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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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Sven Delaye
France
1984
Sven Delaye, a digital nomad and videogames translator, has been traveling around the world for nine years. Throughout his journey, he always enjoyed capturing moments of life, but everything changed in early 2020: for a long time, he kept his street photography private, convinced it wouldn't interest others. In 2020, he submitted some landscape photos for the cover of a Guatemalan magazine. These photos were declined. However, the publisher explored his Instagram account and discovered the sole street photo he had shared. That single image was selected for the magazine's cover. Encouraged by this recognition, Sven began sharing his street photography, which quickly gained international acclaim in countries such as the USA, Mexico, Italy, the UK, Greece, France, and South Korea. For several years now, Sven has dedicated himself to street photography. Through his travels, it became a way to capture fleeting moments of everyday life, rediscover the poetry hidden in the mundane, and avoid the artificial clichés often propagated by social media. His inspiration comes from the simplicity of daily life: a stranger passing by, a fleeting glance, the curve of a smile, or the beauty of a quiet scene at a street corner. Sven finds poetry in unexpected places—a gutter, a park, or the shadow of a feeling in a small gesture. He believes this beauty surrounds us constantly, yet it often goes unnoticed. Whether it's because people choose to ignore it or have grown desensitized to it, he doesn’t know. What he does know is that his camera allows him to capture these overlooked moments and reveal the richness of life to those willing to see. Awarded Photographer of the Week - Week 03
Chris Killip
United Kingdom
1946 | † 2020
Born in Douglas, Isle of Man in 1946, he left school at age sixteen and joined the only four star hotel on the Isle of Man as a trainee hotel manager. In June 1964 he decided to pursue photography full time and became a beach photographer in order to earn enough money to leave the Isle of Man. In October 1964 he was hired as the third assistant to the leading London advertising photographer Adrian Flowers. He then worked as a freelance assistant for various photographers in London from 1966-69. In 1969, after seeing his very first exhibition of photography at the Museum of Modern Art in New York, he decided to return to photograph in the Isle of Man. He worked in his father's pub at night returning to London on occasion to print his work. On a return visit to the USA in 1971, Lee Witkin, the New York gallery owner, commissioned a limited edition portfolio of the Isle of Man work, paying for it in advance so that Killip could continue to photograph. In 1972 he received a commission from The Arts Council of Great Britain to photograph Huddersfield and Bury St Edmunds for the exhibition Two Views - Two Cities. In 1975, he moved to live in Newcastle-upon-Tyne on a two year fellowship as the Northern Arts Photography Fellow. He was a founding member, exhibition curator and advisor of Side Gallery, Newcastle-upon-Tyne, as well as its director, from 1977-9. He continued to live in Newcastle and photographed throughout the North East of England, and from 1980-85 made occasional cover portraits for The London Review of Books. In 1989 he was commissioned by Pirelli UK to photograph the workforce at their tyre factory in Burton-on-Trent. In 1989 he received the Henri Cartier Bresson Award and in 1991 was invited to be a Visiting Lecturer at the Department of Visual and Environmental Studies, Harvard University. In 1994 he was made a tenured professor and was department chair from 1994-98. He retired from Harvard in December 2017 and continues to live in the USA. His work is featured in the permanent collections of major institutions such as the Museum of Modern Art, New York; George Eastman House; Fine Arts Museum of San Francisco; Museum Folkwang, Essen; the Stedelijk Museum, Amsterdam; National Gallery of Australia, Canberra; and the Victoria and Albert Museum, London. Source: chriskillip.com Skinningrove 1982 - 84 The village of Skinningrove lies on the North-East coast of England, halfway between Middlesbrough and Whitby. Hidden in a steep valley it veers away from the main road and faces out onto the North Sea. Like a lot of tight-knit fishing communities it could be hostile to strangers, especially one with a camera. "Now Then" is the standard greeting in Skinningrove; a challenging substitute for the more usual, "Hello". The place had a definite 'edge' and it took time for this stranger to be tolerated. My greatest ally in gaining acceptance was 'Leso' (Leslie Holliday), the most outgoing of the younger fishermen. Leso and I never talked about what I was doing there. but when someone questioned my presence, he would intercede and vouch for me with, 'He's OK'. This simple endorsement was enough. I last photographed in Skinningrove in 1984, and didn't return for twenty-six years. I was then shocked by how it had changed, as only one boat was still fishing. For me Skinningrove's sense of purpose was bound up in its collective obsession with the sea. Skinningrove fishermen believed that the sea in front of them was their private territory, theirs alone. Without the competitive energy that came from fishing, the place seemed like a pale reflection of its former self. Common Market and Health and Safety rules and regulations, coupled with increasing insurance costs, brought an end to the Skinningrove I'd known. When you're photographing you're caught up in the moment, trying to deal as best you can with what's in front of you. At that moment you're not thinking that a photograph is also, and inevitably, a record of a death foretold. A photograph's relationship to memory is complex. Can memory ever be made real or is a photograph sometimes the closest we can come to making our memories seem real. Chris Killip Remembering: Richard Noble (18) and David Coultas (34) drowned off Skinningrove on March 31 1984 Leslie Holliday - 'Leso' (26) and David Hinton (12) drowned off Skinningrove on July 29 1986 Source: Howard Yezerski Gallery
Michael Anker
I entered the professional side of photography during my studies in graphic design. It was then that I discovered the rich tonality and depth of tones that can be found in analog black-and-white photos. My photography teacher at the time, Manfred Paul, provided the necessary inspiration. Nowadays, I execute the majority of my projects using analog methods once again. This approach allows me to alleviate the time pressure from the creative process. "The Dark River" from the cycle "Remember me?" For several years, I have been working on my photographic series "Remember Me," which explores traces of my cultural identity. At the same time, it serves as a long-term study of the relationship between people and landscapes. My focus is on two topographies that lie beyond media attention: the Oderbruch region on the northeastern border of Germany and Poland, and the former German-speaking enclave of Hirschenhof in present-day Latvia. Both areas, which have undergone significant changes, are also imbued with traces of the last great war. My family stories are rooted in these places. The first part of the series, "The Dark River," presented here, tells the story of my father's family's deep connection with nature. The subsequent second part, "The Dark Silence," will explore the migration and flight of my maternal family. Without explicitly stating it, the work invites reflection on the fact that economically or politically motivated migration has always existed. The anchor point of "The Dark River" is the Oder River, which today forms the border between Germany and Poland. Along the Oder, my father's family witnessed the two-and-a-half-century-long transformation of the once primeval river and swamp landscape into an agrarian cultural area, initiated by the Prussian King Frederick II. This region also saw one of the fiercest battles of World War II in 1945. It was here, after the war, that my father met my mother's family, who had reached the Oderbruch on a trek from the Wartheland/Poland. They later met while dancing at the "Schwarzer Adler" in Seelow. In "The Dark River," long-buried memories and dreams resurface. Calm and dark, the Oder flows, filled with memories of itself and the people along its banks. The sky reflects in it, even at night. Dark shallows remain hidden. Sluggish like the stream, life moves through the plains, carrying my own family history with it. Where the landscape is left undisturbed, it recalls its own fertility and the myths that once surrounded it. Scars in its terrain remind it of its vulnerability, keeping the pain alive, and these scars grow deceptively. The images are captured on 120 film, which I believe is the only suitable format for processing history and stories in an epic way.
Giacomo Brunelli
Giacomo Brunelli (b. Perugia, Italy, 1977) graduated with a degree in International Communications in 2002. His work has been exhibited at The Photographers’Gallery (Uk), The New Art Gallery Walsall (Uk), The Barbican Centre (Uk), BlueSky Gallery, Portland (Usa), Format Festival, Derby (Uk), Triennial of Photography Hamburg (Germany), Nordic Light Festival (Norway), Noorderlicht Photofestival (The Netherlands), StreetLevel Glasgow (Uk), Photofusion, London (Uk), Delhi PhotoFestival (India), Fotofestiwal Lodz (Poland), Athens Photo Festival (Greece), Daegu PhotoBiennal (South Korea), Angkor PhotoFestival (Cambodia), Tabernacle (London, Uk), Griffin Museum (Boston, Usa) and at commercial galleries such as Peter Fetterman Gallery (Santa Monica, Usa), Robert Morat Galerie (Berlin, Germany), Galerie Camera Obscura, (Paris, France), Arden & Anstruther (Petworth, Uk), Galleria Belvedere (Milan, Italy). He has won the Sony World Photography Award, the Gran Prix Lodz, Poland and the Magenta Foundation “Flash Forward 2009”. He has also been featured widely in the art and photography press including BBC (Uk), The Guardian (Uk), The Telegraph (Uk), Eyemazing (Holland), European Photography (Germany), B&W Magazine (Usa), Creative Review (Uk), Foto+Video (Russia). His work is in the collection of the Museum of Fine Arts Houston (Usa), The New Art Gallery Walsall, Uk Kiyosato Museum of Photographic Arts (Japan) and Portland Art Museum (Usa). Brunelli has published “The Animals” (2008) and “Eternal London” (2014) by Dewi Lewis Publishing, “Self Portraits” (2017) and "Hamburg" (2021) by Editions Bessard, “New York” (2020) by Skinnerboox and "Venice" has been self-published by TantoPress in 2022. In 2012, he was commissioned by The Photographers’Gallery to do the “Eternal London” series and in 2015 by the Deichtorhallen to produce “Hamburg". Interview with Giacomo Brunelli: All About Photo: When did you realize you wanted to be a photographer? I remember when more that 10 years ago, I found my father's camera in a drawer and immediately wanted to be able to use it. Did't know exactly to do what but since then I have been using it to shoot my ideas." Where did you study photography? "I graduated in Communications in 2002 and attended a six month course in photojournalism in Rome." Do you remember your first shot? What was it? "I don't remember my first shot but I started shooting people, lanscapes and animals since the beginning. I have been soon fascinated by the idea of being outside taking pictures of what you like." What or who inspires you? I take inspiration from exhibitions, books, walks, stories and music." How could you describe your style? Street Photography." What kind of gear do you use? Camera, lens, digital, film? "Since the very beginning, I have been using a Miranda Sensomat 35mm, a japanese film camera from the '60. Although I have tried the 28mm and 135mm when I started, I use the 50mm lens only and 1.8 1/500 as combination diaphragm/shutter speed. For a recent commission I got from The Photographers'Gallery two years ago on London, I started using 1/1000 also. Regarding the film, I like Kodak Tri-x 400 and I print the images myself in my darkroom on Agfa Fiber Based paper." Do you spend a lot of time editing your images? For what purpose? "Editing is crucial and I love spending time looking at my images as a body of work and select the ones I feel are the strongest to communicate my vision." AFavorite(s) photographer(s)? "I grew up looking at the great masters such as Lartigue, Muybridge, Giacomelli, Frank, Klein and Winogrand so I think I have been deeply influenced by the way they managed to express their own ideas through photography." What advice would you give a young photographer? "Developing a coherent body of work takes time and energy; I would say just be prepared to work hard." What mistake should a young photographer avoid? "Not to be patient." Your best memory as a photographer? Publishing "The Animals" (Dewi Lewis Publishing, 2008) has been great, seeing your pictures taking the form of a book is fantastic." Your worst souvenir as a photographer? "In 2005 I left my camera and my own things in a taxi in Bratislava."
William Henry Fox Talbot
United Kingdom
1800 | † 1877
William Henry Fox Talbot was born on 11 February 1800 in Melbury, Dorset, into a well-connected family. His father died when he was less than a year old and he and his mother lived in a succession of homes until she remarried in 1804. Talbot went to Cambridge University in 1817. In 1832, he married Constance Mundy and the same year was elected as MP for Chippenham. In 1833, while visiting Lake Como in Italy, his lack of success at sketching the scenery prompted him to dream up a new machine with light-sensitive paper that would make the sketches for him automatically. On his return to England, he began work on this project at his home at Lacock Abbey in Wiltshire. Thomas Wedgwood had already made photograms - silhouettes of leaves and other objects - but these faded quickly. In 1827, Joseph Nicéphore de Niepce had produced pictures on bitumen, and in January 1839, Louis Daguerre displayed his 'Daguerreotypes' - pictures on silver plates - to the French Academy of Sciences. Three weeks later, Fox Talbot reported his 'art of photogenic drawing' to the Royal Society. His process based the prints on paper that had been made light sensitive, rather than bitumen or copper-paper. Fox Talbot went on to develop the three primary elements of photography: developing, fixing, and printing. Although simply exposing photographic paper to the light produced an image, it required extremely long exposure times. By accident, he discovered that there was an image after a very short exposure. Although he could not see it, he found he could chemically develop it into a useful negative. The image on this negative was then fixed with a chemical solution. This removed the light-sensitive silver and enabled the picture to be viewed in bright light. With the negative image, Fox Talbot realised he could repeat the process of printing from the negative. Consequently, his process could make any number of positive prints, unlike the Daguerreotypes. He called this the 'calotype' and patented the process in 1841. The following year was rewarded with a medal from the Royal Society for his work. Fox Talbot was also an eminent mathematician, an astronomer and archaeologist, who translated the cuneiform inscriptions from Nineveh. He died on 11 September 1877. Source: BBC
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