CdRF's mission is the internationalization of Romanian photography; long-tem, we want Romanian photographers and their photographs to have a greater presence, higher value and better visibility in international markets. We strongly believe that this can be achieved through education, direct support for photographers, collaboration and audience development. We are here to develop the necessary framework for photography and you, our students, clients, participants and friends, to fill this framework with your vision. After reading about us, we invite you to meet us at Popa Tatu 68. co-founder and educational management Andreea Leu Formed as a psychologist with studies in pedagogy, with 15 years of experience in consulting in non-reimbursable funds and interested in the connection between image and memory, Andreea created CdRF to support the development of the professional and artistic journey of photographers in Romania. Read More CdRF gallery director and artistic coordinator Sorin Florea Curator, visual artist and has experience in cultural management. He describes himself as "a creator of stories that need to be told" and his artistic projects lean towards cultural and anthropological exploration. He has exhibited at MARe, MNȚRplusC and SR Gallery (Brussels). Read More communication and graphic design Diana Băcioiu Passionate about Tyler the Creator, graphic design, and art, Diana creates the CdRF visual identity, supports the organization of CdRF events, and manages the CdRF library. Read More archives coordinator Alex Molovata After a long career in photojournalism and photo editing, for the past years he has specialized in organizing photography archives and using DAM technologies. Alex manages and archives all visual content created by CdRF and implements digital asset management solutions. Read More photographic tehnique and projects lecturer Andrei Păcuraru Has been a photographer since he was 16 and a photography lecturer since he was 20. In his career, Andrei has successfully juggled multiple types of commercial photography and for some time now, he has chosen to focus on artistic photography. He is very interested in exploring photographic technique as a means of artistic expression. Read More history of photography lecturer Cristina Irian Is a research-based artist, researcher and curator, active in the field of collections, photographic archives and multimedia projects, with a PhD in visual arts. Her artistic practice focuses on objects of memory and integrates photographic materials into contemporary artworks, with which she has participated in over 50 exhibitions. Read More studio photography lecturer A photographer with over 20 years of experience in advertising, fashion, and product photography. His career began in high school, and his passion turned into a refined aesthetic that combines naturalness with the poetry of light. In recent years, Ionuț has focused on food, corporate, and still life photography. Read More personal style lecturer Natan Dvir A teacher, artist, and editorial photographer, Natan is currently the educational director of the Houston Center for Photography (HCP) and was formerly the associate director of the International Center for Photography (ICP). His personal work focuses on the human aspects of cultural, social, and political issues. Read More street photography and portfolio lecturer Toma Hurduc He studied image at UNATC. Toma often works with analog techniques and various forms of print and presentation. Through his photography, he questions the human perception of reality, fear, anxiety, ephemerality and the construction of memory. He has had solo and group exhibitions both in the country and abroad. Read More co-founder and financial management Ion Borșan Ion has extensive experience in management and PR, is passionate about history, gastronomy and culture. In photography, he started by organizing workshops showing the histories of Bucharest and ended up creating and developing the Photography Resource Center. Read More communication and the CdRF space coordinator Alexandru Borșan Has been working in communication strategies, brand development and PR for over 20 years. Passionate about skiing and art, Alex is the one who organizes CdRF events, implements the CdRF communication plan and can talk to you for hours about the new coffees at the CdRF café. Read More educational and artistic assistent Daria Radu Freshly returned from her studies in photography abroad and with an interest in both curatorship and also cultural journalism, Daria is the newest member of the team, being involved in everything CdRF. Read More IT and administration Ștefan Trăsnea Passionate about photography, Ștefan is the one who keeps our archives, website, and space in perfect working order. Read More visual storytelling lecturer Cornel Lazia Has a doctorate in cinematography and media, is a lecturer at UNATC, a nationally and internationally exhibited artist and a photographer with over 20 years of experience in the commercial field – fashion, advertising, music album covers, corporate, etc. Read More documentary photography lecturer Ioana Moldovan Freelance photojournalist, documentary photographer, writer and published author. Her work has been featured in The New York Times, BBC, The Guardian, Bloomberg, among others. Ioana's photographs have won awards, illustrated books, and been featured in numerous national and international exhibitions. Read More analogue photography and developing lecturer He created °isopatrusute, the film photography lab. With a background in cinematography, Matei is concerned with creating a bridge between the creative and the practical; through his laboratory and knowledge he offers photographers the technical means and support to bring their projects to reality. Read More theory and storytelling lecturer Panos Kasimis Is a visual artist and teacher with 4 decades of experience. He works on personal projects that he transforms into books and exhibitions, but also for magazines, institutions and independent publications. His work explores social behavior and the physicality of human contact with the urban/natural environment. Read More street photography lecturer Greg Mo Specializes in street photography and conceptual practices. Based in Cambodia, his work explores everyday life, social spaces, and urban narratives in a surreal manner. His series “Tonle Soap” was exhibited at Les Rencontres d’Arles (2023) and the Angkor Photo Festival (2025). Read More CdRF team Educational team Profesori CdRF gallery's artists Cristina Irian și Ioana Moldovan Ionuț Staicu și Matei Dumiru Natan Dvir și Panos Kasimis Toma Hurduc și Greg Mo PAC Ruuca Mărgescu Barista/ Events Angelica Maria Raluca Dobre Partners and collaborators Rezo Agency/ Wiktoria Michałkiewicz Robert Capa Contemporary Photography Center Landskrona Foto Growing Pains Nitja Centre for Contemporary Art °isopatrusute Kodex Studio 82 Reptilianul

Exhibition Advanced course. The Photographic Project with Andrei Păcuraru Details In-depth course on documentary photography with Ioana Moldovan Details Advanced course. The Photographic Project with Andrei Păcuraru Buy Tickets Advanced Course: Studio Photography with Ionuț Staicu Buy Tickets Women Photographers in History with Ana-Cristina Irian Buy Tickets "The Open Image" Photography Course with Panos Kasimis Buy Tickets Introduction to Photography in China and Japan with Ana-Cristina Irian Buy Tickets Black and White Development Introductory Workshop Learn to develop your own film and work in the darkroom Buy Tickets 1-on-1 Workshop in the Development Room Light, expose and control the image on photographic paper Buy Tickets Visual anthropology workshop with Ana-Cristina Irian Details Street Photography Workshop with Greg Mo with Greg Mo Details Introduction to Personal Style in Photography with Natan Dvir Details "Strangely Familiar" Workshop with Panos Kasimis Details The Basics of the Portfolio and the Photographic Project with Toma Hurduc and Andrei Păcuraru Details Black & White Film Developing Workshop with Matei Dumitru and Ionuț Staicu Details Introduction to Studio Photography with Ionuț Staicu Details Street Photography Workshop with Toma Hurduc Details Introduction to Documentary Photography with Ioana Moldovan Details Load More

1/4 ONGOING EXHIBITIONS Details Advanced course. The Photographic Project Thu, Apr 02 Bucharest Details In-depth course on documentary photography Wed, May 06 Bucharest Details Advanced course. The Photographic Project Thu, Sep 10 Bucharest Buy Tickets Load More ©2025 by CdRF

Photography Program, 2 Years, with Diploma Complete training for the next generation of photography professionals The program combines academic structure with professional requirements, promising that by the end of the two years, graduates will be prepared both for commercial photography and for a future artistic path. It is a program suitable for anyone who wants to work in photography and image-making, whether it is a first career choice or a career change, commercial or artistic photography. Over the course of the two years, you will learn all the necessary elements to understand and practice photography; we promise that after graduating, you will realize that you are prepared for almost any kind of situation, brief, or artistic context. We do not require previous experience. We start from zero. Practical Information Next session: September 15, 2026 – June 13, 2028 Qualification: Photographer (COD COR 343101), Level 4 according to the National Qualifications Framework and the European Qualifications Framework Graduation diploma: qualification certificate in the profession of photographer; CdRF is accredited by the Ministry of Labour and Social Solidarity, through the Commission for the Authorization of Adult Vocational Training Providers in the Municipality of Bucharest, and the graduation certificate is recognized at European level. Duration: 2 years Language: Romanian and English. Some courses are taught by international lecturers and translation is not guarenteed. Available spots: maximum 15 Location: CdRF, Popa Tatu 68, Bucharest; Studio 82, for the studio photography course; online, for lessons with international lecturers Class schedule: 2–3 lessons per week. Tuesday and Wednesday evenings, 18:00–21:00, plus Saturdays and/or Sundays, generally 11:00–17:00 Final assessment: theoretical and practical examination, plus the diploma project presented publicly Download the full program specification (PDF) here. Payment options 2-installment plan (total price: 29,750 lei): 2 installments of 14,875 lei; you pay one installment now and the next one in September 2027. Pay for year 1 10-installment plan (total price: 31,000 lei): 4,000 lei down payment + 10 installments of 2,700 lei; you pay the down payment now, and the installments are paid once every two months, by the 10th of the month, after invoicing. Pay the down payment 20-installment plan (total price: 32,000 lei): 4,000 lei down payment + 20 installments of 1,400 lei; you pay the down payment now, and the monthly installments are paid for the current month, by the 10th of the month, after invoicing. Pay the down payment If you want to suggest another option (more installments, fewer installments, etc.), drop us a line at hello@cdrf.ro . First year – learn the language and develop your skills You start with the basics of photography, so that you can acquire the language of this art, general cultural knowledge, specific references, and the technical knowledge you need. Six months in which you cover photographic technique and composition, the history of photography, studio, digital processing, street photography, film and developing, visual storytelling, and your first workshops on personal style and critique. From February, you deepen your visual culture: you enter the field of visual anthropology and move beyond the boundaries of European and American photography, with a course dedicated to photography from China and Japan. You deepen your post-processing skills in Lightroom, learn writing techniques and how to work with concepts, and learn to develop series and projects. Spring and summer bring two major things. First: documentary photography, a five-month course in which you develop an idea into a photographic essay with accompanying text, with individual feedback sessions in small groups. Second: 60 hours online with Panos Kasimis, in the workshops The Open Image and Strangely Familiar, about the image that remains open to interpretation. Meeting Point also takes place during this period. Second year – shifting from exercise to authorship You enter the challenges of studio photography, with ten weekend days in a professional studio – portrait, product, and commercial photography, including a simulation of a real project. You continue with advanced post-processing in Photoshop and explore the ways in which you could present your work, including a zine workshop in which you actually produce a publication. From November, you begin the photographic project course, where you define the theme of your diploma project. Spring brings the course on women photographers in history, and from March you enter the final stage: the diploma project, under the individual guidance of a mentor. Year 1 involves many more teacher-led lessons, guided practice, and acquiring information. Year 2 shifts the emphasis elsewhere: fewer class hours, much more individual work, and much more real-world practice alongside us. Andrei Păcuraru on the photographic project Cristina Irian on types of photographers You become one of us For the hands-on training, you will become part of CdRF. This means that we will give you photography briefs for our events, send you to photograph events organized by our collaborators (for example, theatre), our photographers will take you along to shoots as an assistant, you will be with us when we plan, curate, and install exhibitions, and you will always have a guaranteed place at any artist talk or professional presentation at CdRF. Essentially, we make all our resources available to you with an educational purpose. You will also have priority access to our international events: Meeting Point 2027, when we will once again bring five international experts, curators, gallerists, and agents, who will hold workshops, portfolio reviews, and talks in Bucharest; our collaboration with Capa Center, the contemporary photography center in Budapest; and other initiatives that we will develop in the meantime. This is the part of the training that a classroom cannot reproduce. You see how the work is done, under real conditions, with real deadlines and responsibilities. The Diploma Project and International Mentorship The final four months of the program are dedicated to your diploma project, which concludes with an individual exhibition. You choose your mentor from a list of international experts proposed by us and work individually with them, online, in four to five meetings. A mentor works with a maximum of three students, so that there is real time available for each project. They accompany you throughout the entire process; from clarifying the concept, to selecting and sequencing the images, all the way to the final form of the work that will be exhibited. Your teachers Ionuț Staicu – studio photography Photographer with over twenty years of career in fashion, beauty and advertising. He received his first camera, a Smena, in the 9th grade, and a family friend taught him how to develop. He began his professional collaborations in 1998, with the Elite Model Look agency, and entered fashion photography with the launch of Cosmopolitan in Romania. This was followed by editorials for Elle, Harper’s Bazaar, Marie Claire, Glamour and GQ, award-winning advertising campaigns for Romanian clothing brands and collaborations with modeling agencies from abroad. Since 2021, he has been part of Studio 82 – the very studio where the advanced course is held – and in recent years he has reoriented his portfolio towards culinary, still life and corporate photography. Cristina Irian – the history of photography Artist with a research-based practice, visual arts researcher and curator. She studied sociology in Trento and Regensburg, visual anthropology in Bucharest and Perugia, and has a PhD in visual arts from UNArte. She works with vernacular photographs, objects and archive fragments, which she reactivates in installations, photo-objects and experimental publications, a practice guided by the motto "No one left behind" and focused on objects of memory. She has participated in over 50 exhibitions in Romania and Europe, is a member of the Union of Visual Artists and the European platform Futures, and leads OMNIA PHOTO, the association that organizes the Romanian Photobook Award. In 2026 she represented Romania in the PHOTOMINO EUROPE project, presented at the Hamburg Photography Triennial. Panos Kasimis – theory, criticism and image interpretation; teaches in English A freelance photographer for nearly four decades, his career has been built between personal projects turned into books and exhibitions, and commissions for magazines, institutions, and independent publications. His work explores social behavior through the physicality of human contact and people’s relationship with the urban and natural environment, a photography so tactile that it feels like you can feel the sounds and smells of the scene. He has exhibited solo in Athens, Rome, Eindhoven, and Juneau (Alaska), and in group exhibitions in London, Paris, Rome, and Istanbul. He has published three books: Days Away (2009), Urban Diaries (2013), with a foreword by Larry Fink, and Babylon (2024). Andrei Păcuraru – photographic technique and project He has been taking photos since he was 16 and teaching since he was 20. Self-taught, he developed his style through commercial photography, photojournalism and conceptual photography, and currently works predominantly artistically. Geometric shapes are his creative catalyst; he seeks them equally in street photography, portraiture and conceptual works. He is a founding member of the National Association for Contemporary Visual Arts, has exhibited nationally and internationally, and is the custodian of the PAC Collection, a personal archive started in 2006 that includes over 10,000 unpublished photographs. He thinks in series and projects, and this is directly visible in the way he teaches. Alexandru Busuioceanu – digital post-processing and workflow Trained as a classical musician, he came to photography through the viewfinder and for seventeen years this has been his job. He started in editorial and is today a very active commercial photographer with a constant portfolio of corporate, event and project commissions. In parallel, his interest in people, stories and initiatives with a social stake led him to collaborations with the Bucharest Community Foundation and the Red Cross, and in 2025 he coordinated the team of photographers of the Contrast: Nature in urban project, exhibited at Cărturești Carusel. His personal practice was exhibited at the CdRF in January 2026, with HABITAT: Infrared – an infrared exploration of the wild nature of Bucharest, made together with the Urban Rangers of the Natural Park. He maintains his creativity by constantly approaching new techniques and themes. Ioana Moldovan – documentary photographer Freelance photojournalist and documentary photographer, writer and published author. Her work has appeared in The New York Times, BBC, The Guardian, Der Spiegel, Bloomberg, GEO, Libération, Al Jazeera English, NPR, Deutsche Welle and Vice, among others, and she has worked on multimedia projects funded by the European Commission and the Friedrich Ebert Foundation. In 2016, she participated in the Eddie Adams Workshop, where she received the Bill Eppridge Award for Excellence and Truth in Photojournalism, and the US Embassy in Bucharest awarded her the "Women of Courage" award. She has won first prize at Superscrieri, the documentary-photojournalism section, first prize at the Romanian Visual Awards 2024, a HIPA Medal of Merit in Dubai and was shortlisted for the Sony World Photography Awards. Her book We are Invictus received the photography book award at The Most Beautiful Books in Romania. Toma Hurduc – street photography and portfolio He studied image at UNATC. He frequently works with analog techniques and various forms of print and presentation, and through photography he questions the perception of reality, fear, anxiety, ephemerality and the way memory is constructed. He works on long-term projects and edits the zine Past Few Days. In 2025, his project Two Suns was exhibited at CdRF as part of the DOOM MOOD exhibition, in dialogue with the works of Italian photographer Giulia Mangione; the exhibition then traveled to Norway, at Nitja Center, as part of the Next Generation of Artists program. He was nominated on the European platform Futures. In addition to photography, he writes and publishes visual journalism. Cornel Lazia – story-building in photography Photographer, visual artist and PhD university lecturer at UNATC, where he coordinates projects and exhibitions of Photography students. He has a PhD in cinematography and media, with a research on types of cinematic montage as a source of inspiration in photographic discourse – exactly the field he teaches in this program. Over two decades of experience in commercial photography: fashion, advertising, music album covers, corporate. In parallel, an artistic practice constantly exhibited, with exhibitions such as Horizon Tales, Monolith, an Expression of Viewing or Contact. He is interested in borders and their visual dialogue, as well as the mutual influences between the film image and photography. He was a jury member at the Romanian Visual Awards. Natan Dvir – personal style and mentoring; teaches in English A New York-based photographer with an MBA from Tel Aviv University and an MFA in photography from the School of Visual Arts. He has taught at the International Center of Photography in New York and currently directs the education program at the Houston Center for Photography. His work focuses on the human dimension of cultural, social, and political issues and has been published by the New York Times Magazine, Wall Street Journal, Le Monde, Stern, Die Zeit, Time, and Paris Match, among others. His series Coming Soon, about New York’s giant billboards and the people who walk beneath them, and Platforms, a triptych constructed on subway platforms, have earned him the LensCulture Emerging Talent Award and exhibitions at the Museum of Fine Arts Houston, the Museum of Contemporary Art Cleveland, the Hamburg Photo Triennial, and Christie’s London. He is represented by Polaris Images. Andrei Crăciun – writing and conceptualization techniques Journalist and writer. He has been a journalist since 2005, when he won the "Talent of the Year" award; he headed the journalism department of the newspaper Adevărul and was named the best young culture journalist, the best columnist and the best reporter in Romania. He has a bachelor's degree in political science, a master's degree in Hebrew culture and civilization and a doctorate summa cum laude, all from the University of Bucharest, and studied at the Escuela de Escritores in Madrid. He has published over thirty volumes of prose, poetry, essays and fictionalized biographies, was included in the European project Connecting Emerging Literary Artists and has been translated into Italian, Spanish, Portuguese and Dutch. He has been teaching writing courses for many years and has founded a publishing house through which he has published his students. Matei Dumitru – film photography and developing He created °isopatrusute, the film photography lab in Bucharest. With a background in cinematography, he is concerned with bridging the gap between creativity and practice: through the lab and his knowledge, he offers photographers the technical means necessary to bring their projects to fruition. The laboratory works with the C-41, E-6, black-and-white and ECN-2 processes, on formats from 35 mm and 120 to large format, and is one of the landmarks of the revival of film photography in Romania – a topic he has spoken about, among others, on Radio Romania Cultural. What you need to enroll Minimum high-school education A camera with a detachable lens Romanian-language skills sufficient to follow a course We do not require previous experience in photography We do not require a portfolio or showing your previous work at enrollment How to enroll The group has a maximum of 15 spots , which are filled in the order of registration. Choose one of the payment options above and follow the payment steps. What happens afterward The program is accredited for the profession of photographer, and at the end you leave with a portfolio built over the course of two years and a personal project presented publicly. Graduates can work in studio, product, and commercial photography, event photography, documentary and editorial photography, as assistants on set and in the studio, or they can continue along their own artistic path, with projects, publications, and exhibitions. Frequently Asked Questions Do I need to have previous knowledge in photography? No. The program starts from zero, and the first part of Year 1 is built specifically for this. Can I follow the course if I have a job? Yes. Classes are held on Tuesday and Wednesday evenings and on weekends. If we make changes to the schedule, we guarantee that we will take work schedules into account, and during the week we will only schedule lessons in the second half of the day. Do I need Romanian? Yes. Most of the course is taught in Romanian and translation is not guaranteed. What equipment do I need? To begin with, a digital camera with a detachable lens. You will also need a laptop with the Adobe suite installed. What happens if I miss a lesson? We do not impose mandatory attendance, but you should be aware that it is important to attend the lessons. When you miss a class, the teacher will go over what you missed and will help you catch up. What happens if I withdraw during the program? We terminate the educational contract by mutual agreement. If you have paid the downpayment and withdraw within the first two weeks, we will refund your downpayment. If you chose the two-installment option and withdraw at some point without completing the entire first year, we will refund the difference (the amount depends on how much of the course you have completed). Otherwise, if you chose the monthly or every two month installment option, you simply stop making payments. What does the cost include? The cost includes access to all course hours, access to the CdRF studio, materials used during the course for certain practical sessions, and production of the individual diploma exhibition.

The Photography Resources Center You can find us at Popa Tatu Street, no. 68, Bucharest. The schedule during this period is: Monday - closed Tuesday - Friday - 9:00 - 18:00 Weekend - 10:00 - 18:00 The Gallery CdRF Gallery mainly promotes contemporary Romanian photography, in an active dialogue with the international scene, through external partnerships and collaborations. We support hybrid formats, in which photography is integrated into installations and interdisciplinary projects. Occasionally, within the annual program, we develop collaborations with other forms of visual art — sculpture, painting, film, collage. The exhibitions are conceived as immersive experiences, adapted to the gallery space. The courtyard One of the "hidden" gardens of Bucharest. You will find painters at one table, art students at another, expats at another table, photographers a little further away. It is a friendly place for children and animals. You can also use your laptop if you like. The cafe We have specialty coffee, matcha, craft beer, wine and classic cocktails. Plus snacks. You can drink your coffee in the gallery, in the library or in our courtyard, in the shade of the fig or cherry tree (your choice). The three baristas are either art students or art graduates and can explain what is on show in the gallery. The Library In our library we have almost 500 titles, albums and photography magazines, books with/about photography and photographers, and cosy spaces to browse through them. Outdoor exhibition space We have set up the CdRF gangway as an outdoor exhibition space (but protected from rain and strong sun). If you want to exhibit your works, send us an email at hello@cdrf.ro with your exhibition proposal. You produce your works and we mount them on the gangway and promote the exhibition. Studio We have a small studio. It is always available to our students for practice. Otherwise, we use it for filming interviews, podcasts, and more. Dark room Our developing room - we have the materials, we have people to teach you how to develop and enlarge, we have the necessary utensils.

BECOMING SILVIU GHEȚIE English Interview with Silviu Gheție When did you start taking pictures? I have been doing it for a very long time. I was about 20 years old, I started in ‘87. But the beginning was much more difficult because you didn't have access to materials, to information. I was self-taught, I worked in cellarss and I was taught how to enlarge by a guy who didn’ t really know how to do it either. But it was very exciting that I could express myself through photography. Me who was very confused and technical - I couldn't have painted, for example, I wouldn't have had the patience. You know that moment when you're in the present for a second or two and you snap the picture? That's how much I resisted staying in the present. One second - two. I was very agitated. I was looking in the mirror and I saw the face of a bunny. I couldn't take myself seriously. How did you go from miner to photographer? I was a student of mining sub-engineers and I worked half-time in the mine as a miner's helper, cleaning, supplying... And in the afternoons I went to classes. I was employed half-time, so I only worked 2 weeks a month. And one evening I was late for classes, I was walking in the halls of the faculty and I see an open door - I had already started taking pictures; I thought I was pretty good. It was after the revolution. And I saw an open door where a toilet was supposed to be, but it was disused and usually the door was always closed. The door is open, I see a photo lab, an old man. I say: Hello! Hello! Is this a photo lab? I take pictures too. Yes, look, I'm retiring now. And who comes in your place? I do not know. And how should I try? Well, ask the staff. I was completely innocent and had no idea how these things worked. I went to those ladies, as he told me. I asked around and entered the competition alone and ended up the university photographer. That's how I first became a photographer. In the meantime, I was collaborating with the first newspaper in Baia Mare and with all that I was super bored. I had too much time. I would arrive at 10 and leave at 12 because I was bored - that's a job where you had to stay. And I stayed there until I got a job at the second newspaper. That's how I became a photographer. What is the story of the picture of the man with the newspaper? He was the head of the communist party. The communist party was re-established for a short time after the revolution and his name was Ion Tution. He came to the newsroom - I don't know much about him. After he talked to the others, I called him there in a room, let me take your picture. He was a character, I saw him, with that crutch... And I made two pictures of Ion Tution like this, zac - zac. I have another one like that, Olteanu, quite a strange character from that period. He appears in the picture with the trombone and the rally behind. I photographed him because he was the head of the Romanian Communist Party in Baia Mare after the revolution and his name was Ion Tution. And he had a crutch like a saint. (editor’s note) The interview begins as an interview, but continues as a series of memories, as a discussion between two friends. Here you are looking at memory fragments; just as the memories do not respect a structural rigor, so this exhibition does not respect a rigor of exhibitions either. It is like a continuous flow produced by the hippocampus, neocortex and amygdala, rendered to you in a series of images and words. the 90s The picture of the cow, the woman and the tower is a classic. I was returning from a work trip with my colleagues from the newspaper and I asked them to make a pitstop because I had started a series with the tower - I thought since it is among the tallest towers in Europe it must be like the Eiffel Tower. And how many pictures are there of the Eiffel Tower, why wouldn't the Baia Mare Tower be my Eiffel. I started a life time project - I still have many pictures of the tower - I liked this image a lot because the background was good, everything was perfect. I've got the tower and our football stadium with the tower behind it and then just the empty stadium with one person sitting there - that's what I was doing at the time. Here I was influenced at that time by... you know these art photographers from the communist era who were taking these beautiful pictures with a guy in a suit playing the violin, with instruments that are photogenic, brass instruments set in the park with fog, a brass instrument or a violin on a bench, this style of pictures. And, no, most of them now seem like sentimentalities to me. The trombone, therefore, is a cultural quote from the repertoire of great art photographers – the trombone against the rally background seemed very appropriate to me. That was the idea. The union no longer exists, I don't know how many people from that picture no longer exist. This Phoenix is related to the tower because it is the union of the tower - you can put it next to the picture of the cow and the tower and they are related - with the history of the city. This is from my press days, that’s why I was at the rally. It was a beer drinking contest organized by local television. And that's pretty much the story. It's Bergenbier. They would drink, then go to the toilet, then drink again, until the first throw up. I went to the contest for the newspaper, but I took pictures for myself. I also gave them to the newspaper, but I always did them for myself. I didn't really care for the paper. I considered myself good enough not to care too much, and they appreciated me and left me alone. I liked my colleagues from the former newspaper - "Pentru Socialism" which became "Graiul Maramuresului" - they were fair play in a way, compared to what is now in the press. They really had respect, they had some principles. the 2000s In the 2000s I took a lot of wedding pictures. I did an exhibition with weddings in Bulgaria. At that time, in Baia Mare, wedding photos were outdated from a technical and conceptual point of view. They didn't know tricks, they didn't know how to put blur in images. Commercial wedding photography was just at the beginning and I already had a trained hand and quite capable devices. Back then I was one of the only ones with a real telephoto lens, the only one with good lenses. That's why they invited me to weddings. At first they called me to reformed weddings, also because they didn't have a community member who knew how to take good photos. And now I still go but only those who know what they want are calling me. Who wants someone discreet and to take atmospheric pictures for them. That's the thing about weddings. The last one was last year. Also a reformed wedding of a friend of mine. The Costinești wedding has a great story. I was a set photographer for Radu Munteanu's film. The movie was shot by the sea and I was on a terrace with the boys. It was the off-season, there was no one in Costinești. And it was the only restaurant open. Well, we were sitting there on the terrace bored, having the day off, semi-drunk, with the second director when I see this bride come into the hall and start dancing. We were outside. They were practicing for the waltz. I'm not a paparazzi, but encouraged by my colleagues, I went in and took their pictures. They didn't say anything. After which I continued to photograph during the wedding. I wasn't hired to take pictures; I sneaked in and took pictures. That was all. They didn't have anyone with pictures or video but they didn't comment that I did them either. It was great that evening. Everything was so unreal, like in a movie. Since about 2009 I have worked less and less at the newspaper. Newspapers had begun to disappear. I went to Bucharest where I did set photography; I also did events. after 2010 I was in Sighet, at the folklore festival, and I saw this lady; I still have a photo or two of her. You know I follow characters – first I catalogue them and then I follow them. I have them all in my head and make combinations with them. And this lady was super cool with the cigarette and that death metaphor in the back. I also used this picture for the Memento Mori project. Somehow the shadow of smoking hovered over her. This is from a wedding, flower power. I really like the composition because it's Bruegel style. It gives me a light, floating state... I would like to do more in this style. You see, it has a lot of characters, everything is as it should be. I like the one with many people because it's more complex in expressions. It was a sheep fair, with political guests, the locals were a bit drowsy from the heat, the picture is from the end of the day. Now I'm trying to take photos like these. The more experience you have, the more you understand; and now I understand more than when I started photography. And it's normal for the themes I tackle to change, to become more complicated. People think I was better at the beginning, I don't think so. I'm not the same person anymore and the world has changed a lot since then. I have photos taken a long time ago that I still like very much. I don't have a creative crisis. Now I can take pictures of the same intensity in two days that I used to take in 3 years. I'm not looking for themes; I just open my eyes to what is offered to me. Now I'm much faster – in the past I couldn't take pictures of people without them realising they are being photographed and come out naturally. It was something impossible for me. Now I'm on another level - from my point of view, which is also relative. I don't even try to beautify them too much anymore because I realized that it's not that important. Anyone can beautify, it's much more important that real moment that you capture, without showing yourself: look what a beautiful picture I took. That's kind of the point. I try not to appear in the picture myself. I don't want to shock with angles, lenses, colors, stuff like that. I'm not interested in that. now

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Detalii Multiple Dates Black and White Development Introductory Workshop Fri, Apr 04 Sediul CdRF Buy Tickets Multiple Dates 1-on-1 Workshop in the Development Room Mon, Apr 14 Sediul CdRF Buy Tickets Fine Art Photography - Project, Process, Market - Masterclass with Bogdan Gîrbovan Sat, May 24 CdRF headquarters Buy Tickets Load More Address 500 Terry Francine St. San Francisco, CA 94158 Phone 123-456-7890 Email info@mysite.com Connect Up

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