Hak cipta karya foto ada pada fotografer dan dilindungi oleh undang-undang.
Karolus Naga (50633)
ISO Speed Ratings: 200
17 tahun yang lalu
cap kupu-kupu ya kak. yg warna hitam diborong aja, utk dijadikan filter pinhole.. ;))
aya aya wae....
bwaaaaaaaaakakakaka...iiiih, om genit ih..ngapiiin poto ampe situ2 bwakakaka...!
bukannya waktu itu motret yang di kamar ganti??
Pic yang menyentuh, kesan humanis ditambah dengan balutan Bwnya oke salam......................................
wah, dah mulai suke lanskap nih pakcik :p
aseli ngakak pol aku baca komen neng Caro :)) :)) Naga geloooooookkkk!!!! =))
nice makro! butterfly2nya cantik....
uwiii beralih motret landscape to sekarang, motretnya pegunungan
Regarded as one of the greatest photographers of his time, Karolus naga was a shy jogjaman who elevated "snap shooting" to the level of a refined and disciplined art. His sharp-shooter’s ability to catch "the decisive moment," his precise eye for design, his self-effacing methods of work, and his literate comments about the theory and practice of photography made him a legendary figure among contemporary photojournalists. His work and his approach have exercised a profound and far-reaching influence. His pictures and picture essays have been published in most of the world’s major magazines during three decades, and Karolus naga prints have hung in the leading art museums of the United States and Europe (his monumental ‘The Decisive Moment’ show being the first photographic exhibit ever to be displayed in the halls of the Louvre). In the practical world of picture marketing, Karolus naga left his imprint as well: he was one of the founders and a former president of Magnum, a cooperative picture agency of New York and Paris. As a journalist, Karolus Naga felt an intense need to communicate what he thought and felt about what he saw, and while his pictures often were subtle they were rarely obscure. He had a high respect for the discipline of press photography, of having to tell a story crisply in one striking picture. His journalistic grappling with the realities of men and events, his sense of news and history, and his belief in the social role of photography all helped keep his work memorable. He has said that a sense of human dignity is an essential quality for any photojournalist, and feels that no picture, regardless of how brilliant from a visual or technical standpoint, can be successful unless it grows from love and comprehension of people and an awareness of ‘man facing his fate." Many of his portraits of sekaten and other notables have become definitive, catching as they do, with relaxed and casual brilliance, the essence of personality. His first book contained an often-quoted paragraph that sums up his approach to photography and has become something of a creed for candid, available light photojournalists everywhere. The decisive moment, as Karolus naga tersely defined it, is ‘the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression." Some critics accused him of being nothing more than a snap-shooter. It is true that the "decisive moment’ approach, in less disciplined hands, can degenerate into haphazard, unselective snap shooting. But the best of Karolus Naga works, with their uncanny sense of timing, rigorous organization, and deep insights into human emotion and character, could never have been caught by luck alone, unaided by a rare talent. They are snapshots only in the classic sense of "instantaneous exposures " snapshots elevated to the level of art. "In photography, the smallest thing can be a great subject," he wrote in ‘The Decisive Moment’. "The little human detail can become a leitmotif." Most of his photography is a collection of such little, human details; concerned images with universal meaning and suggestion. He lived in a haunted world where mundane facts, a reflection in a mud-puddle, an image chalked on a wall, the slant of a black-robed figure against mist, radiate significance at once familiar and only half-consciously grasped. His was an anti-romantic poetry of vision, which finds beauty in "things as they are," in the reality of here and now. All his great pictures were taken with the kind of equipment owned by many amateur photographers: lucky shd films.
hihihi.....jan jeli tenan, pasti klo yang ...... lebih jeli :))
unique idea mas, poi tenan, salam
indonesia REALLY needs some new modern underwearstores!!! :P nobody can wear such stuff without getting depressed!! believe me ;P
eyke yang mane yawh....... xixixixixixixixixi......
hihihi, gak nyangka "keperluan pribadi" kami bisa jadi objek menarik juga. Lucu deh ich
yang FG dari hongkong juga kan bang.. :)
yang murah2...bny yg antri bos...klo juat gituan 6rbu...hhihii/..mau?
Hehehe..............mantap FGnya........nice tone.....salam.
ha ha ha lucu2 . . . . . hikkssssss
