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Sandra Tamos
Sandra Tamos
Sandra Tamos

Sandra Tamos

Country: Lithuania
Birth: 1989

Since my childhood I was attracted to visual arts, painting mostly. I had a dream to become a fashion costume designer when I grow up. When I was 14 things changed. I didn’t lose my passion for painting, but the camera my dad gave me drew me into photography. Since then I started taking self-portraits and gained some photography experience. Later I started reading books about photography and wasn’t taking any pictures for the time being. When I was 18 I bought my first digital camera and started taking pictures of nature. I became addicted to macrophotography, as the camera revealed worlds unseen by a naked eye. When I graduated from school I studied, Technology of photography at Vilnius University of Applied Engineering Sciences, and obtained a Photo Journalist bachelor degree. In photography my most beloved avenues are portrait and dance photography, especially ballet. Ballet for me is something above reality, something spiritual, fantastic. In photos I try to show ballet, the way I see and feel it. I try to create pictures which remind fairy tales or dreams, which look out of this world.


All about Sandra Tamos:

AAP: When did you realize you wanted to be a photographer?
Before graduating, as I remember. It's hard to say what led me to like it. it simply drew me. I never wanted to, but I suppose it was my destiny to become a photographer.

AAP: Where did you study photography?
Vilnius College of Technologies and Design, Lithuania.

AAP:Do you have a mentor?
No

AAP: How long have you been a photographer?
Since my first shot, five years aproximately

AAP: Do you remember your first shot? What was it?
The first digital photo was a dandelion fluff with water drops. However my absolutely first picture was self-portrait, photographed with old russian film camera, when I was 14.

AAP: What or who inspires you?
Little bits of everything, I would have to write a book to metnion everything what inspires me, so I will save your time and will only mention few key sources of inspiration. Life, from germination/birth to blossom and so on. Water, in all forms. Fog, tiny drops on leaves or spider web, rain, ponds, rivers.

AAP: How could you describe your style?
Sensual, mystical, darkly romantic.

AAP: What kind of gear do you use? Camera, lens, digital, film?
I use Pentax K-5 digital camera, and my favorite lenes are SMC Pentax A 50 f/1,7 and Sigma 30 f/1,4.

AAP: Do you spend a lot of time editing your images?
Yes, it takes skill and time to turn diamonds into brilliants, same with photos. But I enjoy the process so I dont mind if it takes time.

AAP: Favorite(s) photographer(s)?
Too many to mention all of them. Lately especially admire Gregory Colbert creation.

AAP: What advice would you give a young photographer?
Learn how to operate the camera perfectly, theres nothing worse than perfect moment slipping away, or when a moment that was felt right for a perfect picture, ends in dissapointment of failing to freeze it in camera, when it simply doesnt look the way it had to and the way it was perceived.

AAP: What mistake should a young photographer avoid?
Loosing faith, should be avoided.

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Religious motifs and the ambiguity between man and woman have also been some of Saudek's recurring themes. During the 1990s, his work at times generated censorship attempts in the West because of its provocative sexual content. Saudek's imagery has sometimes had a mixed reception internationally. He gained early shows in 1969 and 1970 in the United States and in Australia. In 1970 his work was shown at the Australian Centre for Photography and was welcomed by curator Jennie Boddington at the National Gallery of Victoria. Decades later, by contrast, his photograph Black Sheep & White Crow, which features a semi-naked pre-pubescent girl, was removed from the Ballarat International Foto Biennale in Victoria, Australia just before the opening on 21 August 2011; objections had been made related to allegations of child prostitution for his subject. Saudek's photographs have been featured as covers for the albums of Anorexia Nervosa (New Obscurantis Order), Soul Asylum (Grave Dancers Union), Daniel Lanois (For the Beauty of Wynona), Rorschach (Remain Sedate), and Beautiful South (Welcome to the Beautiful South). Saudek lives and works in Prague. His brother Kája Saudek was also an artist, the best-known Czech graphic novelist.Source: Wikipedia Saudek's pictures display a fondness for sequences that can be traced back to his childhood appreciation of comic books. More obviously, his work is often inspired by the nineteenth-century tradition of photographs of large women posed in lingerie reproduced as postcards (quite possibly also the source of inspiration for Saudek's collection 30 Postcards). His formal training occurred from 1950 to 1952, when Saudek attended Graphic Arts school and took a photography class. Saudek first exhibited in Prague in 1963 at the Hall of the Theatre on the Balustrade; though he continues to show work in his home country occasionally, Saudek's pictures are most widely exhibited in the United States. His work is held by such institutions as the Art Institute of Chicago; Museum of Fine Arts, Boston; The Bibliothèque nationale de France, Paris; Musée Nicephore Nièpce, Chalon-sur-Saone, France; National Gallery of Victoria, Melbourne, Australia; and Photo Art, Basel, Switzerland. Saudek continues to live and work in the Czech Republic.Source: Museum of Contemporary Photography
Orestes Gonzalez
Orestes Gonzalez
United States
I am a NYC based photographer since 1987. I went to UT Austin, where I got a Bachelors of Architecture in 1982. I practiced both Architecture and Photography for many years, finally specializing only in  photographic work after experiencing 9/11. This event made me realize that life is fleeting, and you must do what you truly love. I believe it is a primal human quality to create pictures. From the earliest cave paintings, we've made pictures as a way to validate our existence. History's millennia-long narrative of drawing and painting cannot compare with the short period that photography has been in existence. Yet this form holds a special place in my heart and integrates me to mans recording of his intransigence on this planet.
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