Ivana Noto photographs an intimate, feminine world

Ivana Noto photographs an intimate, feminine world

Giulia Guido · 11 months ago · Photography

Photographing, for Ivana Noto, is alchemy and she said. In the moment in which she shoots, everything around her converges all the sensations, joys, pains, memories.

Ivana Noto’s photography, born in 1981, is intimate and introspective and gives us the feeling that it happens naturally. Her artistic research passes through the bodies and faces of young women who become the mirror and the medium through which Ivana discovers and rediscovers herself.

There is no exasperation, every element we see is exactly as it is and it is their simplicity and authenticity that makes them extraordinary.

A selection of shots by Ivana Noto will be on display for Ph.ocus – About Photography in the “Please, Take Care” section. We took the opportunity to ask her a few questions and let her tell us more in detail about some aspects of her work.

What is your first memory of photography? 

My oldest memory related to photography can certainly be traced back to my mother and her constant desire/need to immortalize every moment of our family since I was a child and the hours we spent together browsing, cataloging and remembering through our photographs.

How would you define your style and how did you achieve it? 

Mine is a very intimate, natural and introspective style. It is not a constructed photograph but something that happens around me and that as soon as it arouses my interest, I recognize and try to immortalize. I’ve always been fascinated by photography and its more classical meaning, which for me is reportage; I started by photographing on the street, I’m curious about the world, the way people move around me.

Photography for me is a matter of empathy, I have always looked around and I have always pressed the shutter only when it was like that around me… as I was.
Then finally I realized that I was photographing the emotions and moods of someone else but that they belonged to me almost as much as they probably belonged to the other person.

Tell us about your photographic project “Tell me about myself”. How was it born? What do you want to convey with these shots? 

“Tell me about myself” was born from the awareness that at a certain point you have to learn to live with yourself, which is perhaps the most difficult thing, and to accept what you have inside and also to learn to forgive yourself sometimes; trying to imprint on paper what is most important to me and has a deep weight in my life has become a sort of “cure”.

«As soon as I feel the absence of the camera […], just then do I shoot.»

I need to look myself in the face and I do it through women like me, women that I choose carefully and with whom I somehow feel a bond, empathy. For me the shooting phase is the simplest, what really makes the difference is the knowledge and the degree of intimacy that I try to connect with each of them.

I contact them attracted by something that I can’t explain well what it is, then I get to know them… a coffee, a dinner is enough to let me enter their world and to let them enter the mine. As soon as I feel alchemy then I organize the shooting phase, I choose the location and the time when the sun can help me to better impress that state of mind which is mine and which will be that of the person who has most transmitted it to me. In my photos, there are always natural elements, the sea, the countryside, the sky, this gives me a deep sense of freedom and brings me back to my childhood.

There is always my mother, my mother when I was young, the clothes are what she wore when I was little. I always shoot in silence so as not to disturb and make myself as invisible as possible, music is my companion in my work and movement is the common denominator of my shots.

As soon as I feel the absence of the camera and I see my family, my emotions, my sorrows, my joys, my anxieties, my life in front of me, just then do I shoot.

In your work, we can see an alternation between warm and natural colors and black and white shots. How and when do you decide which style to use? 

I am Sicilian, mine is a warm land, it is the land of a thousand shades and a thousand contradictions, shadow and light are the masters, there is good and evil, black and white and there are colors, the natural colors of the sky, the sea, the barren countryside; and I have a thousand different Ivana inside, to which I decide to always give free rein without labels of any kind, there is an Ivana open to what the earth with its natural colors gives it and there is one closed in its shell to which this does not matter.

Is there a photograph to which you are more attached? Tell us about it.

“Abissi”, this is the title of the photo I want to talk about, was taken on 26 May this year, after almost three months of quarantine spent in a hotel room in total solitude. They were weeks of total apathy and more or less lucid reflections on my life. 
I was exhausted, I felt myself sinking.

“Abissi”

When I met Beatrice I didn’t have many stimuli and I had no idea what we could do together but I felt the need to snap out of it. In the end I photographed that abyss into which I had descended and from which I was perhaps asking for help. 

And that was the way I had experienced it.

Ivana Noto photographs an intimate, feminine world
Photography
Ivana Noto photographs an intimate, feminine world
Ivana Noto photographs an intimate, feminine world
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Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022

Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022

Giulia Guido · 5 days ago · Photography

On a Monday unlike any other, I was walking along a small Florentine alleyway, dimly lit by the sun, until a marvel appeared before my eyes. Piazza della Signoria welcomes me with its beauty, and no matter how many times you have been to Florence, it always seems incredible to think that a place like this can survive the passage of time.
It is here, in the Camera d’Arme of Palazzo Vecchio, that I take my place to discover the new Lavazza Calendar 2022

Last year, Lavazza presented the Calendar under the banner of The New Humanity, inviting us to imagine a future based on a new humanity at a time of uncertainty and fear like few other times in recent decades. It is perhaps in this concept that the theme of next year’s Calendar, I Can Change The World, has its roots. 

In a way, it is as if Lavazza is telling us that it is not enough to imagine and dream of a different future but that we must take action and fight to build it. So, what better place than the city that was the birthplace of Brunelleschi, Lorenzo de’ Medici, Dante Alighieri, Machiavelli, but also Guccio Gucci, Oriana Fallaci and Tiziano Terzani to show how never change will come until each of us dedicates our lives to this cause.

As in any self-respecting battle, we need captains to follow and imitate. Lavazza offers us six of them, six outstanding personalities in their field, six young people who have managed to combine their passion with all the values they believe in. 

The street dancer Shamell Bell, who fights against racism, the marine biologist Cristina Mittermeier, who documents the advancing destruction of the oceans with underwater and other photographs, the Afghan refugee rapper Sonita Alizada, and the musician Ben Harper, who has always been committed to fighting social inequality and climate change. The sextet is completed by Shilpa Yarlagadda, a jewelry designer who supports female empowerment, and land artist Saype

To direct and photograph these six activists, or artivists – as Francesca Lavazza called them when she presented the project – Lavazza entrusted the task to the best director of photography ever, Emmanuel Lubezki

Lubezki

I held my breath, and with me all the press present, as he took the stage. Just a few words are enough to understand that the purity and sensitivity of the images he creates and that we are used to seeing on the big screen are just a reflection of his personality, something I was able to ascertain during the minutes we spent together after the conference and perhaps the main reason why he was chosen to tell the story of the claim “I Can Change The World” with 12 shots. 

Shots that want to, and can, only give the LA to the change we wish to see in the world and of this Chivo – Emmanuel Lubezki’s nickname – is aware. “It would be too pretentious to think that a calendar can change the world”, he tells me, adding “the only thing I can do is amplify the voices of these artists. Each of them is working really hard to change the world. They are deeply optimistic and when you are optimistic you really live your life, believing in what you are doing, and they are doing it. In this case, my job is a humble one and I put myself at their service to tell them who they are and what they do in the hope of setting off positive vibes in those who discover them.

Lubezki

I can sense from the way he talks about it and from the shiny eyes that sometimes betray him that the bond created with the six protagonists of the Calendar is real and deep. Finding out that each of them was shot in different places on the Planet that show both the impact of climate change and the beauty the world we live in has to offer, and that Chivo experienced them all alongside the young activists, even being directed by them, only confirmed my thoughts. “I spoke to them,” he tells me, “we talked and I immediately understood that I shouldn’t work as a photographer, but more like a director of photography, letting myself be directed by them and also being guided by their ideas. This is why we have portraits in close-up, but also photos where the landscape dominates.” 

At this point, it really only takes one look at the photos to understand how the 12 shots create a more complex and structured narrative. “From the desert chosen by Sonita to the Caribbean Sea where I photographed Cristina, all the landscapes we worked in are endangered and shooting these six young people immersed in the beauty and fragility of these places underlines their profound optimism that I mentioned at the beginning. I tried to create a journey through the calendar, through the different places, but also through light“. 

This choice should not come as a surprise, as Lubezki is internationally recognized precisely for his meticulous and perfect use of natural light. “Well – he confides – I have to say that the use of natural light came from the directors I work with, in particular Terrence Malick, who called me to work with him to make a film entirely with natural light. Thanks to his knowledge of the behaviour of natural light, but also of photography, we were able to make four films together using only natural light. For Revenant it was different and I think it was interesting for Alejandro to explore this world and understand how to move and work during the day with respect to light. But it wasn’t me who had the initial idea.” Nevertheless, this stylistic imprint has now become his signature and we can find it within the Calendar as well, in fact he added “In this particular case, I incorporated natural light into the Calendar because I thought it would give a purer result, which would help me incorporate the characters within the landscape, although sometimes I used flash. For Saype, for example, I had to. His picture was taken between three and four in the morning in Alaska and it was so dark that I had to use lights“. 

Lubezki

As mentioned a few lines above, the one created by Lavazza and Emmanuel Lubezki is a voyage of discovery of the world we occupy for the short time of a lifetime and which we are taking too much for granted. To some, the choice of entrusting the production and art direction to a cinematographer used to working in the film industry may raise eyebrows. If, however, you dig deeper and look at Chivo’s Instagram profile (you can find him as @chivexp, the name given to him by Steven Soderbergh), the circle is closed and all doubts are cleared.
As one of the 500,000 people who follow him, I couldn’t help but take the opportunity to ask him what he thought of Instagram, suddenly finding myself talking to a 56-year-old person who probably understands better than me and many young people what the right use is. “I started using Instagram both because I wanted to know what it was about, but also because, having two daughters, I was worried about the effect it has on young people. Gradually I began to discover an encyclopedic aspect and it became a place to find incredible photographs, dancers, choreographers, painters, musicians, artists. Finally, it also became a place to meet people, Saype I met through Instagram.”

Our meeting concludes by agreeing that smartphones have, to all intents and purposes, changed the way we take photographs, but that if the result is to live outside the screen of a phone then you have to rely on other tools. “If you’re going to print photos, say the size of those for the Lavazza Calendar, you’ll probably need a higher quality camera“. 

I take my leave with the knowledge that I have just had one of those once-in-a-lifetime encounters and one phrase keeps ringing in my head, “I Can Change The World”. 

Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022
Photography
Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022
Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022
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Erotic and sexy photography by Joshua Rhodes

Erotic and sexy photography by Joshua Rhodes

Buddy · 4 days ago · Photography

Joshua Rhodes is a Californian photographer present on Instagram with the accounts @fuzzyaxolotl and @fuzzyanalog.

His images are charged with solar eroticism: pin-up style models, portrayed with irony and sensuality, with a vintage style that seems to echo the editorial taste of Playboy and a certain 70s erotic cinema.

The statuesque bodies of blonde models shine in the sun on perfect beaches, emerge from the water of the ocean or crystalline pools.

Natural shots, delicate and glossy lights.

Check out a selection of his shots here, follow him on Instagram and on his personal website.

Erotic and sexy photography by Joshua Rhodes
Photography
Erotic and sexy photography by Joshua Rhodes
Erotic and sexy photography by Joshua Rhodes
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The world’s best nature photography of 2021

The world’s best nature photography of 2021

Tommaso Berra · 4 days ago · Photography

After the ranking of the best astronomical and microscope photographs of 2021, these days the best wildlife photos of the last year have also been awarded. The Wildlife Photographer of the Year is a competition organized by the Natural History Museum in London, now in its 57th edition.
There are many aspects that make extraordinary the 100 photos in competition, taken by professional photographers or amateurs and selected from 50 thousand proposals. On the one hand, the technique used and the patience in waiting to take the perfect shot, unrepeatable in many cases. On the other hand, the unusual point of view, which brings viewers closer to unusual natural events or animals that are difficult to approach, such as the shot of the spider as big as a human hand or the “selfie” taken by a grizzly bear in front of the carcass of a deer in the United States.

The Wildlife Photographer of the Year contest is divided into 19 categories, from which the two winners have been announced. Laurent Ballesta, who specializes in aquatic photography, won the Adult Grand Title Winner with an image capturing some camouflaged groupers in French Polynesia emerging from a cloud of eggs and sperm. It took the French photographer five years of night diving to capture this moment, which occurs only during the July full moon period.
The other winner of the wildlife photo contest was Vidyun R. Hebbar, just ten years old, who was awarded the Young Wildlife Photographer of the Year for his image of a spider wrapped in its web, taken in Bangalore, India.

foto naturalistiche | Collater.al
The world’s best nature photography of 2021
Photography
The world’s best nature photography of 2021
The world’s best nature photography of 2021
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Female portraits by Marat Safin

Female portraits by Marat Safin

Giulia Guido · 4 days ago · Photography

Women are the protagonists of the shots by Russian self-taught photographer Marat Safin. Lonely women, women in the house, in the kitchen or lying on the bed, women immersed in nature, free among the high grass, women looking in the car or immortalized in spontaneous poses. 

Marat’s female portraits convey a sense of calm, intimacy. 

The warm light that we find in all her shots immediately gives the family atmosphere, giving us an air of home, of familiarity. 

In our gallery you can find a selection of her shots, to find out more go to the Marat Safin’s Instagram profile

maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
maratneva Marat Safin | Collater.al
Female portraits by Marat Safin
Photography
Female portraits by Marat Safin
Female portraits by Marat Safin
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