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INTERVIEW WITH… GEORGIE JERZYNA PAUWELS

Researched by Amos Farnitano

GEORGIE JERZYNA PAUWELS

My name is Georgie Jerzyna Pauwels, I was born in Poznan/Poland. For more than 30 years, I live outside of Poland, most of the time in Germany and USA. I am a computer scientist, and I live and work in Wuppertal in Germany. My workplace is big data center for health insurances.

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When did you start a passion for the photography?

I take pictures for a long time, as teenger I discovered photography for me. I love to travel and I travel a lot. I like the action on the streets, moods, hectic and lonelinessandI am trying to show it in my pictures.

– What was your first camera?

My first Camera was a Praktica, but then to do proper photography, I used aCanon AE-1. With this camera I shoot sometimes even today.

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What is photography to you? And what should not be instead?

Photography is an expression, show the world through their own eyes, each image is a piece of the photographer, what moves her/him, what she/he likes or what she/he hates. Especially in the non-commercial photography, without a contracting authority, you can show how you feel.

Which masters of photography inspires you?

The female masters like Vivian Maier, Diane Arbus, Helen Levitt and Dorothea Lange. Unfortunately, often underestimated, not appreciated enough, but fortunately now discovered and valued. Powerful images, lots of draft and explanatory power and wonderful technique, these makes this women unique in the world of photography.

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What is the photo that struck you the most of a great photographer of the story?

A photo which are moving me for decades is Napalm Girl by Nick út. Wars are crap and totally unnecessary.

What is your favorite technique?

In street photography is authenticity, not posed or arragierte pictures and not overdone editing important for me. Which techniques and what camera you use does not play a significant role

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Why do street photography?

Street is an El Dorado for motives, it is easy, the photographer is independent and spontaneously in the creative process and you need only acamera, good eyes and feets, and patience.

What is your best shot and what does it represent for you?

LOL, I’m still working on it.

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What is your relationship with the street and the people who are in your shots?

I see a person take a picture, I say „thank you“ or I go on, sometimes I am asked why I took a picture, I answer politely, show the image if desired. Often people want to have this picture, so I get themail address and I send them picture of course.

You take photos into the streets, how react the subjects of your shots? Are nervous, they are complicit or indifferent??

People react very differently, some are pissed, some are surprised, some ofthem are happy, just pure live and that makes the streets photography so exciting.

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INTERVIEW WITH… STEFANO CORSO

Researched by Roberta Pastore

STEFANO CORSO

Professional photographer. He’s born in Rome in 1968 and he lives between Berlin and Rome. Founder in 2010 of the Scuola di Fotografia 42mm Arti Fotografiche(School of Photography 42mm Photographic Arts).

He’s been invited speaker for different italian shows, as street photographer: Photoshow (Milan and Rome), Fotografica 2012 (Milan) and at the “Festival della Fotografia di Pesaro” in 2013.

His photo Red Rain is on a worldwide distribution as artistic poster by the Image Conscious (http://www.imageconscious.com/) – California (US)

He’s the curator of the blog “Fermo Immagine” on the italian news television (RAI) website (http://fermoimmagine.blog.rainews.it)

His website: http://www.stefanocorso.com

Give Up

black stones

Edges

Going back in time how was your passion for photography born and how did you start in the professional world of photography?

I think I have always had a camera in my hand, the first film cameras I had I am still using them nowadays after many years and I am still actively collecting them. I have always aimed my approach to photography to capture moments that surprise me, the technique took a secondary importance and it got better over time on its own. I have always considered technique important only, as I think it should, if it is at the service of the result. I did arrive to professional photography in unaware way, I started receiving assignments from people that had seen my pictures over the internet, so much that I started considering the hypothesis of leaving my old job to take on photography full time.

Considering your works, which ones marked your entrance in the world of real photography?

I would not describe them as “jobs” as personal way to look at reality. I was born as a Street Photographer and the street has always been my photographic gym. Of this genre of photography, I always liked the possibility to alter the perception of reality, extracting from it, unique sensations and emotions, showing stories that appear to be different and surreal, without building something new but simply giving  a new reading interpreting by simply changing the point of view. Two people that do not know each other or two anonymous objects, put together can tell a story that does not exist in reality. With this type of photo, I was first published on magazines and books. I still can remember the emotion for the first photo purchased in Germany to be a cover of a book.

¿Qué hora es Yolanda?

A Suitcase Full of Hopes

A walk with Hopper

How do you manage colour and B&W?

I do not prefer B&W to colour, I have found out that each single photo has the final treatment already inside since the shooting phase: I have discovered that I am using B&W for the photos that I consider “without time” and the colour for the more “contemporary” ones.

Which kind of camera do you use?

Several, my working camera is a Canon 5D Mark III. However, since I am collecting cameras of different ages, I do use for fun the film cameras, in the 35 mm as well as the medium format; the latest purchase is an old wood camera from the early 900, without shutter, for which I had a friend build a new holder to use the 4×5 films on sale today. I develop and print the film personally. Obviously, with this camera I do not do any street photography. I must add that, strangely, I love to take photos with Instagram, especially when I am travelling.

Still Life with a Pigeon

snow surround

What determines if a photo is “good one” or not?

I think that a photo “accomplish” something if it has its own content and if such content is understood and seen by the photographer and then the rest of the world can share and understand it . I have discovered that my attention is drawn by photos that hint to a story, to something that started before the photo was shot or that will continue after it, such photos will hasten memories, feelings and emotions. A photo can achieve something when the vision of the photographer manages to be communicated, felt and experienced by the viewer. We have a great power such as photographers; we can stop reality, and while interpreting it therefore change its understanding. We can crop it into a rectangle, excluding parts of it that have a life beyond the event as it unfolds.

Assault the sky

Autumn Paths

Billy

When you are shooting, do you have an image in your mind? Do you build the final photo before shooting it or are your images also a result of a post-production phase?

 When I shoot, I feel something that can be experienced or known, simply because it has already been lived in the past. With photography, I try to take it out and make it visible, first to myself; I think most photographers shoot for themselves and to understand their own original way of perceiving the world. The post-production is just one more step that can be used to interpret this feeling, but as I said before most of the time is already inherent in the idea of the photo.

Hunger

Ich laufe allein

Lullaby

Manhunter

What training did you follow? Who inspired you?

My inspirations have been and still are many, I believe that the contaminations between photographers enrich and stimulate creativity and originality; like many little challenges that you take to constantly improve yourself. In addition to numerous classics of the past, from Doisneau to Erwitt, I owe much to two people. The first is the photographer Peter Turnley, a photojournalist for numerous international publications and when young an assistant for Doisneau, met by chance in New York, which unconsciously started myself with my idea of photography. The other, a friend photographer, Hughes Leglise-Bataille, which unfortunately died a few years ago, by who I was inspired and with who I compared and “played” photographically for years over Internet. His series “A stroll in Paris” continues to be one of the foundations of my way to see photography.

Fragments of Water

Generations

Mala Strana

Red Rain