The original photograph was in sharp focus, but I used Photoshop to blur it so that the image became surreal. People expect nudes to be sharp and clear, but I wanted to challenge that and make the viewer question what is real and what is not.
I asked Laura to lie on the floor and adopt some "painful" poses. I let her move freely and kept shooting until I had taken more than 20 rolls of film, moving with her. The interaction between photographer and model sometimes produces unexpected photographs.
My aim was to shoot a woman's back in a disconcerting abnormal way. I asked the model to lie on the table and pulled her arm toward her back, palm upward; she looks as if she has fallen from somewhere high, her body distorted by the impact. The hair I added to the lower part of her body contributes to the unsettling effect.
I arranged Sasha in the middle of an empty space anc lit her from the left with a flash head with an umbrella. The simple lighting was just good enough to sculpt her figure. Sasha was a very shy girl who covered herself with her hands throughout the shoot, but I find the photograph interesting.
GioRGio GRuizzA 191
Main working location Serbia
Photographic method Film and digital
Photographic method Film and digital at the age of 10 giorgio joined a local photography club and took a three-month course that was his entire formal photographic education. in the early 1990s he became a freelance photographer, but the political and economic conditions in Serbia brought his career to a temporary halt. However, by 2002, with an increasing number of commissions from magazines and advertising agencies, he set up the unique studio and is now again a fulltime photographer.
As an adolescent, i discovered the beauty of ancient greek culture, particularly its sculptures. These, without question, laid the foundation for the aesthetic ideal which i struggle to achieve. i fell permanently in love with the human body, the human face, and human sexuality.
it is precisely that love (passion, even), combined with perfectionism and mathematical precision in playing with light, and having the power to discover and bring to the surface the most beautiful, intriguing, and inspiring aspects of my models' personalities, and then to shape that with the help of my imagination, that i consider my true photographic strength. My artistic work is very personal. There is no question that the final photographs are the result of an interaction, an understanding, and a good relationship between everyone involved. But more than this, they are products of a sophisticated, intimate game i play with my models.
The inner beauty and sensuality of my models, the influence of light and shadows on their bodies and faces—creating sculptural forms in tension, revealing the way i see their hidden sexuality—are much more important than equipment and techniques to me. The emotions that such forms provoke in me—admiration, excitement, and desire—are what i want to share with anyone looking at my photographs. Everything that i do is a function of transmitting my impression of the photographed person as faithfully as possible. i hardly ever plan my photos in advance. Everything usually depends on how the shoot develops, my mood, and the way i am inspired by the model's looks and personality.
although i try to record my impressions as accurately as possible in order to reduce the need for postproduction, i feel justified in using software in the finishing of the photographs. Photography is a modern, evolving art, so the photographer's way of seeing things, capturing images, and producing photographs should be too. However, as far as postproduction is concerned, i think it is important that photographers do not cross the thin line which divides them from illustrators.
192 PHOTOGRAPHERS' GALLERY
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