PHOTOGRAPHERS Magazine #10 OCTOBER 2022

CHRONICLES

Rui Caires

Portugal

Antonio E. Ojeda

Spain

Olavo Azevedo

Portugal

#10

October 2022

Cover photo

Untitled by Olavo Azevedo

www.facebook.com/olavo.azevedo.1/ https://1x.com/olavoazevedo

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© 2022 Photographers Magazine. All Rights Reserved

Thank you very much for the contribution of the authors:

Antonio E. Ojeda

Olavo Azevedo

Rui Caires

Adam Pachula

Adriana Ceausescu

Aharon Golani

Alain Léonard

Alexander Sviridov

Anastasios Gialopoulos

António Bernardino Coelho

Artur Kanicki

Aurélien Bomy

Colin James Watkins

Dominique Agius

Dan Leszek Kołudzki

Dariusz Baran

David Wright

Debratna Ghosh

Deepayan Khatua

Dmitrijus Skackovas

Doron Margulies

Dov Oron

Eduardo Perez Sanchez

Emrah Karakoç

Erminio Vanzan

Fabrizio Secchi

Fedor Vercammen

Fernando Peneiras

George Koulouridis

Henk Veldhuizen

István Mezo

Jan Kočičák Kočí

Jean Fraipont

José Oliveira

Josefina Melo

Judith Onderstal

Karel Ševčík

Katarzyna Wójcik

Lam Makmak

Laura Giammichele

Levend Yüce

Ludwig Riml

Luís Borges Alves

Marian Plaino

Ludwig Riml

Luís Borges Alves

Marian Plaino

Mariola Glajcar

Marko Klavs

Martin Wacker

Metin Yener

Michal Jedlička

Milan Hristev

Monika Baran

Msieu D'heve

Myriam Leplat

Nick van Dijk

Okan Yilmaz

Panagiotis Grammatikakis

Paul Adrian Chis

Pedro Filipe

Petr Kleiner

Petros Kotzabasis

Rajesh Dutta

Robert Marzec

Robert Szumała

Roberto Zaninelli

Roger Jones

Rudi Hendrickx

Sam Benari

Sanlui Ballesteros

Seb Alias

Selim Seval

Sil Nut Herrero

Sultan Koç

Suvankar Roy

Theodore Kefalopoulos

Thomas de Franzoni

Timurtaş Onan

Uwe Schröder

Wojciech Karliński

Yosvany Martínez

Zina Auzelyte

Zurab Getsadze

Петко Атанасов

林茂榮

渡辺秋浩

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CONTENTS

CHRONICLES

Rui Caires

CHRONICLES

Antonio E. Ojeda

CHRONICLES

Olavo Azevedo

AUTHORS

SELECTED PHOTOS

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CHRONICLES

RUI CAIRES

PORTUGAL

PORTFOLIO

www.facebook.com/RuiCairesPhotography

www.instagram.com/rui_caires/


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CHRONICLES - RUI CAIRES

Rui Caires

I lived most of my life in Portimão, what, without me realizing it, cultivated my taste for the landscape of the

Algarve coast. However, living in Lisbon was born out of a need I cultivated to expand what I interpreted as

the space around me. It was a natural decision that did not involve any nervousness or resistance. It became

the obvious step, an experience which I refused to abdicate from.

I didn't bring a clear expectation of what I was looking for, just an interest in discovering what it would be

like to live in this new reality. Lisbon aroused in me the motivation to express myself unlike I had before.

Perhaps to capture this new beauty, despite being so different from what I was used to. More than adapting

to the lifestyle, I fell in love with the rhythm, the people and the streets and I discovered that this was where

it made sense to be. I can’t point exactly where the need to capture visually the emotions that each place

conveyed to me emerged. But, once again, it was something that happened naturally. A need I reacted to.

It was also this way that over the last two years I have tried to deepen my knowledge of photography. A

constant reaction to the motivation I feel to improve what I am capturing. It also led me to discover the

works of artists that inspire me and to learn to appreciate and identify the set of factors that contribute to a

photograph that awakens in me the desire to transport myself to the place it portrays. The entire process

has, to me, equal weight in the final product. Starting in the concept, to the choice of the location, then the

process of capturing the image and, finally, the editing. It is a set of steps that define the finall product. The

biggest gratification is the adventure that lies behind each project.

When I now return to the Algarve, I go with a different vision. I look for a beauty I already knew before, but

from a new perspective. I even choose to visit places I had never known, or paid enough attention to, when

incredibly I lived right beside them

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Hi Rui Caires, give us some background, how long ago did you start shooting and what made you start in this

world of photography?

I started taking pictures in the end of 2018 when i bought my first camera, a crop sensor Canon. What made

me want to start shooting was the city of Lisbon. I always liked landscapes and street pictures but one day a

friend of mine lent me his camera and everything started from there

Do you remember the click that sparked your passion for photography?

I remember years ago seeing all this beautiful landscape award winning pictures and thinking “how they do

this? How can a place be so beautiful?, I never saw this kind of light!”, then I learned that I had to find the right

light in the right spot.

Who are your main influences on photography? And outside of it?

The city I live, Lisbon and the cities around it, mainly Cascais and Sintra. I take inspiration from other

photographers too but I think everything comes from inside, its like a need to capture the world and make

the moment last forever like in that second or minutes that you capture something.

I notice that most of your photos are landscape photography. Why choose landscape photography? Love at

first sight or did you discover your relationship with landscape photography over time?

I do other types of photography too but my passion is landscapes. I love planning a picture, composing and

getting the final idea done, and with landscape, for me, its more challenging, because you never know what

to expect, the weather, the light, its always different in the same place. I also have a thing for colors and how

a picture in sunrise and sunset makes the place so much more different


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The photographers' creative process is often overlooked. Can you tell me a little about your processes? Not

in terms of equipment or technique, but in terms of motivations, from finding a place to photograph to the

final photograph.

Whenever you go out to photograph, have you studied everything already or do you let yourself be carried

away by the moment?

I try to keep myself motivated by looking at others people photos and going to places I like, trying to find

compositions. I usually have a place in mind and try to go there early to explore the location. I find myself

going to the same location over and over because there’s always different challenges and types of light to

capture. I mostly do sunsets and try to check the weather before but its always a surprise. Then I got home,

I choose the best pictures and edit them in Lightroom and Photoshop. I love editing and its really where the

final magic happens, I spend a lot of time learning new techniques.

I notice that Rui Caires regularly photographs Portugal. Any special reason?

It’s 1where I live, there’s still so many places that I want to go here, I just have to go and explore.

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CHRONICLES

ANTONIO E. OJEDA

SPAIN

PORTFOLIO

www.facebook.com/AntonioEOjeda/

www.instagram.com/antonioeojeda/


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CHRONICLES - ANTONIO E. OJEDA

Antonio E. Ojeda

El Viso del Alcor (Sevilla) 1970

Self-taught photographer. My work is an attempt to show a kind of parallel reality at the same time as an

attempt to fix the ephemeral, that which fades in time. What attracts me mainly in photography and in

general is the here and now, that unique and fleeting moment, which has not been before and will not be

after.

He held collective exhibitions of Street Photography in Seville, Madrid, Barcelona, Rome, Paris, Florence,

Bucharest. To date, I have two individual exhibitions: in Nantes (France) within the Atout Sud Festival in

March 2019 and at the El Canguro Violeta Bar/Gallery in Piedrabuena, Ciudad Real (Spain) in May 2022.

Also in September 2022, within the PhotoESPAÑA22 and MECA Mediterráneo Centro Artístico program, I

participated in New York, in Culture Lab LIC at The Plaxall Gallery, in the collective exhibition Phantasia:

Photography is Magic.

Hi Antonio Ojeda, give us some background, how long ago did you start shooting and what made you start

in this world of photography?

I am completely self-taught, I have not taken courses, workshops, etc... everything I have learned has been

based on photographing a lot. My interest in photography goes back a long time, first as an observer, then

as a doer. In the mid-90s of the last century I bought my first camera, an analog Zenith, but it was not until

about 8 years ago, and already with a digital camera, when I decided to dedicate more time to photography.

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there is not a single click, there have been many clicks, but what really sparked my passion was realizing that

photography is magic that allows us to see a parallel dimension or vision, that allows us to capture the

multiple planes that reality offers us.


My influences are not in photography, they are rather in cinema and literature, which are very important to

me. I started watching cinema when I was almost a child, at first European and North American cinema,

directors like Truffaut, Fellini, Bergman, Dreyer, Kaurismäki, Rohmer, Kubrick...and so many others. But it was

the discovery of aesthetics, rhythm, the way of narrate the oriental cinema, with Kurosawa as a great

reference, which meant a before and after. Watching a lot of movies makes your vision more photogenic and

teaches you to frame, to compose, to see the light...

I notice that most of your photos are street photos. Why choose street photography? Love at first sight or did

you discover your relationship with street photography over time?

When I started photographing I didn't know about street photography, but once I learned about it, its rules,

its possibilities, it was like a crush, like love at first sight. For me it is the best way to try to capture the "Here

and Now".


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final photograph.

Whenever you go out to photograph, have you studied everything already or do you let yourself be carried

away by the moment?

Street photography has to be spontaneous, without intervening or preparing the scene, therefore when I go

out to photograph I don't have anything studied, prepared. When I go to a place that I already know, I can

intuit, for example, the light that I am going to find, the possibilities that I am going to have, but the scenes

that later happen are totally spontaneous.

I have traveled to certain cities just for the sake of photographing in a certain place, but once there,

everything has to happen naturally.

I notice that Antonio Ojeda regularly photographs Spain. Any special reason?

Spain is where I live (specifically in El Viso del Alcor, Seville) and therefore it is where I go out to photograph

the most. I also travel a lot to Portugal, being Lisbon for me, of all the cities I know, the ideal city for street

photography (and to live).

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CHRONICLES

OLAVO AZEVEDO

PORTUGAL

PORTFOLIO

www.facebook.com/olavo.azevedo.1/

https://gallery.1x.com/member/olavoazevedo


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CHRONICLES - OLAVO AZEVEDO

I am Olavo Azevedo and I was born in Portugal and live in a small village in the center of the country along

with my wife Alice. I have two daughters who are living elsewhere. With academic training in the health area,

finished my medical course at the university of medicine of Oporto and I exercise my professional activity as

family doctor in the medical services of the city where I was born and where I live. We live in a rural area in a

house surrounded by trees, flowers and the chirping of birds and stunning scenery to surround it.

The photograph serves as an antidote and as an escape way for the requirement of the profession, allowing

an inner peace sometimes shaken by the suffering of others.

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Hi Olavo Azevedo, give us some background, how long ago did you start shooting and what made you start

in this world of photography?

Self-taught, I started photographing in my teens. Like the vast majority of people, I started the photographic

activity by recording everyday moments with friends, family, landscapes… serving for future memory and

remembering times and places that certainly marked us and make us grow. Then I learned that as long as

there is light and shapes highlighted by it, we can create visually appealing things and styles.

It was a period of research, observation and learning collected through the study of others authors in books,

magazines and essentially through the web where we can learn through the observation of great talents,

works with aesthetics and formal quality incredible, always being a source of inspiration. Essentially, I

learned to like graphic photography that is often minimalistic, in which shapes, tones, contrast and light

have a great relief and an aesthetics approach of their own. In this context, architecture emerged naturally

within this evolution. The acquisition of a full frame camera and a 16-35mm zoom opened up previously

unknown horizons, realizing the power and beauty that impact of lines, perspectives and overwhelming

vanishing points represent in visual impact. Thus, architecture and graphic images started to have a

different meaning and gradually led to a refinement in the sense of observing and anticipating the final

result of intended. Essentially, I learned to like graphical photography that is often minimalist having

architecture emerged in a natural way within this evolution.


In fact, with easy and democratized access to information, the curiosity to observe new things and the

appreciation of topics that arouse our attention, raises the bar and transpor us to others horizons. Learning

to see differently was a key to perfecting styles. I learn that as a long as there is light and shapes highlighted

by it, we can create visually attractive styles.


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t was a period of research, observation and learning collected through other authors


There was no photo specifies that has inspired me, but the work as a whole of various artists whose

photographic style fits in my photographic vision. It is the synthesis and analysis of works that seek

inspiration having particular influence. Although nothing in my academic training call me to thefieldd of

architecture, this is one of my favorite subjects, and especially modern architecture, in which their bold lines,

challenging sometimes balance and imagination becomes a source of inspiration and an irresistible visual

appeal. Decontextualization of the whole, transforming an obvious thing in a more abstract work and

graphically more attractive and interrogative, leading the mind to flow freely to lead to a better

interpretation of things according to the experienced and emotionally representative experiences.

Of course, I have some favorite photographers of which highlight first the French, of Hungarian origin,

Lucien Hervé, which combines a humanistic look at the architecture, the influence it had on my own

photographic approach, having been seduced by his work just the first time I had contact with him through

Reponses Photo magazine. I also appreciate the Swiss photographer Hélène Binet, very graphic works on

architecture, highlight Michael Kenna for his minimalist works and many others

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I notice that most of your photos are concept photography. Why choose concept photography? Love at first

sight or did you discover your relationship with concept photography over time?

The evolutionary concept in photography is part of a continuous learning process based on observation and

personal experience acquired over time and resulting from the aesthetic sensibility of each one. Personally,

although I photograph diverse subjects covering several areas of photography, portrait, landscape, abstract,

architecture represents a large part of my portfolio. Conceptual photography can be adapted to any subject

according to its own concept and is intended to represent abstract ideas and emotions/sensations with aim

of provoking a reaction from the viewer.

One of the main characteristics of conceptual photography is to reflect on the scenes and prepare them to

accentuate the message that you want to convey, whether in the view or in the application of the concept

during editing, using creativity to represent it, providing an image that reflects the author’s idea and make

the viewer see what the author intends, which may not necessarily be the reality as we observe it. The

contrasts, the light, the shadows, the shapes and the “chiaroscuro” in truth always fascinated me. Although

it was a primary love, reaching the objective oh reaching an acceptable level for publication took its time,

where learning by observation, and fundamentally by trial and error, have played a leading role in obtaining

acceptable and visually attractive results.

The evolution of learning, particularly in editing in Photoshop, or any other editor that allows the

application of gradients, allowed the realization of conceptual results in a visually attractive, aesthetically

emotional way and according to a pre-defined vision during the analysis of the base photograph whit aim

of provoking a reaction from viewer.


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I also notice that you have a special taste for black and white photography, why this choice?

At a time when we are almost permanently to access photographic devices where color is always present,

opting for black and white photography is, above all, an aesthetics and creative option to achieve a result

previously idealized and conceived with aim of create personal and observer sensations and emotions.

Creating with the aim of transmitting or arousing some feeling through observation should be a goal that

guides us. In my view, this objective, by removing color from an image through a well-executed process,

removes clues that color provides contributes to timeless results, adds mystery and ambiguity to the scene,

by making it less obvious, makes it difficult to recognize what we are observing and contributed to a better

involvement of the observer in the attempt to make the image a real subject.

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final photograph. Whenever you go out to photograph, have you studied everything already or do you let

yourself be carried away by the moment?

It is important to make a preliminary study of what we can find in the places where we are going and that

we intend to photograph according to our preferences and our personal vision and point them out. Let us

waste time!

But don’t forget at the place:

- Look for part that represents the whole! The whole often leads to disappointment.

- Look for patterns, shadows, repetitive shapes, contrasts, etc; Framing your images and give attention to the

edges and corners, and work it.

- Look for objects with potential, don’t look for great photograph;

- Maintain a positive attitude! Open the mind to see something new and creative;

- Explore! Move yourself. Get down, get up, look around, look inside, change your viewpoint, explore the

scene from every angle, bend your knees. Put your camera down and explore the scene without it.

- Stop! When you are around for a while and you don’t find nothing interesting to photograph, stop. Go away

and come back another day

- Dealing with disappointment! This is a very, very personal thing but think: in photography, like life, if you

have a little rain, is good to appreciate the sunny days. Learning with your experience.


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I notice that Olavo Azevedo regularly photographs at Portugal. Any special reason?

There is no specific reason for this, but photographing inside the country is more comfortable and cheaper

than to travel aboard with that intention and because we live here for a longer time. And there are such

interesting things between doors!

However, the limitations that covid pandemic has placed on us during the last two years, contributed to a

limitation of photographic activity due to the restrictions both on travel and on the possibility of contacts

and visits. Many of the photographs published in these unexpected times are works done previously,

reporting different places in Portugal but also aboard. After all, photography simple means having the will

to do it, having access toa camera and stepping out our comfort zone, regardless of where we go.

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AUTHORS

SELECTED PHOTOS

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Untitled by Metin Yener

Untitled by Dov Oron (Bnei Brak, Israel)

www.facebook.com/dov.oron.9/ www.instagram.com/dov_oron/

Untitled, London 2019 by Sam Benari (Kings Cross, London)

www.facebook.com/profile.php?id=100008438173906 www.instagram.com/sambenari/

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Untitled by Michal Jedlička

www.facebook.com/profile.php?id=100005947609231 www.instagram.com/michal.jedlicka7/

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Thessaloniki Greece by Petros Kotzabasis

Berlin | The Woman Wears Red by Uwe Schröder

www.facebook.com/Uwe.Schroeder.Fotografie www.instagram.com/uweschroeder_fotografie/

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Wittenbergplatz by Aurélien Bomy (Berlin, Germany - 2022)

IG:@aurelienbomy http://aurelienbomy-photographie.com

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Calatrava Station. Liège. Belgium by Alain Léonard

www.facebook.com/ALAINxLEONARD/ www.facebook.com/alain.leonard.paysages.nb

Man in the light by Okan Yilmaz (Izmir, Turkey)

www.facebook.com/okan.yilmaz.photos/ www.instagram.com/okanyilmaz

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The House of Knowledge by Martin Wacker

Marie-Elisabeth Lüders Haus, Berlin, Germany

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Untitled by 渡辺秋浩

Untitled by Timurtaş Onan

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Best Friends by Roger Jones (Whitstable, Kent, England)

www.facebook.com/RogerJonesPhotographer/photos_albums

Seaman on cargo vessel by George Koulouridis (port of Chalkis, Greece)

IG: george_koulouridis www.georgekoulouridis.com

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Two men in the road by David Wright

After meal by Luis Borges Alves (Morrocco)

www.facebook.com/lborgesalves/ www.instagram.com/luisborgesalves/

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Wedding in Veliko Tarnovo, Bulgaria by Petko Atanasov

www.facebook.com/PetkoAtanasovPhotography/ IG:oberon75

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Gypsies during the Festival of gypsy music by Katarzyna Wójcik (Poland)

www.facebook.com/katarzyna.wojcik.1441

Fonte das Virtudes by Eduardo Perez Sanchez (Porto, Portugal - 11/1985)

www.facebook.com/eduardo.perezsanchez.96995/ www.instagram.com/epsancheznovo/

Cozinha by Fernando Peneiras (Vilarinho de Negrões, Montalegre, Portugal)

www.facebook.com/fernandopeneirassempeneiras

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Ray of God by Deepayan Khatua (Nakhoda Masjid, Kolkata, India)

www.facebook.com/profile.php?id=100075496939898 www.instagram.com/dkcamography_official

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Untitled by Emrah Karakoç

www.emrahkarakoc.com IG:@emrahkarakocs

Free, but impure by Sanlui Ballesteros (Bumburet Valley, North of Pakistan)

https://www.instagram.com/sanluy/

Ukranien GP by Petr Kleiner

https://500px.com/p/pkleiner IG:@pkleiner

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Epoi, a Kazakh teenager by Myriam Leplat (Kazakh family, Altai Tavan Bogd National Park , Western Mongolia)

IG:myriam_leplat

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Karo People area in Omo Valley River, South Ethiopia by Aharon Golani

En Route by Rudi Hendrickx

Wyoming, USA

Happiest by Rajesh Dutta (Badkulla, Nadia, West Bengal, India)

www.facebook.com/rajesh.dutta1 www.instagram.com/rajesh.dutta1/

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Bed time stories by Adriana Ceausescu

www.facebook.com/ceausescu.adriana/

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Village Ribnovo,Bulgaria , Mustafa the shepherd by Milan Hristev

www.milanhristev.com

De la serie Muros y silencio. 2022 by Yosvany Martinez (Matanzas, Cuba)

IG:@yosvanyzz

Earning source of Light by Debratna Ghosh

https://debratnaghosh.github.io/debratnaghosh/ IG:@subtle_elixir

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Yağlı Güreş,Kırkpınar/Edirne, Turkey by Sultan Koç

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The Monk by Selim Seval (Ulaan Bataar, Mongolia - 2002)

www.selimseval.zenfolio.com

Portrait by Suvankar Roy

IG:royphotosutra

Model: Mohanjit Kaur

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Untitled by Seb Alias (Normandy)

www.instagram.com/seb_alias_

Model: www.instagram.com/leo_model_p

hardening under the Charles Bridge, Prague, Czech Republic 11/2020 by Jan Kočičák Kočí

Reader by Karel Ševčík (Gorzanov, Poland)

model: Angelika Szulc

www.facebook.com/KIV.photography/ www.kiv-foto.com/en

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The Farmers Wife by Colin James Watkins

IG:#photoboothportraits

Strength by Zina Auzelyte (Vilnius, Lithuania)

www.facebook.com/Zinaauz www.instagram.com/tit_foto/

Adam by István Mezo

www.instagram.com/stevenfields_photography/

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Studio portrait Rumst, Belgium 2021 by Fedor Vercammen

www.fedorvercammen.com www.instagram.com/my.studio.be

Angel Project by Wojciech Karlińsk

www.facebook.com/wojciech.karlinski www.karlinskifoto.com

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Victoria by Nick van Dijk (Haarlem, the Netherlands)

www.facebook.com/dtrdyk www.facebook.com/nickvandijkphotography/

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Clelia by Roberto Zaninelli

Model: Clelia @cle_ashjw

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Untitled by Dmitrijus Skackovas (Vilnius, Lithuania)

Model - Simona Pušinskaite / Mua and Hair -Simona Pušinskaite

Kiara by Judith Onderstal (Heelsum, The Netherlands)

www.instagram.com/judithonderstalfotografie www.jo-fotografie.nl/

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Press Enter by Paul Adrian Chis

www.facebook.com/profile.php?id=100048841852335

Laura by Laura Giammichele

Re-cordis (otra vuelta al corazón) by Sil Nut Herrero

Model: Luisana Caresia

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Stop this war by António Bernardino Coelho

www.instagram.com/antonio_bernardino_/

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Waiting summer by Jean Fraipont (La Panne, Belgium)

www.facebook.com/jean.fraipont/

Incognito in blue by Henk Veldhuizen

Visual Artist: Helma Hille

www.helmahille.nl www.hajeve-pictures.nl

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Hand study by Dominique Agius

www.facebook.com/DAFOCUS06 www.da-focus.com

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Natasza Skrobisz by Mariola Glajcar

The Scull by Alexander Sviridov (Toronto, Canada)

www.facebook.com/alexander.sviridov.75/ IG:@alexander_sviridov_photoart

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Eternity awaits.. by Panagiotis Grammatikakis

www.instagram.com/pan_gram__/

Model: Diana / www.instagram.com/dianachem/

Sensualité détaillée by Msieu D'heve (Rouen, France)

www.facebook.com/msieu.dheve www.instagram.com/msieudheve

Model: Elyphis

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Shaping the corner by Marian Plaino

Bucharest, Romania

Untitled by Zurab Getsadze

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But I may as well try and catch the wind (Donovan) by José Oliveira (Cais das Colunas, Lisboa, Portugal)

www.fineart-portugal.com/author/8212 https://500px.com/p/jmsoliva?view=photos

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The curtsey by Fabrizio Secchi

Untitled by Josefina Melo

Haliç Metro Station Bridge / İstanbul - Turkey by Levend Yüce

www.facebook.com/picsby.levo/ www.instagram.com/levendyuce/

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Solitary by Lam Makmak

Hongkong

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Go to the unknow by 林茂榮

Yang ming shan, Taipei, Taiwan

Untitled by Robert Marzec

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a short history written in the meadow...... by Dan Leszek Kołudzki

www.facebook.com/dan.leszek/ https://500px.com/p/pomian3?view=photos

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Tiny creatures by Doron Margulies (Titora Hill, Modiin, Israel)

www.facebook.com/doron.margulies www.instagram.com/doronmargulies/

Entitled by Robert Szumała

https://vero.co/robertszumala https://500px.com/p/rszumala69?view=photos

Ważka by Monika Baran

wwww.facebook.com/monika.baran.7334

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Monastery of the Holy Trinity, Meteora/Kalambaka, Greece by Anastasios Gialopoulos

www.facebook.com/AnastasiosPhotographer/ https://1x.com/Anastasios

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Breakfast by Artur Kanicki (Borek village, near Żmigród City, Lower Silesia, Poland)

www.facebook.com/arturkanicki.foto https://500px.com/p/nightdream?view=photos

Greetings from Valhalla by Adam Pachula (Haukland Beach, Lofoten)

www.facebook.com/AdamPachulaPhotography www.adampachula.eu

Empty Echoes by Thomas de Franzoni (Enemonzo, Udine, Italy)

www.instagram.com/thomasdefranzoni/ https://1x.com/thomasdefranzoni

85

Falu Red by Ludwig Riml (Hampetorp, Örebro County, Sweden)

www.facebook.com/ludwig.riml/ www.ludwigriml.com/

86

Untitled by Dariusz Baran (Laski, Małopolska, Poland)

www.facebook.com/dariusz.baran.35175/ www.instagram.com/dariusz__foto

Until the end by João Freire

Altstadt by Marko Klavs (Luzern Switzerland - 12/06/2022)

www.facebook.com/klavs.marko/ https://markoklavsphotography.com/

87

88

The Trap by Pedro Filipe (Cabo Raso, Sintra, Portugal)

IG: @mrpedroff

serene velocity by Theodore Kefalopoulos (Stomio, Greece)

www.facebook.com/TheodoreKefalopoulos www.teokefalopoulos.com

89

90

Untitled by Erminio Vanzan

ermiv0.wix.com/visionicontemporanee

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PHOTOGRAPHERS Magazine #10 OCTOBER 2022

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