Renaissance Man

Andro Loria

Whether he is shooting the streets and architecture of London or the breathtaking landscapes of Iceland, Andro Loria continues his quest for the fleeting moments that tell his stories… tales that artfully occupy each of his striking frames. He is a modern day explorer, in search of both the curious and the mundane. With his imaginings as his guide, Loria roams the cityscapes and landscapes of his travels searching for the perfect blend of geometry, form, and light. His portfolio is broad and it is deep. Why no specific genre? In Andro’s words, “science, exploration, photography… they’re are all the same to me”.

I am a self-taught photographer. My day job is an academic researcher/ lecturer based in London, UK. At work I shoot images of chromosomes and cells, and build images of large 3D molecular structures. Outside of work I shoot in both black and white and color with a slight preference for mono. I like moving between styles: street, architecture, landscape, and travel photography. My preferred system is Fuji-X mirrorless cameras and Fujinon lenses." Andro Loria

Kujaja: Describe your photographic style.
AL: At the moment I am trying different styles. If I do have one, it is not technical or compositional, but rather a combination of how I see and sense things. I tend to use longer lenses than others in landscape shots and I like black and white HDRs. I prefer a slightly longer glass for street shots too.

Kujaja: What were the difficulties you encountered when you began your photographic journey?
AL: Finding a camera system with which I had a bond. Using my first DSLRs I took many images but I was not happy with either the cameras or images. Once I found a camera system that gave me the image quality I was happy with, it was fun and a joy to shoot. That camera system was and is Fuji X. I started shooting more and I shot differently. For me that meant shooting slower, thinking more, using primes instead of zooms, using manual controls instead of automatics and having my camera with me every day. That changed the tide of quantity to quality.

Kujaja: What is the most challenging part about being a photographer?
AL: Not having a camera with you when you need it most. Otherwise, patience.

Kujaja: Is there a unifying theme in your photography?
AL: I guess my photographer friends would be better judges of that, but I think I either shoot people who fit into the surrounding environment or people who are disconnected or even try to disconnect from the environment. The former is less personality centered, the latter is trying to see a person who is blocking out reality.

Kujaja: Who are some of the photographers who have influenced your photography?
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Beautiful Otherworldliness, Silent Despair

Robert Smith

Quoting Robert Smith, "We work in a world where images drown too easily in a sea of mediocrity. Create something good enough to float.” With a mug of builder’s tea in one hand and a camera in the other, Rob sets about the business of floating, one inspired frame at a time. His work is deep. It is riveting. It is anything but expected. His is a portfolio fat with images that require you linger. Often, it isn’t pretty, but that's what makes his work a true force of nature.

I usually have a bit of a problem with artist's statements as they often sound pompous, pretentious, contrived and slightly ridiculous. I will just say that Photography is an art and like any art it takes dedication, passion and commitment. It's not about equipment or process or technicalities. It is about you. The images come from you, you are the lens and your camera is just a tool." Robert Smith

Kujaja: When did you get your first camera?
RS: I got my first proper camera back in about 1897, a Praktica LTL complete with a Pentacon 50mm f1.8, when I was fifteen, a Christmas present from my Parents. Prior to this I had borrowed my father's cameras. They were, like him, always quietly there in the background.

Kujaja: Tell us about your beginnings shooting analogue.
RS: My father was (and still is) hugely influential. He had set up a darkroom in the small spare bedroom and it was almost inevitable that I would begin to develop and print. The whiff of chemistry called and I made countless mistakes. Later, when I went to study Art in a big building with strangers, photography was on the curriculum and I embraced the quiet darkness and aroma of chemicals like an old friend.

Kujaja: What were the difficulties you encountered when you began your photography journey?
RS: All the maps were wrong for me. I could see where I wanted to be but got lost regularly. I looked through books and followed directions of course, but my own needs frustrated me. I always want to be able to do something perfectly, straight away, and my drawing and painting could keep up with my imagination. Photography was narrow. It had constraints, limits, rules. The science of it tied an arm behind my back, yet the possibilities urged me on. It is so much easier now, with digital and software, I have the option to be limited by imagination. I can achieve what I want, when I want it.

Kujaja: I quote you, "The world is full of camera owners. It is not full of photographers". What makes you a photographer?
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All The World's a Stage

Fabio Secchia

All the world's a stage, is an excerpt from Shakespeare's play, “As You Like It”. These are the words that precisely define Secchia’s work. Not unlike Shakespeare's, the acts of Fabio's plays are filled with whimsy, with illusion, with serendipitous moments... with delightful unscripted slices of life. Insatiable curiosity create his allegories. Masterful use of shadow and light invent each stage. Welcome then... to the mystery, the duality, and the ambiguity that are Fabio’s Milan.

My work focuses on street photography. The streets are those of Milan, the city where I was born, I live and where I work. I started with photography a few years ago. I’ve had no formal training but I always nurtured a passion for art history and visual arts in general. Not being able to devote all the necessary time to this passion, it was almost mandatory to start shooting during my walks in the street. I am affected by a bit of insatiable curiosity. I love capturing odd, serendipitous, truly un-staged slices of life. I am just an observer poking around at stuff. Being partially color blind, I have fallen in love with black and white photography." Fabio Secchia

Kujaja: Describe your photographic style. How did you develop your style?
FS: A bit of healthy curiosity for everything that surrounds me and the will to view my city from a personal perspective did the rest. Concerning my style, I tend to have an observer’s vision that leads to a photographic view "from the outside" without the need to be "inside" the scene. Ultimately, through my photography, I would like to represent, in a non-obvious way, small fragments of ordinary daily life.

Kujaja: Which photographers have influenced your photography?
FS: The list would be endless. But I like to mention at least three great photographers that I have had the pleasure to meet in person: Silvia Camporesi, Jessica Backhaus, Joel Meyerowitz.

Kujaja: Do you think a photographer must have ‘natural talent’ to become a great photographer?
FS: I don't know. But I know that all the great photographers that I've got to know have complex personalities, great cultural preparation and interdisciplinary interests.

Kujaja: How important is content versus form in street photography? Do you think for you one plays a stronger role than the other?
FS: All the projects of the great street photographers have the characteristic of containing parts perfectly balanced between form and content. I believe achieving this is extremely difficult.

Kujaja: You shoot almost exclusively in mono. However, recently, you’ve added color. Talk about your preference for mono street photography and the recent change?
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The Street is My Playgound

Darko Eterovic

Darko Eterovic states, “In street photography you have less than one second to see the story, set then camera, and press the shutter. That’s why I love street photography. It is pure adrenaline”. With that thought as his prod, Darko slides silently through the streets of Ljubljana recording the moments that feed his addiction. Eterovic artfully traps his subjects within the urban geometry that make up their game of life. His images are savvy, they are inventive, and they are bold.

I was born in Ljubljana, the capital of Slovenia. I began my photographic journey in 1995 with film SLR, but photography become my real passion in January 2007, when I bought my first DSLR. Mostly I am interested in street photography, but because I always running out of time, I photograph almost everything… except weddings." Darko Eterovic

Kujaja: Describe your photographic style. How did you develop your style?
DE: I hope I have a different style from other photographers. It is good to be different and have your own recognizable style. I can see my photo and also a title in my head before I press the shutter, but in photography you should be developing your skills all the time. I still miss many shots because of my indecision.

Kujaja: What does ‘street photography’ mean to you?
DE: The street is my playground. Someone likes to play football, someone likes to go to opera, and I like to shoot street photos. It’s just that simple.

Kujaja: What is the most challenging part about being a street photographer?
DE: Being able to catch the unforgettable moment. If you miss that moment you miss the possibility of making an extraordinary photo.

Kujaja: What do you want your viewers to take away from your work?
DE: A successful street capture for me is one that gives the viewer the same feeling that I experienced when I looked through the viewfinder. The viewer should smell the street.

Kujaja: Who inspires you other than photographers?
DE: Music is always a good inspiration for me. Jazz and reggae are my favorites.

Kujaja: Have you ever had formal training?
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Panasonic UK, AP Magazine, London Street Collective

Gagan Sadana

London Street photographer, Gagan Sadana, states, “One cannot be trained to be a street photographer. You surely need to have an eye for detail and finding something worth telling through a picture, even in the mundane day-to-day things.” Sadana lives his words. His street images are real, they are compelling… they are mirrors reflecting life in the streets of London. Gagan’s natural feel for great frames is surpassed only by his brilliant use of strong contrast. Mono has never looked better.

I am an IT consultant based in the UK. I started my photography journey 3 years ago after I picked up my first DSLR camera. I ventured into street photography inspired by Thomas Leuthard's work and since then have been passionately pursuing this genre. I am a member of the Street Photography London Collective, which is comprised of some of London's best contemporary street photographers as well as up-and-coming ones. Gagan Sadana

Kujaja: Describe your photographic style. How did you develop your style?
GS: My photographs usually have a single subject and strong contrast. My first year of street photography was spent learning what I really liked to shoot. With so many styles of street photography, trying on each different style was a learning process. At that time I was also developing my own style and trying to understanding how I could best show my way of viewing things. After a year of shooting and experimenting, I decided on predominantly black & white.

Kujaja: What is the most challenging part about being a photographer?
GS: For me it is keeping a fine balance between shooting a candid picture of someone, while not making the person uncomfortable with my camera. At the end of the day, I do street photography because I love it, but it should not be at the cost of annoying anyone.

Kujaja: Have you ever had formal training?
GS: I haven't had any formal training in photography but I think if one is starting new, attending a workshop definitely helps. I had an opportunity given by Amateur Photography magazine around two years ago, to attend a street photography workshop with Damien Demolder. That workshop was very helpful in laying a strong foundation. I was fortunate enough to win a street photography competition sponsored by Panasonic UK, which led to another workshop with Damien. But apart from those two workshops, like many street photographers, I am learning from my own experiences while on the street.

Kujaja: Is there any particular genre/style of photography you would like to learn about and try?
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