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CREATIVE NATURE PHOTOGRAPHY

visions, ideas and techniques on nature photography CREATIVE

We report here a publication Macroforum site where the artist and photographer Angelo Mazzoleni , introduced his path in the field of nature photography. Here, again from the same site, an article on photographic techniques used.

By M Botticelli

FOCUS YOUR ANGELO MAZZOLENI

I was born in Florence, June 7, 1952 and spent part of his childhood in Tuscany, part of a mountain resort in Bergamo, where my father was a veterinarian: landscapes and other images have in common the presence of a natural reality untouched and naturally have great influence on my subsequent choices in all their various manifestations.

I dealt with over time: of art, history, literature and , amateur level, paleontology (the classic beginner's luck to discover a fossil genus which have been assigned new my name in the relevant scientific publications), and finally of course, photography .

Interest in the mystery of the past, for nature, but especially the search for the meaning of our origins is one of the distinguishing features and unifying the whole of my experience , both in artistic photography .

During the course of my career as a painter and sculpture, now thirty years, I have di sviluppare  una ricerca espressiva e sperimentale   nel settore della fotografia generale creativa,  poi  ho intrappreso un percorso anche in ambito   più specificamente naturalistico...

Amore per la natura a parte , il mio obiettivo   forse  ambizioso ,  era  ed è quello di scoprire se sia possibile  raggiungere  risultati  non solo creativi ma più propriamente artistici, anche in questa ultima tipologia .

Mi hanno sempre attratto in particolare le dimensioni , spesso ignorate,  del fantastico micro macro and natural universe, but the my main intention is to represent them in a language different from the classic and documentary photographer . I tried and I try to tell that is the nature with creativity and imagination, without distorting the reality, interpreting it inside, in 'perspective of an artist or better still, a child who finds himself in a world still wonderfully pure, although more più minacciato dalle ombre dell’indifferenza , degli interessi  economici e di una  tecnologia umana spesso  senza regole .

Nel mondo esistono, per fortuna  ancora integre,  piccole oasi  di semplice tranquillità, dove la vita degli  esseri  viventi  trova il suo compimento in un intreccio di magiche e singolari relazioni  e  dove io spesso mi rifugio per contemplare e riprendere  attimi della vita che scorre parallela intorno a noi . Qui   sono   nate  spesso   le mie  piccole finestre sperimentali creative in a world that can still amaze those who know how to observe with the innocence that is visionary in all of us trying to grasp its essence.

Even when I do simple traditional photos, the photographs do not like static and repetitive or one-dimensional, rather than from any angle, I like to portray nature in the round and moving it for me the essence of nature and life are essentially movement and light.

Light is is the soul of a painting or a photograph is the soul of the world spirit .
Specifically, I believe that art should have a picture at the bottom of the same basic elements of a good painting : basic technique appropriate, a project, a content - valid message, profound and original , good composition and particularly the ability to convey emotions and thoughts beyond the appearance and reality, evoking inner suggestions to the viewer. Regardless of the technique used to create a picture for me is the final message that matters most.

Like all human expressions, photography is a language and to be valid, must be able to communicate with the world.

In my path of creative research, I left in photo documentary and environmental issues in the nature of the complaint and then drops to forms of symbolic expression, surreal or conceptual type interior and continues to seek new ways and experiment new techniques and implementing post-production well and content.

What I wish most is short, try to go in the very heart of nature , its problems but in a language other than photo realistic, documentary or scientific, a language that may seem unnatural to some, but in essence I believe it is not at all because each of us interprets reality in its own way when taking a picture. It is simply choose to do it traditionally or through a different language. I believe that every

Photos should be assessed on the basis of the type in question and using the parameters for what within it is capable of expressing and not for the techniques used to achieve it. The techniques and the post are only the means, not the substance of a story. This to me is regardless of whether it is a photo-documentary scientific, creative, artistic or fully.

With these ideas and goals I've often having to invent new techniques and experiment with different solutions, even at the operational level.

Tenice AND EQUIPMENT

All nature photographers today are made by me were taken with Nikon digital SLR : The D80 is, for the most part, the D300. The objectives range from the Tamron 18-125mm Nikon 18-270mm, the Nikon 60mm macro and Sigma 180mm and the Sigma 10-20mm wide angle.

I used, in some cases, extension tubes, filters, polarizers or craft, including a simple wet glass of water drops, colored lights and so on. So, in specific circumstances, that the imagination suggested to me in relation to the type of photos and message che volevo esprimere.

In particolare merita un cenno a parte la tecnica della sovrapposizione immagini in interno camera  che utilizzo ancora oggi spesso   perché meglio di altre consente :

-  di proporre ,  anche nella fotografia , stili e contenuti  creativi : simbolici ,concettuali , surreali , ecc., potenzialmente con infinite  possibilità di applicazione e di sviluppo e con accostamenti  nuovi  e dunque creando associazioni e   metafore  particolari

- In-room interior is possible, starting with an idea, find the appropriate persons on the ground its realization composing shots with this in mind from the outset and then allows you to plan and design better the final result,

- can, in seconds, try different combinations of solutions and immediately see

Finally my advice for those who want to get close to nature photography:

- have a clear plan in mind choosing to develop the kind of naturalistic picture more in keeping with their nature, developed over time their own particular way, of course, pursuing their own personal style.

- learn and perfect a good basic technique, but without becoming caught then, obtain and objectives of decent machines and equipment, consistent with its financial resources.

- to develop research techniques and modes of original photographs and fancy treating above the light management, exposure correct and, if you choose the photo documentation, detail and the best definition, but not neglecting the composition and creativity that are the elements that make it unique ; each photo.

Behind every picture there should be a last project, an idea of \u200b\u200bthe overall framework of its thematic area or expression, just a short message to be left in the world.

Angelo Mazzoleni

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BEYOND polluting technologies

One day perhaps, if not disappear first, learn to better manage resources planet, we will use the natural energies beyond the rude and devastating responses of nuclear and polluting fuels, which still offers some politicians, we will go beyond technology and more to the world soul, a hope difficult to achieve given the characters and international lobby to direct the production processes. Per realizzare questo sogno temo non basterà una rivoluzione culturale  di idee e una proposta, già tecnicamente possibile, di  modelli diversi di sviluppo.                                                This is one of the considerations which I did this sculpture representing the world today ...

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The liturgy of the seasons in the garden

Non si potrà certamente seminare di tutto. Ma dopo mesi di letargo invernale poter riempire di vita le fredde aiuole preparate con cura durante l'autunno o i primi semenzai ancora al riparo sotto serrette o fra doppi vetri è un'esperienza che mette adrenalina in circolo nel sangue dell'ortolano.

Molta cautela è ancora richiesta con pomodori, peperoni, zucche, zucchine, cetrioli e quant'altro. Per il momento di questi ortaggi solo dosi omeopatiche, in semenzai o vasetti riparati e destinati a coltivazioni da primizia, per le quali il rischio flop possa considerarsi accettabile. Gli ultimi colpi di coda dell'inverno sono ancora in agguato, meglio rimandare di qualche settimana l'orgia the irrepressible spring sowing in the open. On the contrary, with spinach, chicory, radicchio, lettuce, arugula, lettuce, peas, radishes, beets and carrots we can relate more boldly, given the greater aptitude for the life of these fresh vegetables.

The most lazy, and in winter they hung on a nail and put the hoe the seeds in the drawer of a dusty cupboard, with increasing hours of daylight rediscover the passion for the garden. But have a lot to do in a hurry to do the preparatory work on the ground, digging, fertilizing, crumbling the soil and place the brave. The seeding is just the final ecstasy, the conclusion of a long series of efforts that give the liturgy of the seasons in the garden a penalty almost mystical.

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contemporary artistic movements, "New Art syncretism"

3 VIDEO present with works by Angelo Mazzoleni , author of Manifesto and between founders of "New Art syncretic."

Edited by G. Sillato Historian-Verona

1-PERIOD OF CONTEMPORARY SINCRETICA

WHO WE ARE ... ....

VIDEO 1

2-HISTORIC PERIOD of syncretism

O

WHERE WE COME FROM ...

VIDEO 2:

3-PERIOD OF SPIRITUAL syncretism

;

"WHERE WE GO ..."

VIDEO 3

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Book of the Month

With the beginning of the last month of the triad winter garden and the desire to return with it updates to our blog. To regain confidence with the material and start to feel the scent of earth, although still comfortable chair by the fireplace, there's nothing better than to turn the pages of a book. Not a manual, not a real novel, but a sort of diary of the seasons in the garden told by a writer recently moved to the country. With his apprenticeship in the fields, Pia Pera discovers a new happiness, that of reconciliation with nature and the reconstruction of the broken bond with the earth. Cultivating flowers and vegetables knows happiness and the fullness of simple things, like waiting for the germination of a seed or the choice of a good time to pick fruit, sensitivity and gently telling all women to discover a new way of conceiving its existence in a world increasingly threatened by unsustainable economy.

Pia Pera

The garden of a wastrel. Confessions of an apprentice gardener

TEA, 2007

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ART AND NATURE, PICTURES, PAINTINGS AND SCULPTURE. The current system of art

WELCOME TO BLOG ABOUT THE NATURE OF IMAGE ARTS-CULTURAL ARTISTIC ASSOCIATION "research".

Here you can interact freely with U.S., publish your works, opinions, texts for the various ARTISTIC EXPRESSIONS ON THE NATURAL WORLD.

You can do it with comments to the bottom of each post or send the material by EMAIL .

IN THE BOTTOM OF THE BLOG YOU CAN FIND OUR MUSIC VIDEO WITH IMAGES OF ART AND NATURE OF Angelo Mazzoleni

Though suffocated by the advance of technology and human activities, there are still spaces on the ground and relatively intact microcosms and often ignored, part of which we will explore through direct images or creative interpretations dreams that accompany those who have inspired them. Hopefully, in our small, this helps raise awareness of the need to preserve what remains of our origins.

For those wishing to explore these and our other social and cultural issues, can 'do it through other blogs of detail (to the side here) linked to this and our official site.

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ARTE , FOTOGRAFIA   E NATURA

di Angelo Mazzoleni

Si è molto dibattuto sulle differenze in ambito artistico tra pittura ,scultura e fotografia   ,si è discusso ed ancora   si discute sulla preminenza dell’una o dell’altra   nell’ambito delle arti visive , se   fotografia e pittura non siano entrambe o meno   finzioni del reale ,se sia possibile o meno anche nella fotografia   e nelle sue elaborazioni parlare di arte , ma soprattutto se sia possibile arrivare ad espressioni artistiche   anche in quel settore della fotografia che personalmente   mi ha sempre affascinato : la fotografia naturalistica.    

In base alla mia esperienza posso solo dire che certo le differenze tra le diverse   arti visive are many starting with the most evident, particularly in digital photography today and in certain forms who took the technological innovations no materiality, manual, often, when c 'is too much manipulation technology, the same picture starting from the ends up being something like the photo has always understood that the comparison clash between purists and those photographers who experiment with new ways of supporting new technologies is still in full development.

Mazzoleni A. "Who comes first .."
artistic photo on environmental issues

Personally I think the photograph, even the naturalist, is simply a means to express it differently from painting and sculpture from the parts of ourselves and the world. I did and still do, out of interest, photographs realistic-documented, but I believe that in addition to these, which have a purely objective and scientific captions, you can go further and get to art forms also nature through photography. Beyond the techniques used, c I who, in my opinion, makes a photograph a work of art or less are in any case, some basic elements that summarize here for brevity

-content and profound message with multiple levels of reading compared to the photo documentary

- a theme development over time, a proper technique for basic capacity tramettere deep emotions to the public.

-a journey of original research that thematic and aesthetic over time.

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LA VARIEGATA COSTELLAZIONE DEL SISTEMA ARTE

Di  Angelo Mazzoleni

Se volessimo rappresentare, con un’mmagine naturale, il complesso sistema dell’arte contemporanea , esso ci apparirebbe come un’intricata giungla dove ,ancora oggi , prevale la legge del più forte , perché spesso sembra mancare ,soprattutto in una società globale,ciò che secoli di evoluzione umana dovrebbero aver prodotto di positivo : coscienza di se’ e degli altri,sensibilità, cultura .giustizia, amore vero per la bellezza e per il bambino creativo che è in noi. Invece dominano pochi dinosauri dediti solo alla costruzione del proprio dominio territoriale : ricchi gruppi financial, local potentates, each with a cock, their own galleries, artists, art critics, museums and mass media culture where real and very little artistic interest., where, despite the liberal perspective, there is neither freedom nor real meritocracy, he 'shared rules, nor knowledge of the players on the market ....


artists, those that fund should be true, the sole maker of human and system through art and whose work it is nourished, do not count for almost nothing. Along with art critics capable and honest, the few galleries and museum directors who do not want to sell or to trace the lines and patterns artistic imposed by money, are largely forced to operate in the undergrowth. So, simplifying, we have: large merchant groups, foundations, galleries, museum directors and decide on the rules that monopolize the market and affect the public less undergrowth avveduto.Nel: small merchants, gallery owners, event organizers improvised survival advantage for artists a fee to display and then a very few, usually small gallery, and increasingly in the undergrowth, some critics illuminated or gallery owner, who still knows how to love the art beyond the mere expediency and personal gain and of course the great mass of artists, valid and less valid.

IL NUOVO RUOLO DELL’ARTISTA

In questa nostra analisi, non vogliamo qui sottrarci alla descrizione della responsabilità di molti artisti in questo gioco di mistificazioni del sistema di potere sopra descritto .

Ci sono artisti che,per necessità , ambizione o egocentrismo esasperato ( tutti gli artisti sono un po' necessariamente egocentrici) si vendono ,che si prestano al palcoscenico che per sete di denaro e successo si adeguano e rinunciano alla loro libera ricerca per adeguarsi al mercato ,altri ,ma sono davvero pochissimi,che tramite conoscenze entrano nelle alte sfere del sistema per cercare di cambiarlo dall’interno, ma in definitiva ne restano spesso invischiati. Tutti gli altri ,stiamo parlando naturalmente di quelli che pur esprimono arte di qualità, quelli che fanno davvero libera ricerca ma che sono più introversi per natura,sono spesso ignorati , sfruttati ,trattati con arroganza e sufficienza : eppure sono loro i veri detentori del sapere .Noi però riteniamo che come in ogni sottobosco che si rispetti ,proprio qui ci sia la linfa vitale e vada ricercata oggi la vera arte.Dunque scendendo nel concreto, come cambiare questo tipo inaccettabile di sistema oltre che ,come detto in precedenza, facendo controinformazione ?

LE ASSOCIAZIONI COME PUNTO DI PARTENZA PER UNA RIVOLUZIONE CULTURALE ED ARTISTICA

La risposta per noi è abbastanza chiara : occorre,che gli artisti ,che restano comunque il perno di tutto il sistema ,prendano coscienza della loro forza e imparino ad essere indipendenti , i critici di se stessi e della società in cui operano e non solo attraverso i messaggi delle loro opere,.Occorre che si impegnino,uscendo dal naturale individualismo ed egocentrismo associandosi e lottando per creare una controarte alternativa ai modelli del sistema , una controcorrente di pensiero e di azione assumendosi l’impegno di un nuovo ruolo anche sociale.

Da tempo si va intensificando in Italia la costituzione di nuove associazioni artistico –culturali. Questo è già un gran segnale in this direction, but it is essential that these groups be organized, to coordinate, which are allies (honest critics, journalists, men of culture, institutions, etc.) and, in our opinion, it would be important to be able to build in time of actual federations associations.
The next step would be to specifically select the artists is more valid than any association with organizing exhibitions or participating in art fairs of the same, looking at the institutional level and support of tunnels to break the monopoly of large groups that are dominant . in the information you can 'quickly communicate, build a collaborative network active discussion: the grillismo which will be discussed in the next, something has even shown. That 's what we, in different ways and in our small, we have begun to do, but most of all, as associations connected, press on public institutions in conflict so that the private monopoly lack of market rules. In our view, there are different parameters and in fact more serious than those established by power and money to recognize the art of selecting quality subtracting the misinformation.

ARTISTIC AND SELECTION CRITERIA:

-originality, uniqueness' and consistency of the route artistico nel tempo,

-qualita’ e tecnica espressiva unite a d attualità ed originalità dei temi e nella poetica,

-rivalutazione , accanto alle attuali forme d’arte, della pittura e della scultura di qualita’, ormai quasi assenti nelle grandi fiere d’arte , nelle esposizioni nazionali ed internazionali pubbliche e private,

- ma ,soprattutto che il giudizio su cosa sia arte o no discenda da una seria e trasparente selezione, non decisa da monopoli privati, ma da parte di commissioni di persone competenti (artisti, critici,storici dell’arte uomini di cultura ecc.) nominate dalle Istituzioni nazionali, comprese appunto le associazioni d'arte.

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