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Andrea Dal Soglio

Into the world of creatives

May 08, 2017

 

Who are you?

I’m a media creator and photography/filmmaker enthusiast born and raised in north Italy.

 

What got you started into photography?

What brought me into photography was the passion for travel. I always travelled since I was a kid with my family and this passion gives me the need to provide memories in the best possible way, so I choose photography.

 

 

 


Liguria

 

 

 

How would you qualify your work?

Talking about my trips, my work is quite simple, it is a mix of blogging and reportage about my experiences in which I try to show, in a series of photos, what I’ve seen and what struck me the most. I’m not really good in words, my captions and my “story-teller” side are not the best, so I try to be as good as I can with the visual side.

 

 


South Tyrol

 

 

What role plays your online portfolio in work journey?

My portfolio plays an important role in my journey, it is my main platform to showcase my work in the best and most professional way. Social Media are important, but in my opinion having a personal website gives you that final touch that every creative should have. I update it pretty often, almost every day I change minor things like one photo, the font or simply the colour of the links. I also try to keep it up-to-date all the time with my latest photos, projects or collaboration.

 

 


www.andreadalsoglio.com

 

 

Your photos are vibrant, what material do you use?

I use a DSLR (Canon 6D) with different lenses (16-35, 50, 100, 70-200) to shoot my photos and sometimes a GoPro to take some underwater shots or some action videos. In my work, what plays an important role is the edit, in which I try to reflect myself or the emotions that those landscapes or streets made me feel at that moment. The photo itself is what I’ve seen, but the edits tell how I felt in front of that view.

 

Could you describe your workspace, when not on a trip?

Today, you can make your workspace literally everywhere. When I’m not travelling, I keep it really simple, all I need is my laptop, a desk, some hard drives, my headphones and a coffee. These are the essentials for me to feel inspired and create stuff.

 

Could you share with us an anecdote about one of your photos?

When I photographed a running white Rhino in South Africa, more than an anecdote it’s a real life experience that probably happens once in a lifetime. We were having a game drive in the bush when we stopped and we walked slowly to a White Rhino (they have a really bad sight), he suddenly started to run and the ground literally started to shake, I had my camera ready and this was the shot that iI took. 

 

 


South Africa

 

 

You have travelled a lot, what's your best journey so far?

I really fell in love with Asia, especially Hong Kong. I found myself like a kid in Disneyland, every single corner has something to offer, to show, to tell, and it’s not something you find easily. In that city, I found everything new, everything interesting but the thing that I liked the most was the great contrast between nature and city side, although people think urban density is the only thing you can find in Hong Kong, well it’s not true, few bus stops away from the centre you can get this view.

 

 

 


Hong Kong

 

 

It’s safe to say anyway that Hong Kong has one of the best cityscapes in the world, so I’d pick up “the peak” as one of the best location to shoot and enjoy a surreal view. This said, I really have to mention that every single trip I’ve done was something beautiful and unique that I will remember for the rest of my life.

 

 

What do you like about Portfoliobox?

I like Portfoliobox because it is really easy to use, very intuitive and the optimisation of the content for different browsers works really well. Also, the number of pages and photos to upload is really high, which is really important to me. Another thing is definitely the value for money and the new App for smartphone, that makes all the little changes so easy and quick to do. I’m happy with the product in all the different aspects. 

 


Andrea Dal Soglio | Photographer & Videographer
Website: www.andreadalsoglio.com
Instagram: @andreknot
Youtube: @Andreknot08

Valentina Vallone

Into the world of creatives

February 09, 2017

We had a chat with Valentina Vallone, a passionate, enthusiastic and fearless photographer. 

 


PEACH ROSE FOR SYN MAGAZINE
Photographer: Valentina Vallone  //  Stylist Federica Masci - Giada Frasoli  //  Model: Neringa @NextModel Milan
Makeup Artist & Hair: Eleonora Juglair  //  Ph Assistant: Riccardo Delfanti

 

 

Valentina was born in Rome but recently moved to NYC. Curiosity got her started into photography. "It was the time when the reflex camera came out onto the market and many people went mad for it and I decided to try it!". A Master of Photography at the European Institute of Design helped her improve her photography skills. Her work is strong and powerful. She portrays bodies and faces with her own personal precision and strength; her photos are like a mirror of her personality. Valentina defines her work as in progress and does a lot of research for each project. She loves the tiny details that you can see in her pictures. 

 

"The secret of good pictures is good vibes,
no doubt about that!"

 

"I am very focused on the model, because I need to make a connection with her/him.". After a shoot Valentina and the model usually have a slice of cake, relax and look at their work together. She always work with her Canon 5d mark II with lens 24-105 series L. Lately, she shot with a Hasselblad 500 CM and it was love at first sight! "Sadly I don't always have a camera with me, but I always have my smartphone for snapshots that I take wherever I am ;-)"  Her next purchase for sure is the Pentax 645N, she loves the film! 

 

 

 


35MM OF STORIES  — CONEY ISLAND

 

 

—  A STORY OF SISTERS  —

 

We particularly like the series A Story of Sisters. Valentina got inspired by an editorial by Peter Lindbergh for Vogue and with a few tools she tried to tell her story. "I was excited because it was my first time with 4 models together but at the same time very tense because I couldn’t afford to fail. I had a great team!"

 

 

A STORY OF SISTERS FOR RIVEN MAG
Photographer: Valentina Vallone  //  Stylist: Fererica Carbone  // Makeup Artist: Ilaria Giani
Models: Kira @NextModel Milan - Karolina @NextModel Milan - Santa @TheLabModels Milan - Masha @2morrowModels Milan 

 

 

 

 

We asked her what she likes about Portfoliobox: "I like everything, especially the technical assistance that you give the platform! The price is very good and it is accessible for everyone and this is a beautiful thing."

 


Valentina Vallone Photographer
Website: www.valentinavallone.com
Instagram@valentina_vallone
Twitter: @ValeVallone

Jérémy Tran

Into the world of creatives

December 15, 2016

We had a chat with Jérémy Tran. He told us his story.

 

I am a 24-year-old multidisciplinary artist and project manager, graduated from the Lyon CNSMD and from Lyon's University with a master in Development of International Artistic and Cultural Projects. After starting classical dance at the age of 8 at the Regional Conservatory of Lille, I decided in 2009 to turn towards contemporary dance. I joined the Lyon CNSMD in 2010 to become a professional dancer and in 2014 obtained the Diplôme National Supérieur Professionnel de Danseur, the ADAMI scholarship and the Prodij talent trophy from the city of Lyon. All this led me to a career as a dancer-performer.

 

At the same time, I directed many short films including Artificial Landscapes, gathering 140 people, which I presented in September 2014 at the Dance Biennale in Lyon. In April 2015, the short film Dissection was part of the official selection of the 60secondsdance international festival in Denmark. I was subsequently selected to participate in the Watermill Center Summer Program in New York where I was able to work as a videographer and documentalist alongside director Robert Wilson. I also choreographed Lagune, a performance in collaboration with the visual artist Denis Savary in the fall of 2015. This year I obtained a Master in Development of International Artistic and Cultural Projects and I recently worked as Project Monitoring Officer at the National Center of Dance.
 

 

 

"I never wanted to categorize or define myself.
I go where instinct takes me and it is for me
a luxury and a great freedom."

 


 


I soon felt the need to associate other disciplines with dance, to associate mediums like photography, video, architecture, scenography. Being multidisciplinary is something that is important to me and that I feed on every day. The artistic encounters that I do also lead me in this direction. I never wanted to categorize or define myself. I go where instinct takes me and it is for me a luxury and a great freedom.

 

Classical dance carries within it a codified language, rigorous, technical, not to say compartmentalized, which I take great pleasure in watching, but which, I believe, leaves little room for improvisation, ardor, weakness and errors. I found in contemporary dance a tremendous opportunity to affirm my personality, my identity, a diversity of forms and an incredible freedom of expression. Perhaps the main difference between these two dances resides in the notion of "beauty" and in the forbidden words. The narrative and dramaturgic stakes are not the same.

 

 

Portfoliobox website builder

 

 

 

Artificial Landscapes is the largest project I have carried out so far. It is both a 25 minute short film, but also photographic exhibitions, video projections, performances and lectures. It is a project that I call "total", multidisciplinary, which brought together 140 people including 82 dancers from France, Switzerland and Spain.

 

By creating this project I wanted to gather people widely around dance. The idea was to get amateurs, professionals and non-dancers to dance together, in atypical and exceptional places. The short film is only a final rendering, a pretext. The main challenge of this project lies in the performance of this extraordinary adventure, bringing together diverse sensitivities, skills, social environments and different profession around the same goal. We shot in three historic places: the railway rotunda of Grigny, the stables of the company "Petits Champs" in Beaumontel and the Citroën Garage in Lyon.

 

 

"I always try to induce envy, enthusiasm and
include each person according to his/her area
of competence, while leaving everyone a
great freedom of speech and exploration"

 

 

 

I always try to provoke envy and enthusiasm and include each person according to his/her area of competence, while leaving everyone a great freedom of speech and exploration. What I seek above all else is the flourishing of my collaborators, their authenticity, because that is what inspires me the most and what allows me, allows us to question ourselves to go beyond our limits and to produce sensitive and human projects.

 

 

 

 

 

In Artificial Landscapes the part of improvisation is great. This was essential for me, for the purpose of the project and for the meaning of the work. It required freedom of expression at all levels for dancers, but also for cameramen and technicians. The only part that was written is the common choreography at the end of the film, where the performers dance in unison. However, this freedom was made possible thanks to a framework that was very precise, well written and set up. The organization of Artificial Landscapes was extremely precise. The music, composed by Valentin Hadjadj, was not broadcast while recording. It was added in post-production. The music broadcast during the shootings were mainly stimulants for the dancers, a support to allow them to improvise.

 

 


Photo: Maud Regnault

 

 

I am at the confluence of dance, performance, contemporary art, photography and video. My artistic work tries to grasp and amplify the energy of the body, based on a choreographic and plastic research. I also pay much attention to the experience of the spectators, which I wish to be immersive. As project manager, I am eager to develop high-profile events that are accessible to all, contributing to the general interest and emancipation.

 

 

I take photographs the way I create a choreography. I work mainly with dancers with whom I experiment and seek leitmotivs, emotions, forms, attitudes. After collecting a database, I create a series, a story, selecting some of the photos and associating them with each other. The photos that make up a series have a meaning only through the others and function by association of ideas. I therefore always start with the sensations, the instinct, the authenticity of the models / performers, and then try to decipher the content of what I wish to convey to the audience.

 

 

 

 

 

Portfoliobox is a wonderful professional tool that serves me daily to build several websites.

 


Jérémy Tran | Dancer, performer, artist, photographer et videographer.
Website: www.tranjeremy.com
Facebook: @jeremytranofficial
Instagram: @tranjeremy
Twitter: @Jeremy_Tran

ALINA RYBACKA

Into the world of creatives

December 07, 2016

 

Who are you?

I am a graphic designer and I graduated from Faculty of Architecture in Gdańsk University of Technology. I'm working as a freelancer and recently also as a member of the Syfon Studio. In my work I try to combine visual intuition and engineering education. My favorite projects are visual identifications for modern interiors and exhibitions in cooperation with recognized Warsaw's architectural studios.

 



 

 

 

What are you inspired by?

It's hard to point one thing that inspires me. I guess I try to closely observe what is happening around me. During the project I pay attention to the context, environment and history. Exploring knowledge of typography and typeface's design is very helpful.

 

 

 

"What matters is composition,
logic of design process,
good craftsmanship

and beauty of detail."

 

 

 

How do you combine graphical and architectural work?

Although my education seems to be other than graphic design, I have always been fascinated by artwork, books and everything that was connected with the paper. Although effects of work are different than the design of buildings, the method of work and the logic remains the same. I find more and more similarities between the design of architecture, books and publications - that still surprises me. What matters is composition, logic of design process, good craftsmanship and beauty of detail.

 

 

 

 

How does a day look like for you?

I have a very slow mornings, when good coffee and a book are the most desirable  things to prepare myslef well for the coming day. In addition to my own business, I am a member of the young vibrant office Syfon Studio, where I spend a large part of the day. After work, usually I go for a run to a nearby park, that gives me relax and cool down after the impressions of the day. Usually after that I spend a few hours on my own work or learning something new for example coding websites, learning software and so on.

 

Can you describe your workspace?

I've got a large table where I can sketch, draw and create whatever I want. Additionally in the room there are a shelf, with a million books about graphic design and architecture (my husband is also an architect, so we have quite a lot of them), easel and turntable playing a good music.

 

Who are your biggest influences in the industry? 

Robert Bringhurst, Jan Tschichold and my former teacher of architecture: José Mario Gutierrez Marquez.

 

 

 

 

What is your next creative project?

Currently I am working on several projects of websites, album cover (for which I'm very excited) and visual identities.

 

What do you like about Portfoliobox?

Portfoliobox is simple and intuitive in use, plus I don't need to worry about the domain, hosting and encoding :)

 

 

 


Alina Rybacka-Gruszczyńska​ | Graphic designer & Architect
Website: www.alinarybacka.com
Instagram: @alina_maria_r

FEATURED: Israel Veintidos

Into the world of creatives

November 24, 2016

 

Who are you?

My name is Israel Veintidos. I am a Spanish photographer currently based in Brooklyn, NY. Working in fashion editorials, lifestyle and commercial work. I studied Engineering in Industrial Design and I am a self-taught photographer. 

 

 

" I used to play with my grandfather’s camera,
a Zenit E Helios 44 when I was a child "


 

 

What got you started into photography?

I have always been very interested in photography and I used to play with my grandfather’s camera, a Zenit E Helios 44 when I was a child. I was working as a fashion designer in Spain and being more involved with the shoots for the collections that we were designing when I realized that fashion photography is what I wanted to pursuit for the rest of my life

 

Who are your biggest influences in the industry?

As classic photographers, I would say, Robert Mapplethorpe, Helmut Newton, Diane Arbus and Richard Avedon. As more contemporary photographers, I really like the work of Txema Yeste, Ruven Afanador, Harley Weir and Tyrone Lebon.

 

 

portfolio website builder

A Vintage Hue for Material Girl Magazine

 

 

How would you qualify your work?

Graphic, narrative, stylized, subtle and approachable…isn't it? :)

 

What is the best photography project you have ever worked on?

All of them to be honest. Ever time I try to get more and more out of my comfort zone and not shoot the same project with the same lighting or same approach over and over.

 

 

"I don’t like to over direct the model. 
I rather have their personality
​present in every shoot"

 

 

 

How would you describe your photographic process? 

I would describe it as very organic. Usually, there is a good amount of research, pre-lighting ideas, scouting, concepts and framings that I want to include in the shoot, but all of that might vary when I see the model, the model's personality and how the model is going to interact with the clothes and the scene. I don’t like to over direct the model and I rather have their personality present in every shoot. The after shoot is very straight forward as I have an idea of what pictures I liked while I was shooting so the final selects comes together in a very natural way.

 

We particularly like the series Metallic Love & The Observer. Can you tell us about them? 

In both shots, I was very lucky as the whole team was amazing and very fun to shoot with. The observer was shot at the studio I had in San Francisco and I wanted to mix the idea of classic bust / portrait with a nice color palette. Metallic Love is an editorial I shot here at my studio in Brooklyn and I wanted to use a very soft light that worked well with the materials that the clothes had and Margaux beauty.

 



website builer
Metallic Love for Creation Magazine

 

 

 

What material do you prefer working with? 

The camera I use the most at the moment is a Nikon D800 and I normally use it with a Nikon AF-S 24-70mm f/2.8 G ED and a Nikon 70-200 f/2.8 VRII lenses. I also recently started shooting more medium format and I have been using a Mamiya RZ67 PRO II.

 

Do you always have a camera with you? Which one?

I use a Pentax K1000 with B&W film and I carry it very often, especially if I am traveling.

 

 

website builder
Brooklyn Myth for Coco Indie Magazine

 

 

What's next?

Keep getting out of my comfort zone, experiment, shoot way more with medium format film and start adding video productions to my work.


Why did you decide to create your site with Portfoliobox?

I love how dynamic and easy it is to showcase your work, based on your needs. 100% recommendable.

 

 


Israel Veintidos | Brooklyn-based Spanish Photographer
Websitewww.israelveintidos.com
Instagram: @israelveintidos
Facebookisrael.veintidos

FEATURED: Daisy Sheldon

Into the world of creatives

November 02, 2016

 

Who are you? 

Hi there! I'm Daisy Sheldon, a freelance embroiderer, creating bespoke pieces for fashion, film, theatre and interiors. I also have my own bridal and lingerie collection of embroidered wedding veils and boudoir wear.

 

 

How does a working day looks like for you? 

I love health, fitness and wellbeing. So I usually go to the gym most mornings before I start work to do a workout session, which makes me feel energised and sets me up for the working day. Then, the first thing I do in the studio is check and respond to my emails and consult my diary with the list of things to be done for the day. I love a to do list, ticking things off is the best feeling! Each day is unique, due to the bespoke nature of my work; so some days I am working on embroidering monograms or wedding veils and others I can be working on something completely different like costume embroidery for theatre productions!

 

 

Can you describe your workspace?

My workspace is usually tidy (tidy home, tidy mind!) which I find helps me be creative and produce ideas, like a blank canvas! I come from a family of collectors and we have always surrounded ourselves with an eclectic cabinet of curiosities. So my workspace is full of vintage object trouves and textiles, from vintage sewing ephemera lined up along the top of my fireplace to old tins on shelves and letterpress trays hung on the walls, housing all of my embroidery threads.

 

 

 

 

Your work is absolutely exquisite and my favourite piece is the Japanese Dreams Kimono. Can you tell us about it?

The Japanese Dreams kimono was a culmination of inspiration from Japanese culture and the idea of the 1930's boudoir. The bedroom was transformed in the 1930's to the decadent boudoir, influenced by the glamour of Hollywood, turning it into a personal, intimate chamber of luxury. The kimono exudes this sense of sensual, feminine, luxuriousness and romance evident in the birth of the boudoir. 

The kimono was also inspired by Japanese traditions, imagery and the notion of traditional Japanese packaging.Traditional Japanese packaging holds both beauty and charm was often made by individual inventors, each one of them, the product of a single persons ingenuity. The packaging has two roles, one serves to protect the contents inside and another role lies in the Japanese holding the belief that a commodity should not be merely packaged for the sake of convenience; it should be packaged with a certain style that attracts the buyer or person who receives the 'gift'.

Drawing visual inspiration from Japanese paintings, old silk embroideries and natural forms, such as wisteria, the kimono is hand painted and adorned with silk wisteria petals, hand sewn onto the sleeves and back. These petals flutter gently with movement, echoing back to the beautiful nature they were inspired by and giving the feeling of elegance to the wearer.

 

 

 

 

Do you craft everything to order? Is every piece unique? 

Yes, every piece is made to order to each individual's specific requirements. Each piece I make is unique, due to the nature of Cornely and Irish embroidery, which enables me to 'draw' onto fabric, with the same mark-making freedom that a painter uses a paint brush, or a sculptor embraces form.


This process of spending time meticulously embroidering a piece gives it value that only these traditional processes have, each piece an artwork in itself. These hand guided embroidery machines contrast to the computerised digital embroidery mostly used nowadays to create mass produced products, which eliminate the opportunity for spontaneity and the work being produced by ones' individual hand.

 

 


English Birds Veil

 

 

Do you have a favourite among the pieces you've made? If, so which one and why?

My favourites change all the time, as I am constantly creating new pieces. At the moment it would probably be the 'English Birds' wedding veil. This veil features a traditional scallop edge with an English rose and forget me not design. English birds in subtle pastel colours swoop and frolic amongst the intertwined swirling branches and rose vines, which trail elegantly up the veil. 


I love the idea of wedding veils that are different from the traditional style. Lace tends to be very structured and uniform, which is beautiful, but I would like to create some more asymmetrical designs. I am hugely inspired by oriental textiles, nature and botanical aspects, so expect to see more veils pushing the boundaries of traditional 'bridal wear', with scenes of peacocks, beautiful wild flowers climbing up veils and exquisite colours (not just white or ivory!).

 

 

"I am proud to preserve a technique that
could otherwise, sadly, become a dying art.
"

 

 

Can you tell us about the machine and techniques you use? 

I use old, rare embroidery machines to create my work, including a 1920's Cornely machine (named Beryl!) and an Irish machine. The Cornely creates a beautiful, decorative chain stitch and the Irish is for free-hand satin stitch embroidery, a bit like drawing with stitch! The embroidery produced is arguably superior to more recent techniques both in terms of creativity and quality. I am proud to preserve a technique that could otherwise, sadly, become a dying art.

 

 

 

 

Why did you decide to create your website with Portfoliobox?

Portfoliobox is great because it is so easy to use and you can make your website so personal and unique. I am a perfectionist and I am always trying to improve my website and the portfoliobox team have been amazingly helpful with accommodating my technical requests and have really helped me tailor the website to my individual needs. Thank you to all the team for your ongoing help!

 


Daisy Sheldon | Freelance Embroiderer, based in Cheltenham and working throughout the UK
Websitewww.daisysheldon.co.uk
Instagram@daisysheldonembroidery
FacebookDaisy Sheldon Embroidery

Featured: Cully Wright

Into the world of creatives

October 12, 2016

 

Where are you from originally?

I was born in California. Sonoma County. But my family moved to a small horse and cattle ranch in the Rogue Valley in South Oregon when I was about two. My parents worked a lot, so on summer breaks I would be shipped off to my grandparents in Sonoma. I split my time between the two states.

 

What schooling did you have?

I went briefly to a community college for journalism but that's it. I actually got a “C” in the high school photography class and dropped out of the college one. I went back and forth, wondering if it would have been helpful to continue. But in the end, I couldn't change that. I've since taken a few photography classes and it never went well — I got bored or the instructor was really into shooting flowers and barns in order to sell them as $4 postcards in hospital gift shops. I'm not really into that. No offense to flowers, barns and postcards. I also find that people who have gone to college for photography tend to lean a lot on the technical side and forget the emotional connection that is essential — specifically in good fashion or portrait photography. There is always the exception though, as with any gross generalization.
 


" In Photojournalism you wait for the moment
to happen and document that. In Fashion, you
can create whatever moment you want.
That was appealing to me. 
"


 


What got you started into photography?

I got a camera for my 16th birthday. It was a Canon Rebel SLR. I wasn't very popular in high school. I wasn't un-popular, but sort of invisible. I started taking pictures of everything. People started to notice me and knew me as the kid with the camera — eventually even learning my name. I started shooting all the high school sporting events and got an internship with the local newspaper. My plan was to major in [sports] photojournalism at the university of Oregon. However, after high school I was signed by a modeling agency. A fashion photographer would fly in and do these huge weekend portfolio shoots. I fell in love with the way he directed and how he created a moment. In photojournalism you wait for the moment to happen and document that. In fashion, I realized, you can create whatever moment you want. That was appealing to me.

 

 

portfolio website fashion
OH! YOU PRETTY THINGS // Schôn! Magazine

 

 

What geographical place - a city, state, or country’s style and vibe do you think influences you most or would you say your style matches with?

I would have to say LA, or really any place tropical or that could err on the side of “trashy”. What a lot of people see as that (trashy) I tend to see as authentic and real. Often, it's the ordinary that interests me. I think there is something familiar about that place. Also, the main fashion stylist I work with is from Australia, so even though I’ve never been, I see a lot of my style matching what's happening with fashion there. This last year I've been playing with what that looks like when infused with something a bit more lux or high end. I really love the results. A high/low vibe that I think is on point with fashion we are seeing from big designers. Accessible. Real.


 

online portfolio builder
GIVE ME THE SIMPLE LIFE // Schön! Magazine

 

 

Who are your biggest influences in the industry?

As a photographer, Bruce Weber. I love the stories he tells and what he can get out of his models. A lot of people only know him from the A&F quarterlies, which if you look back at, are so much more artistic than they received credit for. Definitely a stylized and idyllic view of college aged Americans in that time period. I love his fashion work for W Magazine and CR fashion book. It feels real. It feels grand and romantic. Authenticity meets romance- That what I strive for. 

I've also been really into Juergan Teller's work. I think there is a similarity between the two that most don't pick up on. There is something raw about his work. He doesn't do any post-production on his images and I really admire that. He has the sort of grungy realness mixed with lux textures and locations that I am really into right now. And what he can get out of the subjects is incredibly inspiring to me.

Another huge influence has been Ian Cole. He is an editor, photographer, and publisher out of London. He is who published my first fashion feature, My first fashion cover, and continues to invest in me and my work and my growth. I love his take on the industry. He gives no fucks, and doesn't suck up to anyone. It's refreshing. I know I can always get an honest answer from him regarding anything.

The last is my “right hand woman” and fashion stylist Julia Platt-Hepworth. We work together as often as we can. She taught me what it really means to be cool and help me find a really raw edge to my work and add a bit of fun to my photoshoots. Before her, everything I shot was “Really Pretty” . She brought the sex, the fun and basically the party. I shudder to think what my work would look like without her in my life.

 

How would you qualify your work?

I would say it tends to lean toward editorial. However, I do have several commercial clients that I work with in the Pacific NW. I think a lot of clients look at my work and appreciate the story telling aspect but are afraid to pull the trigger because their brand leans a bit more conservative. But really I have some clients that see past the edgy stuff, and appreciate how I can create a story for their brand and how it's clear that I create a connection with the models which can really make or break a shoot!
 


" I never want a pose. I always am looking
for a purpose. If a model touches their lips,
I want them to have a reason for doing it. "

 

 

We particularly like the series Of The Moment, can you tell us about it? 

Of The Moment is a fashion feature I shot for Nylon magazine. When they emailed me they thought I was in NYC and asked if I was available for a shoot the following Wednesday. There wasn't a budget for travelling but it was a Gucci exclusive and I wasn't about to turn that down. I cashed in air miles and made sure I was in the city and available. The model was a newer model and Dutch. Great look! But we did have a communication barrier to overcome. In the end it came down to myself and the Fashion Editor just using our own movement to help her understand what we wanted. We weren't looking for poses. I was shooting 35mm and the thing I love about shooting film, is that it goes so much quicker and also that it gives me the unexpected in between moments that I feel is on brand with what Nylon is doing. I never want a pose. I always am looking for a purpose. If a model touches their lips, I want them to have a reason for doing it. Otherwise fashion photography just becomes a game of Simon says and to me that isn't authentic. It becomes a bit of a joke!

 

 

Portfoliobox online portfolio
OF THE MOMENT // Nylon U.S.



 

What is the best photography project you have ever worked on?

Tough question. I like to try to bring something new to each job I take on. I don't like to compare. Comparing my work is dangerous place to be in. Comparing it to my past work or others work, is natural, but I think it also tends to lead down an unhealthy road. It's more about acknowledging where I am now, where I've been and what else is out there. Then doing things in a fresh new way. Not a “better” way. The one thing I will say is that casting the right models for a shoot is imperative!

The shoot that really stands out is one I just shot in August for L’Officiel Australia. It was a shoot with a born of my own emotions I was going through at the time. I wanted to use them and create something from the heartache I was feeling. The models were incredible and after hearing my story and the reason behind the concept they gave so much of themselves. It's a very sexy, very romantic, very intimate shoot, and those feelings come across in the final images. I can't wait for it to be out in the next month, it really feels like a new chapter in what I am creating. It's a lot less pop and really scaled down, but there is still an element that feels like my work.

 

How would you describe your photographic process — during & after a shot?

During a shot – Stay energetic and feed off of people. I try to have as much laid out and organized ahead of time so the day of I can just focus on finding inspiration & beauty and really telling a story.

After a shot — I try to do as much in camera as possible. I don't send anything out for post processing. I either do it myself or have an intern do it — which is great practice for them. A lot of clients have their own graphic designers or retouchers, so at the end of the day I hand them off the images and that's that. Editorials, I tend to insist on doing the post work. But my work is really very unprocessed. Some simple skin edits and creating a color story that contributes to the overall feel and mood of the images and that's about it. Unlike some photographers who’s motto is “we can fix it in post”, I like to get as much right in the camera as possible rather than relying on hours editing an image to look the way I want it to.

 

How would you describe your artistic and photographic style?

Candid, authentic and raw. But still beautiful. I am trying to do something new and fresh. But also it's so much about a connection. Once, an editor compared my work to Terry Richardson's, but pretty. “I like your work. It's raw but still gorgeous. I like Terry R - but he's raw and ugly. I'm tired of ugly stuff.” I really do just try to find the beauty in everything and everyone. I also really value honesty. I believe I can learn something new everytime I come to set... and alternatively I can teach something, even to the most experienced models! If something isn't working, I have no problem pulling someone aside and having a conversation about it. You never know what's going on in their life that may be hindering us getting an amazing shot. It's all about inspiring and being honest about the story we are creating but also acknowledging if something works or doesn't without breaking someone down.

 

 

 

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THIS IS THE ONLY PLACE // C-Heads Magazine

 

 

 

What material do you prefer working with (Camera, lenses, etc.)?

My digitial camera is a Nikon D800 and the equipment and lenses I shoot with really depend on what the client or the shoot calls for. If I can get away with it, I shoot mostly 35mm film. I buy old Nikon tourist cameras on ebay for anywhere from $20 to $50 and keep them in my kit. They can take the newer lenses and I really love the feel the film brings.

 

Do you always have a camera with you? If so, which one?

I tend to always have a a 35mm camera on me. Nikon AF35 which is really small and a Fuji instax. They are easy to carry around and bring out if I see something inspiring.

 

What's next? How often do you travel for jobs?

I travel about once every few weeks. This year, I've already shot a winter road trip project for a new magazine coming out in London. Mostly LA, I split my time between there and Portland. Basically as that is where my agents are located. I'm toying with a trip out to NYC in December for some client meetings and I'll probably try to get a magazine assignment while I am there. I have a few shoots coming up here in Portland I am really excited about. One for a Spanish men's magazine. I haven't been published yet in Spain and it's my favorite country in the EU. Next year, I am also going to try to get to Australia and I am on hold for a lifestyle brand in January that shoots somewhere in South America.

 

Where is the one place you’d like to go but haven’t been yet?

I honestly want to go everywhere. But off the top my head, Argentina or Brazil! I love anything tropical and warm and I'm a sucker for a palm tree. Everyone loves that feel of vacation. I want my work to feel like the freedom of a permanent vacation. Travel is the ultimate goal. Shooting stories that are off the beaten path — infusing fashion stories that embody the culture, the people and the landscape of a place. Look at Bruce Weber’s story shot after hurricane Katrina in New Orleans! It's such an accurate portrait of that time in that cities' culture. The people and the locations are as much the star of the spread as model Karen Elson is. He captures the energy — you feel it in each shot he takes. That's what I want to achieve in my work. Exposing people in this industry to the authentic beauty of this world. Any size, shape, color and gender. Really focusing on something all encompassing and telling dope stories about this world that we get to occupy for a few years.

 

 

 

 


Cully Wright | Portland & Los Angeles Based Fashion Photographer
Represented by Nouvelle Vague, Los Angeles. Contact: Emily Noechel < emily@nouvellevaguela.com >
Websitewww.cullywright.net
Instagram: @cullywrightphotography
FacebookCully Wright Photography

Featured: Mikael Johansson

Into the world of creatives

October 05, 2016

 

 

Who are you?

Nice to meet you guys, my name is Mikael Johansson and I’m a Photographer from Sweden. Currently I do a lot of work in London but the idea would be to established myself a bit more back in Stockholm over the coming years.

 

 

How does a shooting day looks like for you?

How I work on a shoot or how my day looks depends quite a bit on the type of project. Me working on personal projects or a portrait could be me working together with the model without anyone else in the team. Shooting a commercial project would most likely include a larger team with art directors, producers, styling, make-up, hair, assistants and digi-ops. Although I do like to have a very hands on approach and I like to keep my team as small as possible for a more relaxed personal set. I’ve been shooting a lot of e-comm and editorial content recently and that tends to be studio work. That means (depending on calltime) that I get up around 6am and make my way to the studio, and coffee, coffee is key.
 

 

What is the best subject you have shot?

I really like portraying and working with people that aren’t used to be in front of the camera, although it can be quite the challenge, for me it becomes more about the characters that way. I’ve had the habit recently of shooting a lot of candid casting portraits with an old point and shoot camera on black and white film. It allows me to strip away all the suggested beauty, make-up and glamour of a shoot and almost attempt to de-objectifying the model by subjectively portraying who hen really are.

 

Lots of people talk, few of them know

 

We particularly like the series We are men, can you tell us more about it? 

We Are Men is one of those projects that came about quite a long time ago but is still one of my projects that I have enjoyed working on the most. I set up to explore the way I portray the people in my pictures and how we, generally speaking, interpret a photograph. No matter connotations regarding gender, sexuality or beauty I wanted to question the way we look at portraits and how heavily influenced we are by the standards set by media i.e objectification of women. In most of my work I try to raise these issues. There is also a sense of romanticism in the pictures which are clearly inspired by Renaissance art. So it comes back to question what some people believe be the most valuable qualities in life, youth and beauty.


 

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What material do you prefer working with? Do you have any tips?

I have always preferred working with film, and to be honest more clients seem to willingly let you shoot film because of current trends which is actually really fun. For studio projects I don’t mind digital, in most cases for me that means something from the Canon 5D range, but if Phase One could throw a camera my way that’d be gold, the quality on those backs are intense. With that said, I don’t think you need a diamond embellished pen to write a great novel. For me it’s more about the concept rather than the quality of the shot. I would say whatever camera feels good is what you should be shooting with, no matter quality or make, go with what’s comfortable.

 

 

Do you always have a camera with you? If so, which one?

Well, most of the time I carry an analogue point and shoot camera for random snaps, visual diary and to shoot things that inspire me. Usually that camera is an old and fairly knackered Ricoh Gr1. If not I always have my iPhone on me and for emergencies it kind of works. 

 

 

What is the best photo you have ever seen?

Even if I spend hours trying to figuring out which photograph is the one that has affected me the most I still find the question itself too complicated, I mean there are a lot of great pictures out there. When it comes to art I really like work that provokes but a beautifully shot portrait with natural light will always hit a sweet spot for me. This is one that I would have to come back to for a second discussion.

 

 

Do you spend a lot of time post-processing your images? 

Post-processing for me is more about grading, fixing curves and getting the colours on point rather than beauty retouch. I have a few amazing retouchers to help out when they’re needed. Again it does depend a lot on the client and this is one of the reasons I like shooting on film, most people are quite happy with minimum retouch on film and you can get away with just leaving the pictures be. I do think we have a lot shared responsibility in the industry if we want to shift the current beauty standards and the issues that it represents.

 

 



 


Mikael Johansson Photography  |  London & Stockholm
Website: www.mikaeljohansson.co
Contactinfo[at]mikaeljohansson.co
Facebook: @MikaelJohanssonPhotography
Instagram: @nossnahojleakim

 

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