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Pablo Trilles Farrington
Pablo Trilles Farrington
Pablo Trilles Farrington

Pablo Trilles Farrington

Country: Spain
Birth: 1979

Since I was little I was fascinated by animals, especially wildlife. I loved learning about them, their habits, behaviors, most remarkable characteristics such as size, speed, height, feeding, etc. As I grew up, that passion for wildlife began to fall asleep, giving way to other types of concerns. During my youth, my father gave me his SLR camera with interchangeable objects and taught me the basics of photography. I liked taking photographs of all kinds, from portraits to landscapes. They weren't good pictures, although it amused me. But after a few years, when I lived in my apartment, they broke in and took the photographic equipment. That was the end of my adventure in photography. Many years passed until, on a work trip I had to make to Guatemala, I managed to visit the Mayan ruins of Tikal recommended by my father, which he visited in the past. That trip, in the middle of the jungle and surrounded by wild animals, reawakened in me the passion for wildlife and the adventure of exploring natural places. At the same time, smartphones appeared and with them photography within everyone's reach. So I took pictures again this time with my mobile. The mobile was fitted with mini lenses for macro photography. Then I bought a zoom lens that connected to the mobile via Bluetooth. From there it went to a 70-200 lens connected to the phone, which I took on safari to Kenya and the Corcovado peninsula in Costa Rica. I finally understood that my passion for photography and wildlife justified investing in a mirrorless camera as well as better lenses. Until today I have two cameras and seven lenses that I have been using in my travels through Uganda, UAE, Morocco, Svalbard, etc. Always learning to achieve photographs that transmit and connect with the observer. Although in recent years I have obtained prizes, recognitions and honorable mentions that have sweetened the path, the real prize is the opportunity to live unique experiences and to invest the vital energy in this art called photography.
 

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Mary Anne Mitchell
United States
Mary Anne Mitchell is a fine art photographer working primarily with analog processes. Her most recent series Meet me In my Dreams is shot using wet plate collodion. The images depict situations, often mysterious, which evoke her southern roots. She recently was a finalist in the 8th Edition of the Julia Margaret Cameron Awards and has been invited to exhibit some of this series in the 4th Biennial of Photography to be held in Berlin. Her work has been exhibited in solo and group exhibitions across the country and can be found in private and corporate collections across the US, Dubai, Taiwan, and Canada. She lives in Atlanta, GA. Source: www.maryannemitchellphotography.com About Meet Me in My Dreams, 2018 "This series is inspired by my poem Meet Me in My Dreams. The setting for many of the images is a fairytale landscape. My use of the young people celebrates the universal feeling of limitless potential that most people experience in their youth. The ghostlike figures are reflections of the later years when beauty and youth begin to fade. They suggest the feeling that one is becoming invisible and yet still present and powerful. The work speaks to family, memory, and the ethereal passage of time. The images are created using wet plate collodion. I scan and enlarge them to enhance the organic qualities of the medium. These are the elements of my dreams." -- Mary Anne Mitchell Meet Me in My Dreams Walking through the forest of my dreams I see a varied cast of characters. Some are known And some are strangers. Some are real, Some imagined. I catch a glimpse of something yet I look again and nothing is there, perhaps scattered by the wind. My eyes are tricked by the play of light on each and every tree. I sometimes sense I am not alone and someone watches me. The stories told are mine alone. Imagination fuels my memories and my vision is revealed. I invite you to come and meet me in my dreams. Interview with Mary Anne Mitchell All About Photo:I am a Georgia native and have exhibited my work in solo and group exhibitions throughout the United States. My photographs have been featured in online publications such as Burn and Plates to Pixels and can be found in private and corporate collections around the country. AAP: When did you realize you wanted to be a photographer?As a freshman in college, I bought a 35mm camera and took a class to learn how to use it and fell in love! AAP: Where did you study photography?Received a BFA from UGA in Athens, GA AAP: What or who inspires you?I always loved Edward Weston and Cartier Bresson as far as the masters of photography. My kids are currently my muses. AAP: How could you describe your style?Much of my work captures authentic moments in atmospheric b/w. AAP: What kind of gear do you use?I shoot film and use mostly 35mm Nikon cameras or Holga or Blackbird Fly plastic cameras. AAP: Do you spend a lot of time editing your images?In darkroom some dodging and burning. AAP: Favorite(s) photographer(s)?I always loved Edward Weston and Cartier Bresson as far as the masters of photography. There are so many contemporary photographers doing amazing work...hard to pick... really love Vivian Maier and her whole backstory is so fascinating. AAP: What advice would you give a young photographer?Shoot constantly but selectively. AAP: Your best memory has a photographer?Strolling anywhere in Europe, camera in hand! AAP: Your worst souvenir has a photographer?A soaking wet Nikon and lens after being knocked over in a canoe while trying to get an incredible shot!
Rory J. Lewis
United Kingdom
1978
Rory J Lewis, a multi-award winning British macro wildlife photographer, is renowned for his artistic portrayal of invertebrates and ethical techniques to capture intricate wildlife images within their natural habitat. Growing up among the rolling hills of the Cotswolds, with a fascination for the local wildlife from a young age, Rory was exposed to cameras very early on, as his father was also a keen landscape photographer. After trying a few different genres, everything changed for Rory when he first aimed a macro lens at an insect. Through a blend of macro and traditional portrait techniques, Rory unveils the hidden essence of these elusive life-forms, creating compelling visuals that are both intimate and evocative. In an era marked by climate change and habitat loss endangering countless invertebrate species, Rory's images challenge viewers to perceive these often misunderstood creatures with newfound empathy and appreciation, in the hope of shedding new light on the critical roles they play within our fragile ecosystem. Rory’s works have been featured in many popular publications and have received awards from the Royal Entomological Society, World Nature Photography Awards, Gloucestershire Wildlife Trust, and was most recently the People of Nature Awards fauna photographer of the year. Rory has also represented Venus Optics Laowa lenses in their marketing on multiple occasions and has recently carried out Canon sponsored workshops in partnership with Wex Photo Video throughout the UK.
Julia Margaret Cameron
United Kingdom
1815 | † 1879
Julia Margaret Cameron (née Pattle; 11 June 1815 – 26 January 1879) was a British photographer. She became known for her portraits of celebrities of the time, and for photographs with Arthurian and other legendary themes. Cameron's photographic career was short, spanning eleven years of her life (1864–1875). She took up photography at the relatively late age of 48, when she was given a camera as a present. Although her style was not widely appreciated in her own day, her work has had an impact on modern photographers, especially her closely cropped portraits. Her house, Dimbola Lodge, on the Isle of Wight is open to the public. Julia Margaret Cameron was born Julia Margaret Pattle in Calcutta, India, to James Pattle, a British official of the East India Company, and Adeline de l'Etang. Adeline de l'Etang was the daughter of Chevalier Antoine de l'Etang, who had been a page and probable lover of Marie Antoinette and an officer in the Garde du Corps of King Louis XVI. He had married the Indian-born Therese Blin de Grincourt a daughter of French aristocrats. Julia was from a family of celebrated beauties, and was considered an ugly duckling among her sisters. As her great-niece Virginia Woolf wrote in the 1926 introduction to the Hogarth Press collection of Cameron's photographs, "In the trio [of sisters] where...[one] was Beauty; and [one] Dash; Mrs. Cameron was undoubtedly Talent". Cameron's sister Virginia was the mother of the temperance leader Lady Henry Somerset. Cameron was educated in France, but returned to India, and in 1838 married Charles Hay Cameron, a jurist and member of the Law Commission stationed in Calcutta, who was twenty years her senior. In 1848, Charles Hay Cameron retired, and the family moved to London, England. Cameron's sister, Sarah Prinsep, had been living in London and hosted a salon at Little Holland House, the dower house of Holland House in Kensington, where famous artists and writers regularly visited. In 1860, Cameron visited the estate of poet Alfred Lord Tennyson on the Isle of Wight. Julia was taken with the location, and the Cameron family purchased a property on the island soon after. They called it Dimbola Lodge after the family's Ceylon estate. In 1863, when Cameron was 48 years old, her daughter gave her a camera as a present, thereby starting her career as a photographer. Within a year, Cameron became a member of the Photographic Societies of London and Scotland. In her photography, Cameron strove to capture beauty. She wrote, "I longed to arrest all the beauty that came before me and at length the longing has been satisfied." The basic techniques of soft-focus "fancy portraits", which she later developed, were taught to her by David Wilkie Wynfield. She later wrote that "to my feeling about his beautiful photography I owed all my attempts and indeed consequently all my success". Lord Tennyson, her neighbour on the Isle of Wight, often brought friends to see the photographer. Cameron was sometimes obsessive about her new occupation, with subjects sitting for countless exposures in the blinding light as she laboriously coated, exposed, and processed each wet plate. The results were, in fact, unconventional in their intimacy and their particular visual habit of created blur through both long exposures, where the subject moved and by leaving the lens intentionally out of focus. This led some of her contemporaries to complain and even ridicule the work, but her friends and family were supportive, and she was one of the most prolific and advanced of amateurs in her time. Her enthusiasm for her craft meant that her children and others sometimes tired of her endless photographing, but it also means that we are left with some of the best of records of her children and of the many notable figures of the time who visited her. During her career, Cameron registered each of her photographs with the copyright office and kept detailed records. Her shrewd business sense is one reason that so many of her works survive today. Another reason that many of Cameron's portraits are significant is because they are often the only existing photograph of historical figures. Many paintings and drawings exist, but, at the time, photography was still a new and challenging medium for someone outside a typical portrait studio. The bulk of Cameron's photographs fit into two categories – closely framed portraits and illustrative allegories based on religious and literary works. In the allegorical works in particular, her artistic influence was clearly Pre-Raphaelite, with far-away looks and limp poses and soft lighting. Cameron's sister ran the artistic scene at Little Holland House, which gave her many famous subjects for her portraits. Some of her famous subjects include: Charles Darwin, Alfred Lord Tennyson, Robert Browning, John Everett Millais, William Michael Rossetti, Edward Burne-Jones, Ellen Terry and George Frederic Watts. Most of these distinctive portraits are cropped closely around the subject's face and are in soft focus. Cameron was often friends with these Victorian celebrities, and tried to capture their personalities in her photos. Among Cameron's lesser-known images are those she took of Mary Emily ('May') Prinsep, wife of Hallam Tennyson, 2nd Baron Tennyson, the elder son of Alfred Tennyson and a British colonial administrator. Cameron's portraits of May Prinsep, taken on the Isle of Wight, show a somewhat plain woman shot head-on and without affect. Cameron's posed photographic illustrations represent the other half of her work. In these illustrations, she frequently photographed historical scenes or literary works, which often took the quality of oil paintings. However, she made no attempt in hiding the backgrounds. Cameron's friendship with Tennyson led to him asking her to photograph illustrations for his Idylls of the King. These photographs are designed to look like oil paintings from the same time period, including rich details like historical costumes and intricate draperies. Today, these posed works are sometimes dismissed by art critics. Nevertheless, Cameron saw these photographs as art, just like the oil paintings they imitated. In 1875, the Camerons moved back to Ceylon (now Sri Lanka). Julia continued to practice photography but complained in letters about the difficulties of getting chemicals and pure water to develop and print photographs. Also, in India, she did not have access to Little Holland House's artistic community. She also did not have a market to distribute her photographs as she had in England. Because of this, Cameron took fewer pictures in India. These pictures were of posed Indian people, paralleling the posed pictures that Cameron had taken of neighbours in England. Almost none of Cameron's work from India survives. Cameron caught a bad chill and died in Kalutara, Ceylon in 1879. Cameron's niece Julia Prinsep Stephen (née Jackson; 1846–1895) wrote the biography of Cameron, which appeared in the first edition of the Dictionary of National Biography, 1886. Julia Stephen was the mother of Virginia Woolf, who wrote a comic portrayal of the "Freshwater circle" in her only play Freshwater. Woolf edited, with Roger Fry, a collection of Cameron's photographs. However, it was not until 1948 that her photography became more widely known when Helmut Gernsheim wrote a book on her work. In 1977 Gernsheim noted that although a great photographer, Cameron had "left no mark" on the aesthetic history of photography because her work was not appreciated by her contemporaries and thus not imitated. But this situation was evidently already changing by then thanks to his popularisation of her work, for instance in 1975 Imogen Cunningham had commented "I'd like to see portrait photography go right back to Julia Margaret Cameron. I don't think there's anyone better." In 2013, Getty Images says in its caption of a portrait of Alice Liddell (whom Cameron photographed as Alethea, Pomona, Ceres, and St. Agnes in 1872) that "Cameron's photographic portraits are considered among the finest in the early history of photography". Source: Wikipedia
Randy Bacon
United States
Randy is an American photographer with an extensive history in portrait, commercial and documentary photography, both motion and still. Randy is also co-founder and artist behind all of the photography and cinematography of the nonprofit, people empowering story movement, 7 Billion Ones Randy has pursued photography professionally since 1984 and is in high demand with a client base extending worldwide. He travels to destinations across the United States, as well as numerous countries for projects. At the core of Randy's photography is the ability to present emotive visual stories with an underlying sense of narrative. His unique style reflects elements of influential film noir and old masters in painting and photography - Randy is especially influenced by photographers such as Richard Avedon, Irving Penn, Diane Arbus, Ed Weston and others. Considering these influences, the connecting thread is the unending artistic mission to capture the art of people In their real, authentic, raw self. For Randy, this simple, yet complex, truth, "you were born an original", is still the creative seed that continues to grow his artistry for photography and film. In 2011, Randy expanded into the motion picture arena. Almost instantly he secured multiple commercial film projects. In 2012, his film career exploded with the release of his directorial and production debut, "The Last Days of Extraordinary Lives". The movie garnered a significant amount of coverage and awards, including having the film being broadcast on PBS to rave reviews. "The Last Days of Extraordinary Lives" ran the film festival circuit and accumulated an impressive fifteen film festival official selections and won fourteen awards, including Best Documentary, Best Picture and Best Director. Shortly thereafter, Randy released his second full-length documentary, "Man Up and Go" which received official selection to nine national/international film festivals. Both films are signed to Academy Award winning film company, Earthworks Films, and are distributed nationally by Filmrise. In 2015, Randy founded and launched the nonprofit humanitarian story movement, 7 Billion Ones, which documents lives, shares stories, connects community and empowers mankind. 7 Billion Ones is fully dedicated to using the art of photography, motion films, and written words to present people's unique stories in an artful, raw, impacting form, so that human transformation occurs exponentially. The story movement reaches a worldwide audience via sharing and connecting people through the enormous power of the world wide web. In consideration of Randycs ongoing work with 7 Billion Ones and other humanitarian projects, he was named as Presidential Social Change Artist in Residence at Saybrook University. In addition, Randy won the Award for Homeless Advocacy with the Alliance to End Homelessness. The Road I call Home For over 35 years I have explored the art of portraiture and I am still mesmerized by photography just like when I got my first camera at 15. It's a love affair that not only endured, but has grown as an essential part of my being. I am more in awe of photography as an art form each day. As a photographer and filmmaker, I have always been intrigued by the fact that each and every person is a one-of-a-kind original - a never before created miracle. This simple, yet complex truth, "we are ALL original miracles'' is the creative seed that flames my passion for photography and represents the connecting thread with all of my work. Over the years, I have photographed thousands upon thousands of people, across America and around the world, propelled by an infinite fascination and commitment as a photographic artist to capture the miracle of each person - the 'ones' on this planet of over 7 billion. I am finding that after all of these many years, of tending to my relationship between me and this thing called a camera that I am artistically driven more and more by people and their stories. With my photography, no matter the walk of life, I strive to present each 'one' in an authentic, no frills manner as to truly relay their inherent beauty, uniqueness and value. With the narratives, I provide the accepting, safe place, so each person can truthfully share their raw, unfiltered story. In the end, I hope the work will punch people in the heart and help create positive change, new understandings of humanity and connection within our world. This is my mission. The Road I Call Home is a powerfully direct extension of my mission - portraits that reveal their special qualities and dignity versus stereotypical attitudes and perceptions society commonly has of homelessness and often presented by the media. The impetus for this approach relates directly to my own life - I was guilty of being negative and uncompassionate towards the homeless. Yes, I judged the book by the cover; however as I opened the pages of each homeless person's life I saw the enlightening truth - homeless people are important 'ones' in this world of 7 billion and deserve love and compassion. The Road I Call Home represents my most ambitious single project to date. What began as a small idea to photograph a handful of homeless people now stands at over 170 homeless lives recorded via portraits, stories and short films. The Road I Call Home continues its path as we push forward chronicling more of our homeless friends' lives. The project has been exhibited at numerous museums and galleries, including several states, with more being planned. A corresponding coffee table art book for The Road I Call Home was published in 2021. Articles The Road I Call Home The Amazing Winning Images of AAP Magazine 17 Portrait
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