Natalie Dybisz
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[[File:The oak chest.jpg|frame|left|The oak chest]] | [[File:The oak chest.jpg|frame|left|The oak chest]] | ||
Digital processing was one of the main aspects of creating images that drew me into photography. I enjoyed manipulating images in post-processing, and experimenting with surrealism and fantasy. My earliest self-portraits that I uploaded to Flickr were cloned images with more than one of me in the frame, such as "The oak chest." (left image) | Digital processing was one of the main aspects of creating images that drew me into photography. I enjoyed manipulating images in post-processing, and experimenting with surrealism and fantasy. My earliest self-portraits that I uploaded to Flickr were cloned images with more than one of me in the frame, such as "The oak chest." (left image) | ||
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However, it would be misleading to say that my love for photography lies only in the processing rather than the shooting. I believe that digital post-production is a fantastic tool that can potentially transform an image, but it can only do so when something worthwhile has been captured in the original shot. Some of my images take more processing than others, and some barely any. So, I often refer to there being three categories in my work. The first category is for images that take only a slight tweak of processing. These images are composed almost completely in-camera, so the role of processing is to moderately emphasise and enhance its features. An example would be "Life on the downs." I slightly tweaked levels and colour balance to enhance what was, compositionally, all originally composed within the frame. | However, it would be misleading to say that my love for photography lies only in the processing rather than the shooting. I believe that digital post-production is a fantastic tool that can potentially transform an image, but it can only do so when something worthwhile has been captured in the original shot. Some of my images take more processing than others, and some barely any. So, I often refer to there being three categories in my work. The first category is for images that take only a slight tweak of processing. These images are composed almost completely in-camera, so the role of processing is to moderately emphasise and enhance its features. An example would be "Life on the downs." I slightly tweaked levels and colour balance to enhance what was, compositionally, all originally composed within the frame. | ||
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Revision as of 16:52, 14 December 2010
Tema: Imagem e tratamento fotográfico digital
Contents |
About Natalie
- Name: Natalie Aniela Dibysz
- Aka: Miss Aniela
- Born: 26 July 1986, Leeds, UK
- Official Site: www.missaniela.com
She said...
I am a fine-art photographer based in London, UK.
Most of my work on this website is my self-portraiture. I have used my self-portraits to express a wide variety of messages ranging from the everday to the otherworldly.
I like to try and create images that merge meaningful messages with arresting aesthetics, though the message will often be open to interpretation. I believe concept is not enough, and I strive to strike a balance in satisfying both the mind and the eye. For example, 'Tricks' is a fun series, but was intended to present the symptoms of anxiety. Other images in my 'Self-gazing' series inspiration from dreams, paintings and literature.
I am currently working on a series with derelict UK mental asylums ('Abandoned' set). I am also using other subjects and collaborating with other media, incluiding film.
I offer a fine-art-driven commission service for fashion, advertising and other projects.
Font: Official Site (Info > About Me)
Magazines said...
Dybisz's colourful, often surreal images are celebral and sexy, intimate and public, all at once.
(American Photo)
Moving out beyond Cindy Sherman, Natalie creates a surreal looking-glass world of distorted perspectives and dream enhanced colours... Underlined with an ironic and often droll caption text, the idiosyncratic qualities of Miss Aniela's work signals a very bright future for this embryonic star.
(PHOTOICON)
The photographs are breathtaking. Miss Aniela's extraordinary use of cloning an image of herself several times in one photograph in varying poses is both technically flawless and strong on story. She doesn't employ the effect to show off that she can execute it; she uses it as a tool to convey her narrative. This seamless integration makes for compelling images.
(Digital Photo Pro)
Exhibitions
Aug 28 - Nov 2, 2010: Work selected by Natasha Egan for exhibition at Art of Photography Show, lyceum Theatre Gallery, San Diego
Oct 14 - 17, 2010: 'Abandoned' showing as part of group exhibition Photolounge for Photomonth, at Truman Brewery, East London
Aug 5th - 28th, 2010: Solo exhibition 'Self-Gazing' at Photo-Space, curated by Alternative Arts, East London
Jul 23 - Sep 4, 2010: Joint exhibition, Miss Aniela & Amanda Friedman, David Weinberg Gallery, Chicago
Jun 2010: Group exhibition 'A Quarter to Five', Fishing Quarter Gallery, Brighton, UK
Oct 09 - Jan 10: Solo exhibition 'Self-Gazing' at Apartment C, London
Oct 09: Exhibited at Buenos Aires Photo
Jul - Sep 09: Solo exhibiton 'Neurotica'at Impure art Gallery, Brighton, UK
Dec 08: Exhibited at Photo Miami
Nov 08: Featured at Estampa fair, Spain
Sep 08: Leading exhibiting artist at Lantern Media Festival, Tunbridge Wells, UK
Apr - Jun 08: Solo exhibition 'Self-Gazing' at Camara Oscura, Madrid
Dec 07: Featured at Photo Miami
Aug - Sep 07: Winning entry in 'How We are Now', shown in group exhibition at Tate Britain, London
Apr - May 07: Debut solo exhibition at North Laine Photography, Brighton, UK
Font: Official Site (Info > CV)
Post-Processing Secrets (by Herself)
Digital processing was one of the main aspects of creating images that drew me into photography. I enjoyed manipulating images in post-processing, and experimenting with surrealism and fantasy. My earliest self-portraits that I uploaded to Flickr were cloned images with more than one of me in the frame, such as "The oak chest." (left image) However, it would be misleading to say that my love for photography lies only in the processing rather than the shooting. I believe that digital post-production is a fantastic tool that can potentially transform an image, but it can only do so when something worthwhile has been captured in the original shot. Some of my images take more processing than others, and some barely any. So, I often refer to there being three categories in my work. The first category is for images that take only a slight tweak of processing. These images are composed almost completely in-camera, so the role of processing is to moderately emphasise and enhance its features. An example would be "Life on the downs." I slightly tweaked levels and colour balance to enhance what was, compositionally, all originally composed within the frame.
Life on the downs
