Carlos Lopez Photography

a poem - Cage

noreply@blogger.com (Carlos Lopez) — Wed, 25 Jan 2012 20:40:00 +0000

I stare at the sky,
again I try to fly
and again I am down into cage.

My wings were cut
and my eyes closed.
Unable to see the world
I dream every night...

and in my dreams I was free,
so far away from the frightening reality.
But every touch brought me back, behind these bars,
how did I hate your loving arms...

You may hate me
but every night you call me back
you want to fly and feel free
but indeed you want to be trapped in my heart...

Carlos - Kristyna, November 2011.

Collaborative poetry.

The world in perfect detail!

noreply@blogger.com (Carlos Lopez) — Wed, 18 Jan 2012 23:16:00 +0000

This my last post about the pictures taken specially for the online contest and exhibition Feel and share from camera Samsung NX200.

So with no more presentation words enjoy them:

This was for NATURE:

"Wake up, mother nature."

These were for the category ART

"Self-portrait"

"The dragon and Zuzana."

These were for the category CITY

"Playground"

"Flight high!"

Any questions about them? just write them in the comments.

About sisters...

noreply@blogger.com (Carlos Lopez) — Sat, 14 Jan 2012 21:20:00 +0000

I made theses portraits of these two sisters specially for the portrait category of the Samsung NX200 contest Feel and share.

I had just a basic idea of what I wanted: a portrait of them looking each other seriously but as the photo session started and more photos were taken it lead me to other kind of pictures as you can see. I took approximately 90 shoots and these are my selection. The 7th photo is my favorite, it give me that feeling of mixed emotions, followed by the 3rd of the faced being hold by hands which can have many interpretations.

Anyway, the most important is that they, Lenka and Kristyna, my wonderful models are happy with the results :-). I know these portraits are not the typical or expected photos of sisters, in which they would be smiling and looking happy but I think fall into what I would dare to call, even I don't like the term of "artistic portraits" because there is something more intimate in those eyes when you look at them. So no more words and enjoy them.

We can change the future..., actually not.

noreply@blogger.com (Carlos Lopez) — Wed, 11 Jan 2012 20:28:00 +0000

One of the hardest categories for me to send photos was Future, mainly because the way I see it is more technological, like robots, cyborgs, flying cars, etc. and make some images based in those ideas is pretty hard. However as the deadline was approaching, the pressure made me make diamonds:

Think too much about the future is useless, and this is a common phrase we hear when things are not going well in the present: We can can change it! but we can?

As the phrase sounds nice and optimist I decided to make a photo of it. I collected some leaves from the street and place them on a note book, some basic arrangement and done! but after few minutes to take this photos I realized that it was wrong, we cannot change the the future because it has not happened yet, therefore what we can do indeed is change our present so our actions can shape, up to some point, the future. And that idea lead me to the second image The future is not written yet.

Simple , effective and nice don't you think?

The next images are more from my idea of a technological world. As i did not have any of the objects i needed to make the images I wanted, a small twist in my ideas push to these with the Christmas light. The one with my son is titled: "Cyborg" and the other one "Artificial hand"

And to finish a picture titled "You and me".

Let the kid alone.

noreply@blogger.com (Carlos Lopez) — Fri, 06 Jan 2012 23:46:00 +0000

Continuing with the series of photos taken for the new Samsung camera NX200, the Facebook online exhibition Feel and share, these are the photos I sent for the category of people. The model for these pictures is my handsome son :-) of 3 years old. He was a little devil as a model, making fun of me and being very elusive to my camera. It took me a lot work get these shoots but they are worth. For the one he looks like crying and the one with the reptiles, only in those he made a sad and scare face, in all the others he is just making funny faces as you can see in "He, he, he..." but at the end that is the best way, he has fun and I get the images I want, real father-son team work.

Don't cry my boy.
Camera Samsung NX200 ISO 6400 - 1/50 - f 4.5

He, he, he...


Reptiles invasion. Camera Samsung NX200 ISO 6400 - 1/30 - f 4.5


Untitled MMXI

Toys, toys, toys...

noreply@blogger.com (Carlos Lopez) — Mon, 02 Jan 2012 22:32:00 +0000

These are some photos taken lastly, made mostly for fun and for the online contest in Facebook held by Samsung "Feel and Share" from which I was one of the 60 photographers chosen. I had to send photos in five categories Nature, People, City, Art and Future. These were for nature, the idea behind is an artificial world as our nature, our plastic nature. Once finished will be be in my website but for now I leave you with these, enjoy them and comment them.

Ops, wrong way. (A snake ready to eat a lizard)

A menacing snake.

Wild crocodile eating.

Crocodylus acutus.

Unknown salamander.

Lonely lizard.

Starving frog having for lunch a lizard.

Budapest and its horses.

noreply@blogger.com (Carlos Lopez) — Sat, 31 Dec 2011 18:05:00 +0000

About three weeks ago I visited Budapest, what a great city. There was a retrospective exhibition of the world famous Hungarian photographer André Kertész in the Hungarian national museum which was amazing. As well there was another of painting called East of Eden - Photorealism: versions of reality in the Ludwig Múzeum , museum of contemporary art, which consisted of Eastern-Central European realist photographical works, presented in parallel with American and Western European piece photo-realistic paintings. Unfortunately it was not allowed to take pictures.

Anyway, in my very short sightseeing I arrived to the Heroes square were the sculptures are really impressive so it was a must for me to make some photos. These were taken more with a "touristic eye" than with the artistic and I converted them to black and white to make them a bit more dramatic.

There are three statesmen in the semi-circular arcades of the square, unfortunately I did not take any notes of who they may be bu more go here

In Full Spectrum. Photography 1900-1950 from the Collection of the Moravian Gallery in Brno. 4th part: Social Photography and Reportage

noreply@blogger.com (Carlos Lopez) — Mon, 12 Dec 2011 21:01:00 +0000

Social Photography

Social photography also expanded the social impact of photography. Under the auspices of the Left Front (an anti-Nazi organization, 1929-1933), it evolved out of compassionate representations of poverty into a movement promoting change in the social order. It was intended, ﬁrst and foremost, for the press and, paired with written text, it required legibility in the sense of clarity and rationality. It employed the whole repertoire of new photography, especially in approach to detail and in diagonal compositions.
Social photography was a natural response to the Great Depression (1929-1933), and thus an international phenomenon. While in countries like Germany it was largely produced by the working class, social photography in Czechoslovakia involved a large number of intellectuals: writers, architects, politicians and artists. Prime movers and interpreters of social photography included Lubomir Linhart in Prague and František Kalivoda in Brno. Characteristically, the work of famous photographers, although not socially engaged, often features small series devoted to social matters.

Grete Popper 1934

Josef Bartuška 1939

Karel Ludwing 1948

Oldřich Straka


Otmar Schick

Documentary Photography and Reportage

The relationship between art and documentary photography is frequently discussed.
Acknowledgement of documentary and reportage photography was slow to come, and is beyond the chronological scope of this exhibition. The two modes are presented here as a single whole, since both parts are deﬁned by faithful “reproduction” of visual reality and do not change over time as much as those photographic disciplines with a wide potential for stylization.
However, they may differ in terms of subject, purpose and function. The division of documentary and reportage photography is rooted in function, or the “strategies” associated with it. The importance of family records is illustrated by a specimen of the Josef Kluge family album. Reportage is represented only lightly (Karel Hajek, Tibor Honty, Jan Lukas, Josef Vořišek, with documentary photography by leading protagonists of the genre prevailing.
After social photography, another trend shaped by the times was national-history photography, photography of the homeland (Karel Plicka, Josef Sudek, Jaromir Funke, Jan Lukas, Jaroslav Krupka, Alois Zych). lt was motivated by the impending war, by threats to national life, and continued after the war. It resumed traditional values seen as a shared historical base and a means for the post-war restoration of Czech national consciousness. War as a propaganda issue and a ﬁeld open to intelligence games with information and disinformation proved an impetus for the reconsideration of documentary photography, not only in essence but also in social importance.

František Illek c. 1950

Karl Katholicky

Tibor Hont 1945

Tibor Honty - 1945

*text and images from the exhibition*

In Full Spectrum. Photography 1900-1950 from the Collection of the Moravian Gallery in Brno. 3rd part: Advertising.

noreply@blogger.com (Carlos Lopez) — Sun, 11 Dec 2011 22:33:00 +0000

Advertising photography

New photography and advertising photography were born simultaneously, and can be hardly viewed separately. Precise description, the core of the New Objectivity, was also pivotal to promotional work. Examples of advertising photography invariably show objects as part of abstract patterns, in order to deprive them of any presumed position within the coordinates of the ordinary world, so bird's-eye views became common. Photo-montage (Vaclav Jiru and others) was also frequent. The colour effects in Taborsky's photographs are achieved by photographic chemistry. In Rossler's shots, the objects represented appear to be in a state of weightlessness, ﬂoating in an undeﬁned space, while in other photos series of products create geometrical structures and symbolize both mass use as well as profusion and abundance (Adolf Schneeberger, Vladislav Scholz). Some artists favoured a combination of disparate space dimensions and plans, details and wholes (Otakar Lenhart, Hugo Taborsky), while others employed, perhaps inadvertently, the principles of Gestalt psychology, a discipline that was ﬁnding form at the time.

Bohumil Stastny

Franz Fiedler

Grete Popper

Vladislav Scholz

*text and images from the exhibition*

In Full Spectrum. Photography 1900-1950 from the Collection of the Moravian Gallery in Brno. 2nd part.

noreply@blogger.com (Carlos Lopez) — Mon, 05 Dec 2011 21:15:00 +0000

The Avant-garde — Abstraction and the New Objectivity
The “New Photography" took shape slowly throughout the 1920's. At ﬁrst, Constructivism and the New Objectivity prevailed, with Surrealism, their irrational opposite, following later. At the end of the decade, individual styles blended into a single whole at the Film and Foto exhibition in Stuttgart (1929). It became clear that common to all the individual paths was “non-art", a trend associated with respect for pure (non-manipulated) photography portraying reality sharply and in detail. Through this, New Photography deﬁnitely separated itself from the approach before it, which had been typiﬁed by misty hazes and spectacles in light.

Detail, only a few years ago deemed incompatible with a work of art, had returned to centre stage.
The New Czech Photography exhibition, based on the Stuttgart model and organized by Alexander Hackenschmied, was held in the Aventinska mansarda, Prague in 1930. It was also the premiere of the Aventinum Trio: Ladislav E. Berka, Alexander Hackenschmied and Jiii Lehovec. its photographers freely employed both abstraction and precise description. Innovations in the New Photography included photographs of structures and textures separated from their context in space, providing interesting uncertainties of orientation (Alfred Ehrhardt, Crete Popper, Eugen Wiskovsky).

The role of photography in society changed as well. The new tendencies evolved against a background of ever-increasing demand on the part of a burgeoning illustrated magazine market, providing new outlets for the medium. The philosophy of the New Photography paralleled this trend both in style and in its preference for brilliantly rendered photographs suitable for printing. Innovations in book printing and gravure reproduction blended with the new, revolutionary cameras (Leica, Rolleiﬂex, Contax, and others) that enabled the photographer to “be there".

The work of Jaromlr Funke is an example of a concept-based and radical approach combined with a perfect orientation in the world of photography as well as that of art. A large number of his still lifes, in which shadows came to assume ever greater importance, evolved during the 1920's, from Cubist inspirations through compositions made up of geometrical shapes to the non-ﬁgurative shadow-plays produced in 1928-1929.
Eugen Wlikovsky applied the psychology of shapes to compositional principles as well as in his own free work (Disaster, 1939; Willow In a Valley, 1915).

Frantisek Vobecky 1935

Jaromir Funke

Jiri Jenicek 1931

The Avant-garde and Surrealism
Surrealism was, for most photographers, an inspiration for unorthodox, imaginative work. The principal contributions to fundamental ideas in this ﬁeld are contained in photographs by Jaromir Funke, Jindřich Štyrsky and Vaclav Zykmund. Funke returned to the more objective world in 1929 with Reﬂections, a series of photographs of shop windows, and several poetic "assemblages", sets of objects photographed from above. His “Time Endures" cycle (1930-1934) discloses the irrationality inherent in ordinary things. Together with the painter Jindřich Štyrsky he expanded the scope of art photography through static, impersonal shots of the structures typical of civilisation, the meaning behind which was to restrict the artist's part in their representation to selection alone. Vaclav Zykmund's stagings echo surrealist plays.

Experimenting at the technical and technological levels of the medium characterized the fotolinie group (Ceské Budéjovice 1931-1937) and photo-group of ﬁve (also f5, Brno 1933—1936). Fotolinie was headed by Josef Bartuska, while other members represented at the exhibition include Ada Novék and Karel Valter. The ﬁrst exhibition of the f5 group, held in the Museum of Applied Arts, Brno in October 1934, was opened by poet Vitézslav Illezval. Its Olomouc and Prague forms are represented by Frantisek Povolny, Bohumil Némec, Jaroslav Nohel, Hugo Taborsky, Karel Kaspařik and Otakar Lenhart.

Miroslav Hak, the only photographer in the Avant-garde Group 42, which united writers and artists during the Second World War, bridged the world of the mundane and imagination.

Bohumil Nemec

Frantisek Povolny

Jaromir Funke 1932

Jaroslav Nohel

an exhibition: In Full Spectrum. Photography 1900-1950 from the Collection of the Moravian Gallery in Brno. 1st part.

noreply@blogger.com (Carlos Lopez) — Sun, 04 Dec 2011 00:45:00 +0000

Art nouveau, Art deco, beginnings of the Avant-garde.

Well before the end of the 19th century, art photography ceased to be a matter for individual endeavor. Amateur photographers began to organize themselves into clubs, working towards qualities comparable with painting and graphic art. Portrait photographers devoted themselves to the surpassing of the routine production of professional studios. The medium became divided into “art” and “non-art” categories. The amateur photographers were soon joined by some of the professionals themselves; Franz Grainer was among the firsts.

In landscape photography it was felt necessary that description, mere “copying of reality", be avoided. Morning and night shots intended to evince mood or emotion came to the fore, at the expense of exact description (Vladimir J. Bufka). Representation of the ordinary in non-ordinary fashion also became popular.
A subject demanded attention by means of the originality or subtlety with which it was represented. The craft and science of photography also sought to leave the previous era far behind. Gelatin-silver emulsions were progressively replaced by painstaking noble manipulative processes such as gum print, oil print and bromoil print (platinum print and carbon print had already been invented). That photographic positives had turned into graphic prints, thoroughly demanding in nature and highly reliant on the feel, experience and manual skills of the artist, became an integral part of arguments for the acknowledgment of photography as art, at a time when purely mechanical “imprints of reality" had no chance to be viewed as art.

The work of Jaroslav Rossler, a pioneer of European avant-garde photography, bears witness to the intertwining of various styles and technical approaches in the period before the situation in photography crystallized. Rossler initially employed oil print and bromoil print to produce photographs in the vein of art deco (Miss Gerta) and cubo-futurism (Ore Tarraco), but soon for purely photogenic works as well (Brother).

Alois Zych c.1912

Frantisek Drtikol 1925

Franz Fiedler1921

Julie Jireckova c.1908.

Julius Andres 1930

Photography as a Harvest of Light and Shadow

After the establishment of the state of Czechoslovakia in 1918, the Czech Club of Amateur Photographers in Prague came to lie at the centre of amateur photography. It united the young men returning from the Great War and respected protagonists of the ﬁrst phase of art photography, groups utterly different in terms of generation, social class and, above all, background experience. The existence of the new state was especially exciting for the younger photographers, dreaming of their future, stimulating them to intense and innovative work that was to enhance Czechoslovakia‘s proﬁle at international photographic salons. The novel approaches of the younger artists inevitably clashed with the old-fashioned tastes of those photographers who cultivated the noble manipulative processes. From 1920 until the end of the decade. the amateur milieu was the scene of clashes between the generations, with the trio of Jaromir Funke, Adolf Schneeberger and Josef Sudek on the revolutionary side, later joined by Rudolf Padouk and Jan Lauschmannn.

Žeň světla a stínu [The Harvest of Light and Shadow] (1910) by Jaroslav Petralr, the ﬁrst Czech book on art photography, inadvertently and prophetically gave a name to the future. ln the early 1920's, the amateur scene was inﬂuenced and shaped by Drahomír J. Ružička, an acclaimed amateur photographer and doctor from New York. Ružička believed that the manner in which llght was depicted was more important than actual description. He impressed Czech photographers with non-manipulated yet visually perfect prints, and played midwife co the birth of a Czech mutation of an art photography strategy that had been highly topical in the USA in the previous decade. This “new school’, although often inspired by impressionism and expressionism was not primarily based on competition with painting, but on the ability of the photographic medium to communicate visual perception and experience. Soft-focus optical reproduction of the subject became a common denominator for the majority of photographs.

Drahomir Josef Ruzicka1918

Drahomir Josef Ruzicka1930

Jan Halasa 1943

Otmar Schick 1934

*Images and text from the exhibition.

a poem - Alive

noreply@blogger.com (Carlos Lopez) — Mon, 28 Nov 2011 21:21:00 +0000

*
I am not dead either alive,
I am an eternal loving soul in your heart.

I come back for you every night
and kiss you in your tears every time
your eyes look for me in the sky.

**
I am the broken hand you cannot feel
the beheaded servant at night
and your humble incubus at sunrise.

I touch your wounded skin with fear,
feel the pain of your arms
despite I see great glory
in your green eyes.

I am,
just a penitent sword
waiting for you underground.

©Carlos Lopez, November 2011

Petrified dream, from the series Earth Pollution

NX200 Feel & Share, Photo competition and exhibition in facebook.

noreply@blogger.com (Carlos Lopez) — Wed, 23 Nov 2011 21:38:00 +0000

I want to invite you to an event from which I am part. It is a virtual exhibition for the Samsung NX200 new camera.

Visit the virtual featured photo gallery or explore the entire NX200 Feel & Share Photo
Exhibition. Share and vote for your favorite photographs and mine of course ;)

Follow the link like the page, don't worry they wont spam you, I give my word, accept the application and enjoy it.

https://www.facebook.com/samsungnx?sk=app_261024957273972

a review: Samsung NX200, professional power in small size.

noreply@blogger.com (Carlos Lopez) — Sat, 19 Nov 2011 23:10:00 +0000

Recently I have got the new camera from Samsung, the Samsung NX 200 and this my personal review/opinion about this camera.

So let's start:
Presentation. The camera comes in a nice elegant black box:

Samsung NX200 already set up with 18-55mm and external flash. Charger, battery, USB cable not shown.

Important technical spec, at least for me:

20.3 megapixels (5472x3648 aspect ratio of 3:2).

RAW files although they are like 40mb each :(

ISO up to 12 800, adjustable in 1/3 and 1 steps.

7 frames per second

Spot metering, beside multi and center weighted.

Manual control in speed and aperture, beside shutter, aperture priority and program.

Color space Adobe1998 and sRGB.

Custom and manual white balance.

Bracketing.

Manual focus.

1st and 2nd curtain flash synchronization.

What I like is first resolution and all those "pro" options in a compact size. Is not a point and shoot, although you can use as such if you choose to use just the automatic options but if you want professional capabilities and have real control over the image you want to capture this camera is for you.

What lacks unfortunately is an optical viewfinder, I would have like one, however the display screen at the back is really sharp and bright

All controls are with buttons and a dial which I prefer much more to a touch screen. They are easy to manipulate and go trough the menu options.
The design is as well ergonomic, the small grip make it easy to handle it.

NX200 top view.

NX200 back view.

Now let's go to the images:

Nx200 studio sample original size 5 472 x 3 638 px.
Speed: 1/125 Aperture: 7.1 f ISO: 125
Color profile: Adobe RGB (1998)
Originally taken as JPG Super fine.

Crop at 100% Lips from right girl.

Crop at 100 % Lips from left girls.

Crop at 100% Eye of right girl.

Crop at 100% Left cheek from left girl.

Under studio conditions it performs well, but as you can see there are some imperfecctions in the shadows transitions which can be easily corrected in post-production.

Sharp and images and nice tonalities in the high light areas.

Nx200 snap shot sample original size 5 472 x 3 638 px.
Speed: 1/60 Aperture: 4.5 f ISO: 1000
Color profile: Adobe RGB (1998)
Originally taken as JPG Super fine. and with the flash that comes with the camera.

Crop at 100%

No bad at ISO 1000 but it depends a lot of the light quality, however we can see some noise in the dark areas.

Nx200 snap shot sample original size 5 472 x 3 638 px.
Speed: 1/30 Aperture: 4.5 f ISO: 6 400
Color profile: Adobe RGB (1998)
Originally taken as JPG Super fine. Artificial Ambient light, tungsten ceiling lamp.

Crop at 100%

Well at ISO 6 400 we can see noise. The skin is not smooth anymore and if you plan to print your photos, you need to work on them in Photoshop, unless they will be just in your pc and be shown just at low resolution (ipads, ipods, internet social sites, etc. so is more than enough)

Nx200 snap shot sample original size 1080 × 1920 px.
Speed: 1/50 Aperture: 4.5 f ISO: 6 400
Color profile: Adobe RGB (1998)
Originally taken as JPG Super fine. Natural ambient light from a window left side.

Crop at 100%

With natural light and taken at a smaller resolution the image is sharper and have better transition from light to shadows. There is noise but it does not bother me, make it black and white apply some film effect and woala! enough for a 20 x 30 cm print (8 x11.5 inches)
So as conclusion the better the quality of light, the better the final image will be.

One important point is: Not because you can shoot at 20 megapixels means you must shoot all at that size, for what do you need your party photos so big if in 99% of the cases they won't pass from being posted from facebook at 700 pixel size?

Nx200 snap shot sample original size 5 472 × 3 648 px.
Speed: 1/100 Aperture: 5 f ISO: 250
Color profile: Adobe RGB (1998)
Originally taken as JPG Super fine. Natural ambient light.

Crop at 100% Shadow area

Crop at 100% light area.

Well, the pictures speak for themselves about quality. With natural soft light the high lights areas and the shadows are fine, however I have not tested in high contrast situations.

Beside all that, the main benefits, at least for me is portability, I always want to have a camera with all the professional controls and be easy to carry around. I have tried before with my Canon 20D but it is heavy and bulky if you put it a 70-200 mm or a 16-35mm. So this is my holy grial.

I am not too much into the special effects it has (sepia, old style tone, magic frames, etc) because if I want them I prefer do it in Photoshop. I mostly use JPG and super fine quality, sunlight as white balance and the vivid setting for the color tonality.

I like the fact that the lenses are interchangeable which give you more options about lenses and it it has the same size of sensor most of the consumer cameras has an APS-C sensor (example: Canon 7d, Nikon d300)

About the video, I cannot say anything, all is that it can shoot videos at 1080p at 30 frames per second. I leave this area for someone who knows about video than me.

Two things I would like it has is for studio photos that you can see a live image despite the speed and aperture settings. Let me explain it, if you set 1/125 of speed and an aperture of 16f under studio light conditions when you will look trough the lcd screen you will see only black, despite the final shoot will be properly exposed due to it is lighted by the studio strobes. It can be in the top dial or in the menu options. And the other is an optical viewfinder accessory for street photography with their 16 or 20mm lens.

Well that is all from my point of view, i hope you find it useful.

a Brno girl 19 - Michaela

noreply@blogger.com (Carlos Lopez) — Fri, 04 Nov 2011 22:42:00 +0000

Hello, time for another pretty girl, Michaela.
Enjoy your day.

This is the reason why i like this kind of shoos, an sculpture from Brancusi.

a poem - Lenka

noreply@blogger.com (Carlos Lopez) — Tue, 25 Oct 2011 20:53:00 +0000

Lucid dreams every day,

Endless visions under your arms

Nothing will silence our drunken dance

Killing everything with your blue gaze

Angels will make us pagan Gods of the human kind.

Carlos Lopez. October 2011

Note: Dedicated to my friends called Lenka.

a Brno girl 18 - Alena

noreply@blogger.com (Carlos Lopez) — Sun, 23 Oct 2011 22:03:00 +0000

Simplicity is the key for my photos, one source of light, one reflector and good chemistry (relationship) between the model and me. She is Alena, a beautiful student of tourism. Enjoy them.

a Brno girl 17 - Marketa

noreply@blogger.com (Carlos Lopez) — Sat, 15 Oct 2011 23:50:00 +0000

One of the most interesting girls I have met is Marketa. I contacted her first for my series Intimacy, She works in a local art gallery and therefore she is surrounded by artworks so I decided to make a bit of art with her and her name:

Minuscule stars have fallen from the promised sky when
A confused slave dared to ignore your dark eyes.
Red roses in your empty bed, wait for your pale skin every night.
Koliada, goddess from slavic lands, known is your grace and
Ephemeral your power, rise and call your knights
Times are changing and You must reign with an armed hand
Again this ancient land of lonely men and blue dawns.

Carlos Lopez, October 2011

a girl - Leah

noreply@blogger.com (Carlos Lopez) — Sun, 02 Oct 2011 18:55:00 +0000

I found these photos today checking my archive. The photos where taken in the Caribbean island of Grand Turks, back in 2007 when I used to work in cruise ships. Her name is Leah, a pretty Canadian woman who used to work in a sales position and caught my attention and of course I did not lose time to ask her if could help me in build my portfolio. She was very kind to accept and for my surprise she was a great model who need little direction.
Nevertheless, no more words and enjoy them.

National Geographic 10 top photos!

noreply@blogger.com (Carlos Lopez) — Mon, 19 Sep 2011 21:34:00 +0000

If you wanted to know what goes behind the cameras and the edition process of the greatest world photographers working for the best magazine, National Geographic? Well this short documentary is a must.
Guided by editor Chris Johns, you will know the story of each of these ten photos and why they are so special. Enjoy.

a Brno girl 16 - Sabina

noreply@blogger.com (Carlos Lopez) — Mon, 29 Aug 2011 21:16:00 +0000

Dobry den, (good morning, in czech) my fellow readers. After a hard Monday to start a nice week here you have Sabina:

You can see more photos of her in my collection of women/models from Brno in my website.

A Brno girl 15 - Mischelle

noreply@blogger.com (Carlos Lopez) — Fri, 26 Aug 2011 21:22:00 +0000

This oportunity is for Mischelle, one of the few girls I photographed that like metal music as much as me. She was great and had something different as she is not the typical model. Look at them and tell me if you don't agree with me.

at the end the one chosen for my series of portraits Intimacy is this.

a poem - Purple idols

noreply@blogger.com (Carlos Lopez) — Thu, 25 Aug 2011 17:01:00 +0000

Run from those inquisitive eyes

and hide in incipient shadows.

Fear the morning sun

and the north wind that comes with it.

Fear the words from unknown saints,

whose light crushed your innocent hands.

Run away from those magical slaves

and look for to kiss their heavenly masters.

Run from every purple idol that is shown to you,

fear their will

but listen their call to silence.

Then sleep deep,

let your prays be forgotten.

Rest in peace.

Don't dare to open your eyes

and in your hideout beat the fear to yourself.

Carlos López July 2011

Extras 014 - A Brno girl - Juliette

noreply@blogger.com (Carlos Lopez) — Sun, 14 Aug 2011 21:03:00 +0000

For those who wanted to know what are these "extras", well, there are the photos that did not pass the edition process for my protect Intimacy and as well photos that I made for them so they can have something "nicer" to share or to show to whoever they want to and not only my "conceptual" or serious portraits of them.

Now, because that project is finishing but I will still continue photographing women with other thematic and include some commercial work I made sometimes for some locals models I will change the title to this section to "a Brno girl" so it will be not only the girls that modeled for my project but my clients too.

In this opportunity is a Slovak girl, Juliette, who study here in Brno. Small and brunette different from the standart Czech girls (blond and tall) she was very versatile and despite the language barrier (she did not speak English) we could make some interesting images.

Enjoy them.

a poem - Hero

noreply@blogger.com (Carlos Lopez) — Wed, 20 Jul 2011 20:25:00 +0000

I was born to be a God,

to equal my creator in his goodness and anger.

It was written I would be praised,

that I could play with the fate of the man

but

I was cursed to be their savior.

I am not a God,

just a human hero,
murdered by them and honored later by the same.
I am
an old statue of stone,

forgotten and broken.

Father, forgive their ignorance.