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© Kamir

Member Since:
May 14, 2001

Total Images:
10

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Biography - Kamir

The portfolio of professional fine art photographer, Kamir, is filled with several examples of the perfect implementation of texture and lighting within photographic images. Kamir's incredible use of texture and lighting in his photography, serves to produce a wonderful effect of "feeling" within his images, which is quite difficult to emulate. Along with his creative use of these two elements, Kamir also possesses a wonderful sense of design and composition, which also propels his photography to the next level.

The image on this page is a great example of Kamir's creative use of texture and lighting. His ability to create a beautiful image out of a very simple object (the leaf), is one element that makes Kamir's images stand out above others in his field.

We invite you to peruse the images within Kamir's fine art portfolio at Profotos and experience the "feeling" of his images for yourself. We promise that you will not be let down by what you see (and feel) within Kamir's portfolio!,The portfolio of professional fine art photographer, Kamir, is filled with several examples of the perfect implementation of texture and lighting within photographic images. Kamir's incredible use of texture and lighting in his photography, serves to produce a wonderful effect of "feeling" within his images, which is quite difficult to emulate. Along with his creative use of these two elements, Kamir also possesses a wonderful sense of design and composition, which also propels his photography to the next level.

The image on this page is a great example of Kamir's creative use of texture and lighting. His ability to create a beautiful image out of a very simple object (the leaf), is one element that makes Kamir's images stand out above others in his field.

We invite you to peruse the images within Kamir's fine art portfolio at Profotos and experience the "feeling" of his images for yourself. We promise that you will not be let down by what you see (and feel) within Kamir's portfolio!,KAMIR, was born in Milan in 1962. He discovers his passion for photography as a teen-ager. During his high school years he dedicates all his spare time investigating thoroughly the unique medium of expression he felt photography was.

In 1981 he wins two photo contests and in the same year he starts his university studies at the Faculty of Arts at the Milan University.

During his university studies he works as an assistant in different still life photo studios, where he collaborates in national publicity campaigns. But his primary interest remains the research in B/W fine art photography, with special reference to social photography. He starts to collaborate as a free-lance photographer with agencies, newspapers and magazines.

In 1983 he presents his first personal exhibition in Milan, featuring his delicate work “The Silent People” (Il Popolo del Silenzio).

In 1986 he starts to work as a professional photographer and graphic designer.

In 1997 he realizes together with Mirella Pavesi a CD-ROM “An Indian Diary”, a photographic, literal and cultural journey in south India.

In 1999 he decides to publish the result of his lifetime research as a fine art photographer.

In 2001 he participates in an important group exhibition in Paris: Photobis Millennium - le mois de la photographie" where he presents his work PER SOLA LUCE E QUIETE, a research on the very particular landscapes of Sardinia. In this occasion a selection of his work is included in the prestigious collection of the BIBLIOTHEQUE NATIONALE DE FRANCE.

His research goes from social to abstract photography.


Artist's Statement


I believe in doubt as an essential tool for an effective search of that which, if it may not be called truth, of truth may be a fair approximation. A search that brings about a continuous change of perspective and that transforms the moment, by nature weak and fragile, into an extraordinary building element of a conscious existence. The change and the revolution of thought, of the basic view of life, its continuous refinement, its incessant updating and growth in values, are indelebly fixed in a photographic image. A fragile, almost intangible, support, which shyly confronts the power of the flow of time, representing for all time that which shall never be for all time: the moment.

A revolutionary technique of expression because it relates to time in an absolutely special way; the image, with its multiple meanings, can only be found if it exists in the phographer before it is fixed on film and must then be reconquered when it becomes an image to look at. A search within a search, a continuous collection of moments for the moment which in the photographic moment will be fixed forever.


Exhibitions


FROM FORM TO SIGN (1979 – 2000)
To live, for me, means to let oneself incessantly be caught in a turmoil of dynamically related physical and intellectual experiences. Form, even when it is symbolic, leads me to the path of remembrance interfering with the perception of pure and irrational emotion. To dissolve form in a sign means to liberate the direct perception of emotion.

MY EYES FOR YOU (1999 – 2000)
This is a lyric of love dedicated to my beloved. The experience of loving is something that, though in incessant transformation and evolution, follows to some extent a cyclic quadripartite rhythm. For this reason I chose to use leaves as a symbolic element and, in photographing them, I have tried to recompose the various stages of this cycle: individuality, dialogue, falling in love, loving.

SOUTH INDIA (1994)
India appeared to me, as a traveller, in all its contradictions, in all its poverty and richness, joy and sorrow, spiritual beauty and material vulgarity, which shamelessly spill out at every moment from every place and allow no chance to divert the eye. The images try to reconstruct the feeling of this discovery alternating three types of subjects (work, movement, rest) which slowly slide from the frenzy of the crowd to the quiet of the sea.

PRIVATE…TIME (1998 - …)
We live in a universe of things and we devote all our time to acquire more and more of them. We can buy everything and we can buy it everywhere, but we cannot buy time; the very time we waste to add to our lives objects we often do not even use, and that should be used to give meaning to our lives through reflection, contemplation and remembrance. Our time is being stolen and we shall never be able to buy it back.

MYLAND (1979 – 1990)
Myland, my city, my land. I feel a profound, disenchanted love for this provincial metropolis, for its limits and its contradictions. I deeply love the unobtrusive flow of time in its neighbourhoods, its look that reminds me of a busy house-wife, its domestic intimacy and its ordinary beauty. I love it because I did not need to migrate to grow.

THE SILENT PEOPLE (1979 – 1990)
There are human beings which, like shadows, clad in poverty, sometimes by their own choice and sometimes by fate, live at the margins of society. Silent roadside posts marking the limits of our consistency, of our civic ideals, and of our conscience. Shadows exposing our hypocrisy with the roar of the dignity of their impossible existencies. The silence of dignity and the dignity of silence.

CHILDREN…FOR AN INSTANT (1980 - …)
To remain child-like to keep that innocence, to keep our souls from becoming barren, to never forget how to dream, to keep hope alive, to give ideals a chance, to keep on changing, to allow children to live their childhood free of violence, fears and nightmares. To remain child-like because, even if just for an instant, that is the best we can do.

NEWRSES (1980 - …)
Today’s horses and at the same time today’s wet-nurses, that’s how I see bycicles. Mechanical objects that have conquered their own masters acquiring a subtle soul and their own personality; they have become faithful companions and reassuring guides, unexpectedly conquering for themselves a space in their masters’ hearts.Wherever they are, no matter of what type, they show the loving care of their owners and at the same time they irradiate a reassuring aura of protection and security.

CITY ISLANDS (1981 - …)
Benches have become spaces of temporary isolation, islands emerging from the frenzy of the city that for fleeting instants host intimity preserving it, as it were, from obtrusiveness. People sitting on benches seem to magically isolate themselves from the reality around them; they behave as if a thin veil had suddenly turned them invisible to the world making their intimacy impregnable.

METROPOLIS (1982 - …)
The home town, the city from where the inhabitants of the colonies had come, the original city; this is the meaning the Greeks gave to this term. An important word, full of promises and memories. Today it is meant to signal the excellence of the city it is applied to. Yet for the human beings who inhabit it, it only means loss of identity, omologation, inhuman transfiguration. Individuals who become masses, masses reducing the individuals to nil. Life-size dummies so preposterous as to seem less human than real dummies.

THE GUARDIANS OF TIME (1979 - …)
They appear suddenly, or they announce themselves from afar, solemn and silent. They are patient observers of events and of humans beings, who are often overrun by events. They express themselves quietly and gracefully with a simple murmur of leaves; they are calm and reassuring; they bear upon themselves the marks of time with elegance and patience. They appear to be intimately connected with time and of time they seem to be the eternal guardians. They are the ancient trees…may we let them be for ever.

HORIZON (1984 - …)
The horizon is that border space upon which I set my gaze with insistence, it is the physical sign of my limit and, at the same time, of how much I still have to learn. The horizon is at once a warning and a calling. A point of reference and a measure to overcome . The horizon is the voyage beyond my habits, within my convictions. The horizon is the tangible sign that life is a continuous journey.

PER SOLA LUCE E QUIETE (For Sole Light and Stillness) a rhapsody of images shot in Sardinia where the brilliance of the natural light and the archaic quiet of the landscape invite to deep reflections especially in these times of chaos...fear..and violence.


View Kamir's Portfolio


Sample Images from Kamir's Profotos Portfolio
     
Category(s):
Fine Art


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loc. Monteraschino, 7
Castell'Arquato (Pc)  29014
Italy
PH: (+39) 0523 896542
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