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© 2014 Rob Castro
I like taking candid photos of people but once in a while a subject will make eye contact that can enrich the overall image. She was busy at work and realized that I was about to take her picture so she gave me a nice smile. Then she quickly gave me her business card indicating that she also does windows, plumbing and federal income tax returns. Who would have known that?
Gallery www.justanobserver.com
Blog www.juzno.com
# #IAMGenerationImage
Hasselblad 503CWD + Distagon 40mm + CFV-50.
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
luiscampillo.tumblr.com/
instagram.com/luiscampillo/
“If you know someone who’s depressed, please resolve never to ask them why. Depression isn’t a straightforward response to a bad situation; depression just is, like the weather.
Try to understand the blackness, lethargy, hopelessness, and loneliness they’re going through. Be there for them when they come through the other side. It’s hard to be a friend to someone who’s depressed, but it is one of the kindest, noblest, and best things you will ever do.”― Stephen Fry
The landscape doesn’t always stay in place.
Sometimes it drifts, folds, and reflects itself.
In this Natura 2000 wetland, water becomes a mirror — not to reproduce, but to transform.
Mirror of the Soul explores that fragile moment where perception shifts, and the visible turns inward.
A beautiful girl, bathed in soft light and surrounded by nature’s calm, becomes part of a fleeting dream—almost a fairy—as the LensBaby’s signature blur gently dissolves the boundaries of time and place.
Cool Scott Pose
© 2014 Rob Castro
He is a rebel.
I was fortunate to get this shot. Taken on available light outdoor with a vintage Zeiss Ikon Nettar (circa 1949) using Kodak TMAX 400. The popup viewfinder is pretty much useless when it comes to focusing. One just have to guess how far to focus. I figured about four and half feet. The view finder only serves as a guide in framing one's composition. I didn't even meter this and just went for broke. Except for this exposure, everything I shot on the film roll was botched. I developed the film using generic solutions, and scanned the negative. The scanned image was processed in PS for dodging and burning, and darkening the background. I know the image is not comparable to Irving Penn but I am quite proud of this shot.
Gallery www.justanobserver.com
Blog www.juzno.com
# #IAMGenerationImage
"Loanafication"
Self-portrait 70cm x 100cm
Acrylic on canvas. Mixedmedia. Gold embroidery.
contact ibarraloana@gmail.com
© Luis Campillo 2016
Model Ane Sehnsucht.
Outfit by SEHNSUCHT www.anesehnsucht.com
Assistant Jose Antonio Vica
© Luís Campillo 2015
Model Sandra Rosell. es.litmind.com/284442
MUA-Hairdresser Sandra Rosell. www.facebook.com/makeups.rosell
instagram.com/luiscampillo
Website: Diane Marie DeMarco
Photographs and Paintings
Photographs on Instagram, Facebook, Pinterest, and LinkedIn
(Diane Marie DeMarco)
Camera: Nikon
“lean in to kiss me
in all the places
where the ache
is
the most special.”
― Sanober Khan
Fujifilm X-T10
iPad Pro + Snapseed + VSCO
Abstract of sculpture outside of Adelaide Convention Centre
© Luís Campillo 2015
Model Vanesa García. www.facebook.com/vanesagarcia.artistavisual
instagram.com/luiscampillo/
Something about this image invokes in me feelings of my own great insignificance in the face of Nature; whose cogs turn in such unseen yet inevitable manner in its mammoth plan for things beyond human comprehension.
Seen after a day of incessant rain on the Mechuka-Aalo Road, Arunachal Pradesh.
© Luis Campillo 2015
Model Paula Velasco es.litmind.com/259371
© Luís Campillo 2015
Model Ane Sehnsucht. www.anesehnsucht.com
MUA-Hairdresser Sandra Rosell. www.facebook.com/makeups.rosell
instagram.com/luiscampillo
© Luís Campillo 2015
Model Claudia San Román. es.litmind.com/280994
MUAH Inés Castaño. www.facebook.com/icastanoscarrerasmakeup/
Assistant Lighting and Stage Zaira Cabarga.
instagram.com/luiscampillo
Model: Alba Hervás
All photos by Marta Nørgaard ©
www.facebook.com/martanorgaardphotography - www.instagram.com/martanorgaard
Website: Diane Marie DeMarco Photographs and Paintings
Photographs on Instagram, Facebook, Pinterest, LinkedIn, and Flickr (Diane Marie DeMarco)
Camera: Nikon
#freestyle #abstractart #digitalart #modernart #design #contemporaryart #COLOR #accessories #unicità #creatività #raffreefly_vendita_opere #design #interiodesign #visualart #visualdesign #visualeffects #visualartist #wallpaper #cartadaparatiartistica #cartedaparati #arteinformado #thotaclub #eartesia #ecletticamente_arte #style #styleart #legadegliartisti #fantasyart
© Luís Campillo 2015
Model Sandra Rosell. es.litmind.com/284442
MUA-Hairdresser Sandra Rosell. www.facebook.com/makeups.rosell
instagram.com/luiscampillo
© Luís Campillo 2015
Model Sofía Bajo.
MUA & Hairdresser Sergio Rada-Castilla. www.facebook.com/sergioradacastilla/info?tab=page_info
luiscampillo.tumblr.com/
instagram.com/luiscampillo/
Art and words © 2014 Rob Castro
Yo Juzno,
Wassup?! How in da world could I have missed dis album? You know what I'm talkin' 'bout - Desire by Bob Dylan. Where was I, and what kind of chemistry was going in my head? Don't answer dat. Yo, okay, dat time but I thought it was un-cool to be listening to da music of a troubadour who wore white face makeup. Folklore acoustic guitar and janky monotone yelps – gimme a break! Back den I was only listenin' to B. B. King and Muddy on da colored radio. Den I saw da movie The Hurricane. You know, with da brother - Denzel Washington playing Hurricane Carter. You remembuh boxer Rubin “Hurricane” Carter, who was wrongly imprisoned for murder? How dare dem leet crackers canned da brother. But back to Dylan - All of da sudden I was having a whoa experience. Man o man. I came away listening to Desire with da bitter sweet feeling of melancholy realizing how flow off da wheezy dis was. It is pure dope.
Lemme know when you gonna invite me again to your soiree.
Peace out.
Your Beautiful Sista,
Kainda
Gallery www.justanobserver.com/
Blog www.juzno.com/
# #IAMGenerationImage
Hasselblad 500CM + Distagon 50mm + Kodak Portra 800.
© Luís Campillo 2015
Model Sandra Rosell. es.litmind.com/284442
MUA-Hairdresser Sandra Rosell. www.facebook.com/makeups.rosell
- Cantinflas: The Language That Trips Over Its Own Feet -
There are some people who speak a language, and there are some people who make a language speak for them. Cantinflas was one of those people. You could listen to him for five minutes and come away wondering if you had just heard a political philosophy, a street-corner joke, a confession, a sermon, or a man trying to find the door while explaining where the door ought to be. And for me, Cantinflas isn't only a name from the history of Mexican cinema.
I grew up with his movies. His face, his voice, his impossible way of talking were part of the cultural landscape I knew as an artist. So there was something almost wonderfully circular about being invited by Cantinflas's nephew, who established the Fundación Mario Moreno-Mexico, to become part of a limited-edition book and exhibition celebrating the centenary of Cantinflas (2011), featuring my portraits of him and writing about his life and legacy. The book was produced as a special tribute for his 100th anniversary and was made available through Mexican libraries and the Fundación Mario Moreno itself. Life, destino… ‘ait?
Ok. His name was Mario Moreno, but Mexico knew him as Cantinflas. And Cantinflas didn't merely talk. He cantinfleaba.
Now, “cantinflear” is one of those beautiful words that seems to have walked out of the dictionary wearing mismatched shoes. It means to talk a lot without quite saying anything—except that isn't quite right, because Cantinflas often said something by appearing not to say anything at all. He would begin with a question. Then he'd answer the question. Then he'd question the answer. Then he'd explain why the question had really been something else. And somewhere around the middle of it, the whole thing would turn inside out and you would discover that he had been talking about you all along. That's the trick. That's the art of cantinflear. It's not simply nonsense. It's a kind of verbal sidestepping. A dance around certainty. A way of using words like a man uses a crowded sidewalk—stepping left, stepping right, stopping suddenly, waving somebody through, and somehow arriving at the other side without ever walking in a straight line.
And maybe that's why Cantinflas became bigger than a comedian. Because Mexico has always had a complicated relationship with language. There is the language of the government, with its official stamps and solemn announcements. There is the language of the educated man, polished and proper. There is the language of the street, where a phrase can change meaning depending on who says it, where they say it, and whether they're smiling. And then there is Cantinflas. Cantinflas stands in the middle of all these languages wearing his enormous pants and his little mustache, talking faster than the authorities can understand. He talks himself out of trouble. He talks himself into trouble. And then, with a kind of verbal magic, he talks himself right back out again.
That's cantinflear. It's the art of saying everything and nothing, while somehow revealing something true. You hear versions of it all over Mexican speech—not necessarily as imitation of Cantinflas, but as part of a broader Mexican tradition of wordplay, indirectness, double meanings, jokes, euphemisms, and verbal improvisation. Mexican Spanish can bend a phrase until it becomes something almost theatrical. Big fan. You don't always tell somebody they're wrong. You might tell them they're “not exactly correct.” You don't always say no. You might build an entire house of words around the word no and invite somebody inside. And sometimes you don't want to say what you mean because saying exactly what you mean is not nearly as interesting. That's where Cantinflas lives. He lives between the sentence and the meaning. Between the joke and the truth. Between the man speaking and the man pretending not to understand. And maybe that's why his comedy could carry a social bite beneath all that verbal smoke. The little man could stand before the powerful man and appear confused. But sometimes confusion is a weapon.
If the powerful man says, “You must understand the rules,” Cantinflas can answer with another question about the rules, and another question about the question, until suddenly the powerful man is the one who doesn't know what he's talking about. That's a pretty good trick. A poor man's trick, perhaps. A comedian's trick. A Mexican trick. Maybe just a human trick. Because the world is full of people who speak in straight lines about complicated things.
So today, if somebody asks you what Cantinflas was about, you could say he was a comedian. You could say he was an actor. You could say he was a Mexican cultural icon. An acknowledged verb maker. All true. But you could also say he was a man who discovered that sometimes the best way to expose the absurdity of the world is to become even more absurd than the world itself. And if somebody asks you what “cantinflear” means, well... It means to talk without saying what you're saying, except that you're saying it, but perhaps not in the way you're saying it, because if you were saying it in the way you meant to say it, then you'd have to say what you meant, and once you've said what you meant, you've lost the opportunity to explain why you didn't mean exactly what you said.
And that's the thing about words. They can get you into trouble. But if you're good enough with them, they can get you out. Ask Cantinflas. He'll explain. Or maybe he won't. But he'll keep talking until you think he did.
Cantinflas, 2013
acrylic, embroidery on canvas
60cm x 80cm
contact: ibarraloana@gmail.com