Kike Calvo Fotografía

miércoles, 29 de febrero de 2012

Talleres de Fotografía en Cali (Colombia)

Ciudad: Cali (Colombia)
Fecha: Abril 20 y 21  
Inscripciones e info: kikecalvo.office@gmail.com
* Aplican varios descuentos a estudiantes


Más allá del arte: El Negocio de la Fotografía

Fecha: 20 de Abril 2012
Intensidad: 4 horas
Horario: 5:30 pm a 9:30 pm
Costo: (USD 55)*

Objetivo:
Proporcionar a los asistentes del curso de una visión completa más allá de la parte artística o técnica detrás de la fotografía.

Un periplo por tres módulos: mundo legal, éticas, propiedad intelectual; el negocio de la
fotografía y las claves y principios para vivir de la fotografía; ABC de la fotografía de archivo.

Temas a tratar:
El negocio de la fotografía
La fotografía de archivo
Derechos de autor

El Arte de Narrar con Fotografías:

Fecha: 21 de Abril de 2012
Intensidad: 6 Horas
Horario; 8:00 am a 1:30 pm
Requisito: Traer Cámara Digital
Costo: $142.000 (USD 80)*

¿Qué historia enseñará a contar Kike Calvo, uno de los grandes fotógrafos del National
Geographic, en este maravilloso taller? ¿Será cómo cubrió el espectacular amerizaje del avión en el río Hudson en Nueva York? o cómo organizó su reportaje sobre el derrumbe de las torres gemelas?, o cómo se interna en la selva y capta el rostro de los animales?

Lo que sabemos es que este súper fotógrafo español ya anunció su Taller: “El Arte de Narrar con Fotografías” y estará entre nosotros.

Gabriel García Márquez dice que lo más importante en el cine es contar una historia. Kike
Calvo lo hará en fotografía. Sus imágenes son un lujo de sensibilidad, realismo, desafío. Maneja la cámara como los dioses. Kike nos adelanta que el taller será eminentemente práctico, no hace falta experiencia previa. Divididos en equipos, explica: lo haremos como si trabajáramos en la redacción de un diario y todos aprenderemos sin importar los niveles.

Lo importante es contar una historia, nos dice: unas vacaciones, una fiesta, un suceso o
captar la esencia de un lugar. Pero, en todo momento, advierte, haremos referencia a mis
experiencias en Associated Press, el New York Times o publicaciones de todo el mundo.






Vivian Maier, un negativo sin revelar.

Hoy en día muchos desearían ser reconocidos por sus fotografías, viajar, tomar
fotos de las calles, de las personas, trabajar y vivir de ello. Para otros la fotografía
es sólo un pasatiempo.


 
La historia de Vivian Maier, una niñera común y corriente del siglo pasado en la
ciudad de Chicago, resulta tener un giro interesante.

Maier es un claro ejemplo del amor hacia la fotografía. Durante 5 décadas tomó
obsesivamente fotografías, la mayoría con su Rolleiflex, a personas, grafitis y
objetos que encontraba atractivos mientras recorría las calles de Chicago, sin
mostrárselas a nadie jamás.



La historia de una mujer reservada nacida en 1926 en nueva york, que a sus 30
años empezó a trabajar como niñera en la ciudad de Chicago, dedicándole a esta
profesión cerca de 40 años. En sus tiempos recorría la ciudad con su cámara
colgada, capturando momentos que llamaban su atención.

Su gran colección fotográfica saldría a la luz en el 2007, gracias a John Maloof quien
descubrió en sus fotografías un gran tesoro. Maier murió el 21 de Febrero de 2009
y hoy en día es considerada como una de las mejores fotógrafos callejeros del Siglo
pasado.

Aquí encontrareis un poco más sobre la historia de esta gran fotógrafa:


martes, 28 de febrero de 2012

Helicópteros RC: Una nueva forma de ganarse la vida como fotógrafo

Hace tiempo que me llamaron la atención los Helicópteros RC y sus aplicaciones en el mundo de la fotografía. El New York Times publica un interesante video sobre ¨pilotos de alquiler¨.


lunes, 27 de febrero de 2012

Click! Click! Click: Ballet Nacional de Cuba







Un domingo, tras diez días en Cuba. Finalizaba mi primera expedición como experto de National Geographic. Había trabajado ya con varios bailarines del Ballet Nacional de Cuba, pero no había tenido la oportunidad de verlos ¨volar¨sobre el escenario. Al levantarse el telón, la magia invade el aire. Sin duda, el Ballet de Cuba, uno de los mejores ballets clásicos del mundo.

Destacaría entre tanto talento a Grettel Morejon, Osiel Gounod y a Viengsay Valdés. 


La imagen se realizó utilizando una Leica M9 equipada con un objetivo 50 mm 1.4 y aprovechando la luz ambiente.

viernes, 24 de febrero de 2012

10 regalos para sorprender a un fotografo



No soy una persona especialmente consumista, pero de un tiempo a esta parte, he comenzado sin darme cuenta, a coleccionar objetos relacionados con la fotografía. Tras largas conversaciones con mis compañeros de viaje de National Geographic Expeditions, he llegado a la conclusión que sería interesante recopilar algunos de estos curiosos objetos, que por descontado, serían regalos perfectos para un fotógrafo.

1   Vaso-lente: Ideal para degustar un espresso en una de esas mañanas en las que no podemos salir a fotografiar porque otras obligaciones con llaman.

       Rollo de 35mm USB: Si nos preguntaran cuantas fotografías caben en un rollo de 35mm nos apresuraríamos a responder que máximo 36. Con los nuevos rollos USB de hasta 4gb podemos almacenar cientos de nuestras mejores tomas, mientras muchos, extrañamos ese lugar ya casi desconocido llamado ¨cuarto oscuro¨.



     Mini cámara ¨clásica¨digital Leica M3: Reducida a una escala 5/8, Minox ha creado una replica de una Leica M3 con 5 megapixels, incluyendo muchos de los detalles de la original. Para los que sueñan con una Leica M9, quizá esta opción nos ayude a sobrellevar la espera.


     Molde cámara para galletas: La mejor manera de introducir a los niños en el mundo de la fotografía. Y decían por ahí que apuntarlos a un curso como actividad extraescolar. Pues vean que no, a la rica galleta.


    ¨Vintage Camera¨mouse pads: Podría hablar maravillas de este producto y otros de la colección Kike Calvo de cámaras antiguas disponibles en Amazon.com .Sin embargo, prefiero compartiros que son parte de mi línea de productos para fotógrafos y os invito a regalar a vuestros amigos algunos de ellos.


     Sistema óptico de tres lentes para iPhone: Nos recuerda a uno de esos aparatos que el optometrista usa para revisarnos la visión. Incluye un gran angular (0.7x), un ojo de pez (0.33x) y un teleobjetivo (1.5x). 
     Photopoly: Para los que aun recuerdan esos momentos en familia con el Monopolio, pero con un enfoque algo más fotográfico. 

     Funda ¨rangefinder¨: Una bonita y sencilla manera de portar nuestra cámara compacta, huyendo de la modernidad, y de nuevo, colocando un toque de pasado en nuestro presente. 


     Burrito protector: Hay quienes llevan sus pasiones hasta los extremos, y éste burrito mexicano para proteger nuestras lentes es una clara muestra de ello.
Despertará sonrisas allí donde vayamos, si bien es cierto, que quizá nos abra el apetito en plena sesión.


     Camiseta ¨I photographed New York¨: Para quienes han tenido la suerte de explorar con su lente la ¨Gran Manzana¨o los que sueñan con hacerlo algún día. Aunar en un producto la fotografía con Nueva York es algo que no podía dejar pasar.

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jueves, 23 de febrero de 2012

Leica entrevista a Kike Calvo



Entrevista publicada en el Blog de Leica, con motivo de mi trabajo con comunidades indígenas.

Kike Calvo is an outstanding photographer with a diverse body of work. After spending five years studying Economics in his home city of Zaragoza, Spain and then acquiring a B.S in Journalism and Mass Communication, he went on to devote his 21-year-long career to photography. Kike has traveled to 75 different countries covering stories for National Geographic, but he also has an extensive portfolio of editorial and commercial work, as well as personal projects. He also teaches extensively on the subject and has been a guest speaker at several Leica Akademie workshops. We had the chance to speak with Kike about his recent trip to Panama to document the Indigenous Embera communities.

Q: What is it that motivated you to tell the story of the Embera communities along the Chagres River in Panama? Why were you attracted to this group and this region in particular, and what did you hope to achieve?

A: The Republic of Panama is divided in several provinces and its indigenous population is formed by seven distinct groups, which are the Kuna, Embera, Waounan, Ngobe, Bugle, Nassau, and Terribe people. The first Comarca Indigena, official indigenous territory in Panama was created in 1938 in the San Blas archipelago by the Kuna people.
The outside world thinks of the country as the home of the Panama Canal and a paradise for investments, but don’t stop to think about the indigenous communities living within its borders. Indigenous peoples, especially in Central America and not only in Panama,  have always struggled with modernization and concepts of capitalism and market economy. The Embera are no different.
They are forced to adapt to deforestation, migrations and development pressure. Younger generations need to go off to school to the city to live and work. Their lives have inextricably changed. Indigenous people realize that to fight for their political and human rights, they need a modern education. Costly modern medicine has replaced shamanism and natural healing practices in some places. There are now villages that have their own generators for electricity, but villagers need to pay for the gasoline necessary to run them. Most communities have no land titles and no authorization to exploit the land commercially. Many villages lose their young people who go work in the city. They are almost always underpaid.

Q: We assume that you shot the compelling black-and-white images in your recent Panama portfolio with Leica M9. Why did you choose to output the images in black-and-white and which lens or lenses did you find were most useful for this project?

A: On a regular basis I see the world around me in color. But since I started working with the M8, and later the M9, my attention to storytelling has acquired a new perspective. Some issues need to be told, but do not demand colorful splashes to capture the essence of the story.

Q: Was there any physical or operational characteristic of the Leica M9 camera and the prime (single focal length) lenses you used that you found especially useful in allowing you to articulate your vision?

A: My vision has evolved since Leica cameras became a unique part of my shooting style. I evolved from Nikon cameras, which I still use for my nature and underwater shooting. But my M9 has become an extension of myself while on the field seeking stories. I realized that I like its simplicity. The fact that for those who don’t know, it’s just an old camera, still fascinates me. It allows my subjects to relax in front of my lenses and  gives me the freedom to wander in areas or neighborhoods that otherwise will be quite dangerous.

The 28mm f/2.8 and 50 f/1.4 are always in my camera bag. My recent trip around Cuba with National Geographic Expeditions, included only those focal lengths for the ten days of the trip in Havana, Cienfuegos and Trinidad.


Q: One of your images shows a male youth with most of his head cut off by the framing. Only the bottom of his face is partially visible and that is in shadow, yet you can see what looks like traditional geometric designs tattooed on his prominent left arm and water droplets on his smooth skin. It is certainly a picture that effectively breaks the rules. Can you say something about it and what it means to you?

A: Rules are to be learned and then broken to achieve our creative goals. While it is true that beginners need to be guided into the rule of thirds and similar approaches, these are only the beginning of our way. It all changed from me when Gerd Ludwig reviewed my work, after having met at the Geographic Annual meeting in DC. He suggested my compositions should become more loose, not trying to constrain the reality around me within perfectly framed images. His words made a strong impact.


Q: Your fascinating picture of a group of people with their backs toward the camera assembled under a large thatched-roof structure has a timeless quality, as though it could have been shot yesterday or 100 years ago. Was this intentional and what do you think it communicates to the viewer?
A: I believe all photographers work hard to obtain timeless photographs. Sometimes people think of photography, as something simple that almost anyone can do. In a way I agree, but the more you deepen into yourself, the more intricate the relation between the photographer and his/her work it becomes. As I always begin my photography workshops explaining, I believe I have thought more in developing my photo career, than having studied five years of Macro and Micro Economics, Accounting and Statistics for my Economics degree. Photography freezes time, yet our creative decisions are taken within a second, even less. Variables around us change constantly, yet our heart and souls dream of capturing such moments. Photography is about self introspection. A trip to within, similar to yoga, where instead of competing with the world, we should grow internally.


Q: The lovely group shot showing three women in traditional dress and a pretty young girl in the middle, similarly attired, all looking directly at the camera, has a serene and peaceful quality. Do you think it says something about the character and disposition of the Embera people, and if so can you elaborate on that?

A: I feel that our world is still full of warm-hearted people. Many of those who fight daily to achieve their dreams and goals or simply try to survive. The Embera, like many of those pressured indigenous communities, are still connected to our natural world. While hard to approach on an initial phase, when they choose to open up their world, they present themselves as serene and peaceful, like a river flowing in the mountains.


Q: The compelling close-up of a smiling young boy holding a plant stalk that places a large leaf over his head seems to say “happy in nature.” Would you agree and can you comment on this?

A: I particularly like this moment. I traveled with a group of kids to a close by waterfall in Soberania National Park. On the canoe ride, the children lively played, competing to see who was the one that caught more leafs from the moving water surface. The photos captures the essence of life in this humid areas — the bond between human and nature.


Q: Your remarkable image of a swimmer surrounded and totally obscured by rings of splashing water also conveys that humans and the natural world are one, and there is hardly any distinction between them. Is this something that the Embera people still possess that we in the industrial West have lost, and do you think they have something to teach us?

A: Certainly. On my expeditions around the world, from the high Arctic to the Amazonian jungles, I have been constantly inspired by that bond. When people in developed countries decide to swim, they head to the gym or the pool. The Embera, when they feel they should do so, walk 25 meters and deep into the Chagres River in front of their villages. This moment happened at the end of the day, after I had been swimming with the children and teens of the community in the muddy rivers, trying to capture some underwater moments with my housing.


Q: The image of a man and woman (perhaps husband and wife) with the seated man weaving a traditional design while the standing woman looks down with her hand on the man’s shoulder has a certain timeless and tender quality. Also the woman in her finery and the man working says there is something about this society that transcends the usual stereotypes. Can you comment on this?

A: For some of these communities, tourism is becoming a way of surviving. Pressured by development and daily difficulties, they struggle to sell their arts and crafts in local markets or to the occasional visitors. As my recent incorporation to the United Nations UNITE project as a Support Artist against gender violence, I have started to pay close attention to gender roles and interactions in Latin America.

Q: Do you think you have, by and large, achieved your goals in your overall coverage of the Embera indigenous communities? Do you plan to return to the Chagres River region to deepen your visual impressions, or have your experiences there inspired you to cover other indigenous people or other cultures in Panama or elsewhere?

A: I would say that these group of images its just a scratching on the surface of the tales to be told. Soft strokes on a unique canvas, that with time, I hope to complete, or at least, perfect slowly. I have already started photographing other indigenous groups, such as the Ngobe’s coffee collectors.

Q: What do you think your next project will be, and do you plan to cover it with your Leica M9 and display the images in black-and-white?

A: Like all of us who breathe photography, there are always new projects in the pipeline. I have an ongoing series with ballerinas from all around Latin America, which I would love to share with Leica readers in the future. This is a color project, and most of it is being incorporated to the National Geographic Image Collection. In a parallel way, as an expert of the National Geographic Expeditions Team in Cuba, I have been portraying the reality of this Caribbean country for many years. I started during the special period after the collapse of the Berlin Wall and the Soviet Union’s support to Cuba, and continue today.

Live like no one is watching !

El otro día, se cruzó en mi camino esta ilustración. El comentario que la acompañaba, me hizo reflexionar unos instantes, y decidí subirla al Facebook, acompañándola de un deseo personal que leía: ¨Live like no one is watching ! A happy day to everyone no matter how they look, what they love or they believe in.¨


La oleada de mensajes no se dejó esperar, y fueron muchos los que decidieron compartirla en su muro. Por ello, la traslado al blog con el mismo deseo: ¨Vive como si nadie te estuviera mirando. Un feliz día a todo el mundo, sin importar su apariencia, lo que aman o aquello en lo que creen¨.

Click! Click! Click!


Esta imagen pertenece a mi serie ¨Mundo de Bailes¨. Se realizó en el estudio del artista cubano José Fuster en la Habana, con la participación de dos bailarinas del Ballet Nacional de Cuba. La imagen no tiene ningún tipo de retoque, y se realizó aprovechando la luz de la mañana y el reflejo de la misma en una piscina a la entrada del estudio. El equipo utilizado fue una Leica M9 con un objetivo Elmarit 28mm 2.8, muy acorde a mi manera de trabajar, cada vez más sencilla, y basada en la observación de cuanto me rodea.

Mucha gente me consulta sobre cómo adquirir mis imágenes de Ballet. Para ello, existen dos formas. Contactarme directamente para adquirir fotografías impresas en papel, u optar por ordenar alguno de mis productos en Amazon.com, que incluyen mouse pads, tazas, camisetas y muchas cosas más.


jueves, 9 de febrero de 2012

The Photographic Chain: James Estrin

The Photographic Chain: Five minutes with…JAMES ESTRIN
By KIKE CALVO
 












 

My dream is... that every child in the world will have the opportunity to grow up and fullfill who they are.

The biggest lesson in my career...
is that work ethic matters more than anything else, or at least, as much.

The biggest lesson in my life... was seeing people die in front of me. That made me realize the preciousness of living.


The moment I will never forget... was holding my first child in my arms.


Photography is...fun. And important.
Kike´s thoughts: I see Jim as a role model for upcoming photographers, particularly for all those new photojournalists working hard to find their niche in the market.

When I started this "photographic chain", my mission was to share the human stories behind the photo industry. Making an effort to find out who the people in the industry really are like, beyond bylines and clients, I committed myself to conveying in simple words how I felt about whom I interviewed.

My hunch is that Jim's heart is bright and immense as is the list of his accomplishments. He mentioned ethics being his primary professional commitment, and I have no doubt that walks the talk. I first met Jim during one of my early rounds trying to find the way pass the door of The New York Times. He reviewed my work on water, which didn't quite fit into the Lens Blog. Still, he took the time to pass my other work to the right people. On my last interview with Tom Kennedy , we spoke about giving back to new generations. Jim is doing it day in, day out. And I want to thank him for that. Thank You Jim!










 



So who is ...
Jim?
More about Jim:Twitter: @JamesEstrin
New York Times Lens Blog

Jim suggests me to talk to: Adriana Teresa from Visura Magazine or photographer Diana Markosian.