but if frst time was mainly about London, with
some lucky accidents on the coastline, this time
London was just a transit point and we focused on
locations from the coastline. And the destinations
were three seaside resorts from different regions
in the south UK: Weston-super-mare, Torquay and
Eastbourne.
Journey = Photography
All three of them used to be popular touristic
destination for the British people but fell behind
during the last decades when more cheaper and
exotic locations took the front seat of the holiday
preferences. So visiting this resort you can experience
a strange mixture of feelings and impressions, from
the classy beauty of Victorian architecture, to the
decadence and decay of a place locked in time. Quite
opposite to the crowded and service oriented resorts
from Mallorca for example.
First thing when you consider such a trip is that the
online scouting needs to be pretty good. We went there
mainly for photography so it was important to have a
good idea of what is worth being photographed; but
while there, we also opened our eyes to the small
things that can pop up unexpectedly and that could
make good subjects.
We chose as period the end of March and beginning
of April as the resorts are not very populated and
the weather is moody and changing, giving the
opportunity to experience various conditions. Another
consideration for our trip was that since we do not
have driving licenses, we had to rely totally on the
public transportation infrastructure, which can be
sometimes confusing and a bit chaotic but in the end,
it turned out to be perfectly functional.
After a quick transit through London, we arrived in
our frst destination: Weston-super-mare. The seaside
resort is one of the most important attractions in
Somerset, the land of Summer people as they were
called by the ancient Welsh Celts. And the summer
people welcomed us with some bad weather, which
didn't stop us to shoot the famous Clevedon pier in
a desolating rain pouring from a dull grey sky. But
we also enjoyed the sun during our day in Burnham-
on-sea, waiting for the tide to be high enough to
surround the low lighthouse while watching the
local people having good time on the beach with
their dogs. The Mother day Sunday was a beautiful
warm day, with blue sky, maybe not ideal for our
type of photography but perfect for relaxing in the
sun and observing the tones of people that came to
Weston for some arcade games and a portion of fsh
and chips. We had our share of photography in the
morning and evening when the light was gentle and
the tide was high.
The next destination was Torquay, part of the English
Riviera. A slightly more elitist place then Weston,
with luxury boats, rich people and more diverse
entertainment including cruises and a steam train.
Journey = Photography Journey = Photography
Unfortunately this period it rained a lot, so we
experienced shooting in the heavy rain and hiking
in mud of various colors including a very sticky red
one, that persisted for a long time on our shoes.
While in Torquay we had shooting trips to Dawlish
Warren, Teignmouth, Paignton, Kingswear and
Brixham. I still remember the beautiful colorful
houses of Brixham, standing on the hill, above
the totally dry harbour at low tide, the peaceful
hikes in Kingswear with great views of Dart river
and Dartmouth castle, the picturesque bay of
Teignmouth with its calm atmosphere just after
the rain stopped.
Last place in our trip was Eastbourne, a seaside resort
located in East Sussex and somehow placed in the
shade of the more known and visited Brighton.
If you are looking for a great hike with breathtaking
views, Eastbourne is the right place to go as just off
it in the west you can fnd the highest chalk hills in
England: Beachy Head. Two lighthouses, one directly
in the sea and one placed on the top of a hill were
guiding the routes of the sailors way before GPS
devices were available. Beachy head unfortunately
holds a reputation of being the favourite place for
the suicides of the area. Further west from Beachy
Head, we continued our hike in Seven Sisters national
park, climbing up and down seven consecutive chalk
hills that gives the name of the place, ending up in
front of the famous coastal cottages that appears
in a Windows 7 landscape theme. The last day in
Eastbourne we visited Hastings and Bexhill, two
small coastline cities with charming old harbour and
cute beach huts.
The trip fnished with a fight back home from London,
but lots of memories both in our minds and on the
SD cards are still alive. We enjoyed so much being
outside the urban rush, experiencing some relaxing
time in picturesque locations by the sea that we
promised ourselves to return in the area soon. And
we understood why UK has so many photographers
that love the sea and capture the many facets of it
with their cameras.
Street Core Photography Street Core Photography
EVALUATION: The author wanted to label this
picture even if we dont need to explain our pictures
with words. Art is creating more questions than giving
answers. This is its spiritual power since questions are
more important than answers to the human being.
Nevertheless, starting from the photographers
description, being noticed by the grace of sun, you
would agree that the sun, the light, would have no
such an impact without the darkness.
I wonder what actor would ever perform a tragedy
as good as a real tragic person. Or when fction will
surpass reality. The tragic mask of the man under the
sun is so obsessive as the photographers obsessive
need to capture these moments.
The juxtaposition of the man in the light and the
ghostly extended hand and arm of the dark fgure are
the main and only actors of this short theatrical piece.
There are no lucky shots. The decision of the author
to keep this picture is as important as the shot itself,
lucky or not. And we are grateful for this moment of
refexion on mankinds present and future.
Whos going to be noticed in a crowd of lonely and
distressed individuals? The one struck by the sun, the
one screaming for help or the frst randomly selected
anonymous inhabitant of the metropolis? Michail
Moscholios
CURATED on Street Core Photography
Summer 2014 Selection
EVALUATION: As we said in the Opening Statement
the use of color should bring additional value and
impact to the photograph.
The main actions to undertake during a critique
include much of observation, abstraction,
reductionism and conversation with the artist. During
this dialogue with the author we have identifed that
the abstraction part can be performed by turning the
picture in B&W.
The symbolism is perfectly served with the reinforced
protection grid keeping out (or in) the joy (but also
the sadness). Moreover the same horizontal bar keeps
the mouths and the eyes shut in an alternate way.
The young persons have no right to speak, the adult
no right to see!
Exquisitely, the repression of some senses make the
rest of them more intense (eyes wide open, full smile).
The seed of doubt is sowed with the presence of dust/
four/paint(?) on the faces. It was clear in the colored
picture that it was paint (during the dialogue with
the author he has informed that this is from the Holi
Festival in Shakharibazar).
The choice to go with the B&W picture was easy
after that. (Unfortunately) color is giving too much
of a realistic representation of the world.
The steel grid offers in addition a natural division of
the picture in essential parts guiding our reading
to the 3 actors of this powerful contradiction both in
terms of emotions (joy and perplexity), and in terms
of factual elements (young/old).
The diverging directions imposed to us by the different
look of the 3 subjects raise yet another question as
to what kind of reality are they witnessing (behind
the camera). Are they fascinated or scared (child on
the right)? Indifferent or calling for help (child on
the left)? Do they show apathy, fake joy, irreversible
resignation (adult person in the center)? Information
taken from the author: the middle fgure is the mother
and the other two are her own daughters.
The whole scene is gracefully completed with the
bodies posture and the arms in angular positions.
The extremely sharp focus on the childrens eyes can
only add to the strength of capturing the viewers,
ourselves, prisoners at the same time with the
subjects of this powerful image! Michail Moscholios

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Street Core Photography Street Core Photography
EVALUATION: Enter sandman!
Dreams and nightmares in a
single shot.
The aut hor i s j oggl i ng
successfully with the dismantling
of symbols (cross), the rivers of
Kharon where souls are carried,
and the metaphor of bridges for
connecting the lost hopes and the
wasted lives of people in what
seems to be a no mans land or an
abandoned, once industrial, city.
The mood is perfectly rendered
by using the fog and the wild
plant invaded graves.
The impact of an unearthy reality
is attenuated by the graceful
curbs and the decisive step of the
human portrait.
Even if not important for our SCP
group, we cannot fail to give credit
for the majestic use of the rules
of composition in a very creative
way. The decentered 2/3s, the
broken triangles, the superposed
leading lines (the ones towards
the non-city, the others towards
a better or worse future).
Inspired by the masters of
street photography the author
takes them a step further and
becomes inspirational in her turn.
Congratulations and thank you!
Michail Moscholios
EVALUATION: The frst striking
detail is the absence of humanity
and at the same time the mark of
time upon it.
In this contradiction, adds up the
ambiguity of the message in the
human made ad. The contradiction
remains unresolved because
our attention is immediately
absorbed by the metaphor of
nature (tree branch) completing
and fxing what people may have
irremediably damaged (aged
hand). The author had the time
to refect and compose thoroughly
his symbolism (?). Neither this
question needs to be answered.
The connection through a familiar
sadness is immediate. It also
captures our interest for a long time,
at least long enough to admire the
textures and the clear lines (stairs,
building, ad frame), peaceful but
unease at the same time.
This way an unstable equilibrium
is reached and conveys the full
strength of the image. Michail
Moscholios
EVALUATION: Why me? Why do I have to watch and
evaluate such an image? Why always someone like
Ahmad should come with his flm-rolls to remind me
that we may be such fools for having given up on
flms grain and unmatched palette of greys?
Nevertheless I will try to remain unbiased!
The author conveys much more than a documentary
image of a great value. This picture falls in the
category of images where the artistic value is such as
we should not really care about the where, the when
and the who is in the image. Neither in the how he
took it (staged or un-staged, waiting or instinctively).
Because exactly all the previous points (where, when,
who, how) are at the same time those which trigger
the uncertainty and the doubt as to what exactly we
are experiencing.
An unbelievable combat between motion and
idleness, lightness and gravity, looking ahead (future)
and back (past). And IMHO (not so humble actually)
raising questions obsessively to the viewer is the
secret of art photography.
The photographer was lucky to be there (of course), but
what made him detach from the simple representation
of reality, what made him to be more than just a simple
observer of a historic (without doubt) event?
My two cents are that he took the risk to fail (he
could have left the scene with just another picture
of a moving crowd).
He went on his knees, he went at level with the only
person who was resisting to a massive escape (towards
all directions).What makes this great picture are not the
excellent converging lines, nor the uneasy sky ready to
explode. Neither the ghostly mood of the crowd.
It is the mystery created, the allusion of uncertainty.
The fact that we try to imagine what the following
seconds would bring. A clash between the person
on his knees and the crowd? A moment of solidarity
with everybody around the distressed citizen? Or the
purest of the indifferences?
There was an idea, a vision behind the birth of this
picture. The greatest of the authors successes was
that the idea did not substitute the photograph!
Michail Moscholios
Ionut Alexa.

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PhoneCam Project
The PhoneCam Project Group is a community that believes that art is
not expensive technology and expensive technology is not art.
Visual arts, and most of all Photography is not about the gear you buy,
its about the image you see and the message you send.
Although the intrinsic message needs no tools to be understood, if you
want to draw, you need at least a pencil and a sheet of paper. Its the
same with Photography. You need at least a camera. Any kind of camera.
Techniques and technology, especially in photography is often mixed up
with arts, and this is why art photography lost in value in digital era.
The most common confusion is: expensive gear = great art.
The PhoneCam Project aims to eliminate this distorted perception about
photograpyh, with a very challenging and very large scaled project: we
can create art even with a 2mpx phone camera.
If you are into arts, if you have a message to share and if you think that the
tool is not an impediment in creating images and messages, feel free to post
here (http://www.facebook.com/groups/ThePhoneCamProject/) your works.
We have only two limitations: phone cameras only and no Instagram, please.
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Claudia Dragan
Mihai Ursea
Mihai Ursea
Mihai Ursea
Guy Tal on photography
How to be creative
Im writing about creativity today. When thinking
about such elusive topics I often start with a seed,
then mull it over and see where it may lead me. This
post is my thinking out loud for the morning.
Creative writers take pleasure in language, much like
creative photographers do in visual compositions.
We dont just aim to be understood or to pass along
dry facts, we want the very experience of coming in
contact with our work to be enjoyable and valuable
to our viewers and readers. It is probably also true
that, as photography is becoming more popular and
more people are striving for excellence in image-
making, language in many cases exhibits opposite
trends, which is regrettable. But, thats a topic for
another time.
These thoughts came to me as I ran across some old
pre-workshop questionnaires submitted by former
participants, and examined their responses to a
question regarding what they hoped to learn. Two
answers caught my eye: one person said they wanted
to learn to see and another stated they wanted to
learn to be creative. The commonality is subtle
but undeniable both expressed a desire to learn a
skill they already have. Of course, neither is meant
in a literal way, but I did wonder about the risk of
being led to incorrect answers by asking the wrong
questions.
A desire to learn to see clearly does not refer to the
physiological or cognitive skills required to perceive
visual information, and in the context of photography,
it can readily be understood as a wanting to improve
ones ability to compose successful images in a variety
of situations. When expressed in this way, addressing
the issue becomes easier. Any number of lessons and
techniques exist that can be taught and practiced and
contribute to the photographers visual vocabulary.
This, however, is not the case with creativity.
Consider one of the more commonly used defnitions
of creativity: the production of something both
novel and useful. In other words, just coming up
with something that had not been done before
is not sufficient. The product should also have
demonstrable beneft.
Lets start with the requirement
for novelty. How do you teach
someone to do somethi ng
nobody thought of doing before?
The very question is a paradox.
Teaching requires that tried-and-
true methods exist, which lead to
predictable outcomes. Considered
in this way, another paradox presents itself: creative
people are least likely to pursue well-trodden paths.
The very existence of a recipe that can be applied
toward predictable results is the opposite of creativity.
Usefulness may be an obvious requirement when
creativity is applied to, say, computer software or
electronic devices, but what makes a work of art
useful? In my mind it comes down to the degree
to which it enriches the experience of the person
viewing it (i.e. , it is subjective and not quantifable
but can still be examined in terms of whether it exists
or not).
With these defnitions and challenges in place, then,
how do you teach someone to be creative? Better yet,
can you teach someone to be creative?
This is where a rephrasing of the question may
come in handy. If we assume that all humans have
the capacity to be creative (which, I believe, is a
plausible premise), then the real issue becomes one
of degree and requires a different approach than a
how-to lesson. Put a different way: its akin to the
difference between teaching someone to ride a bike
versus training them to win a bike race, assuming
they already know how to ride. For each scenario, the
focus, methods and processes are very different. In the
former case, the focus is best placed on such things
as accomplishing proper balance, how to make turns,
how to use gears and brakes, etc. In the latter, the
About the Author
Guy Tal is a published author and photographic artist.
He resides in a remote part of Utah, in a high desert
region known as the Colorado Plateau a place
that inspired him deeply for much of his life and
that continues to feature in his images and writing.
In his photographic work, Guy seeks to articulate a
reverence for the wild. He writes about, and teaches,
the values of living a creative life and finding
fulfllment through ones art.
www.guytal.com
focus is different: strengthening of specifc muscles,
proper nutrition, developing self confdence, etc.
So, if people already have the capacity for creativity,
however it came to be, then the real challenge is
not to help them acquire it from scratch, but to
train it in order to accomplish creative solutions to
a greater array of challenges. As
with the bike example, the focus
becomes isolating and exercising
the things known to lead to better
creative performance. Think of it
as training the creative muscle,
which surely is a much more
achievable task than evolving one
from nothing. Not easy, but achievable.
Now I can write about creativity, and hopefully say
something useful.
So, if people already have the capacity for creativity,
however it came to be, then the real challenge is not
to help them acquire it from scratch, but to train it in
order to accomplish creative solutions to a greater
array of challenges. As with the bike example, the
focus becomes isolating and exercising the things
known to lead to better creative performance. Think
of it as training the creative muscle, which surely
is a much more achievable task than evolving one
from nothing. Not easy, but achievable.
Language serves not only to
express thoughts, but to make
possible thoughts which could not
exist without it.
Bertrand Russell

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Challenge Creativity

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