{"id":25235,"date":"2023-09-12T13:24:31","date_gmt":"2023-09-12T11:24:31","guid":{"rendered":"https:\/\/kwartalnikfotografia.pl\/?p=25235"},"modified":"2023-09-12T18:18:19","modified_gmt":"2023-09-12T16:18:19","slug":"dyplomy-2023-wystawa-absolwentow-studium-fotografii-zpaf","status":"publish","type":"post","link":"https:\/\/kwartalnikfotografia.pl\/en\/dyplomy-2023-wystawa-absolwentow-studium-fotografii-zpaf\/","title":{"rendered":"Diplomas 2023 - exhibition of graduates of the ZPAF Photography Studio"},"content":{"rendered":"

vernissage \/ 15.09.2023 \/ 7.30 pm \/ Old ZPAF Gallery, Plac Zamkowy 8, Warsaw \/ The exhibition will last until October 22, 2023 \/ Open diploma defenses will be held on Sunday, October 22, from 10 am.<\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

ZPAF Warsaw District presents another diploma exhibition of the ZPAF Photography Studio. After three years of training, our graduates present their original diploma projects, created under the guidance of promoters of their choice.<\/p>\n\n\n\n

\"\"
Anna Banasiak, Dream figures<\/em><\/figcaption><\/figure>\n\n\n\n
\"\"
Anna Banasiak, Everything is the Universe<\/em><\/figcaption><\/figure>\n\n\n\n

Graduation projects:<\/p>\n\n\n\n

Anna Banasiak<\/strong> The biggest difference is that technology and the internet has speeded everything up tremendously in just a few years. We take the instant transmission of photos and text for granted. As a photojournalist for 60 years, I well recall a different time when I would send packages of undeveloped rolls of film with hand written captions to editors all across the world. DHL and FedEx were vital for my international work, even the regular mail system on occasion. Then digital cameras and the internet came along, changing everything, and a lot more time had to be spent at the computer. Newspapers were the first to take advantage of the technology as they require a quick turnaround for news stories and photo quality was less demanding. It took longer for color magazines to adapt, the sort I worked with, who had to wait until digital photography improved. Online media didn't exist at all until relatively recently but it certainly didn't kill print media, as some predicted. Dream figures<\/em>, promoter Krzysztof Bielinski<\/p>\n\n\n\n

Anna Banasiak<\/strong> The biggest difference is that technology and the internet has speeded everything up tremendously in just a few years. We take the instant transmission of photos and text for granted. As a photojournalist for 60 years, I well recall a different time when I would send packages of undeveloped rolls of film with hand written captions to editors all across the world. DHL and FedEx were vital for my international work, even the regular mail system on occasion. Then digital cameras and the internet came along, changing everything, and a lot more time had to be spent at the computer. Newspapers were the first to take advantage of the technology as they require a quick turnaround for news stories and photo quality was less demanding. It took longer for color magazines to adapt, the sort I worked with, who had to wait until digital photography improved. Online media didn't exist at all until relatively recently but it certainly didn't kill print media, as some predicted. Everything is the Universe<\/em>, promoter Andrzej Grudzie\u0144<\/p>\n\n\n\n

Radoslaw Hebal<\/strong> The biggest difference is that technology and the internet has speeded everything up tremendously in just a few years. We take the instant transmission of photos and text for granted. As a photojournalist for 60 years, I well recall a different time when I would send packages of undeveloped rolls of film with hand written captions to editors all across the world. DHL and FedEx were vital for my international work, even the regular mail system on occasion. Then digital cameras and the internet came along, changing everything, and a lot more time had to be spent at the computer. Newspapers were the first to take advantage of the technology as they require a quick turnaround for news stories and photo quality was less demanding. It took longer for color magazines to adapt, the sort I worked with, who had to wait until digital photography improved. Online media didn't exist at all until relatively recently but it certainly didn't kill print media, as some predicted. The miracle of surrender<\/em>, promoter Krzysztof Bielinski<\/p>\n\n\n\n

Ewa Laskowska<\/strong> The biggest difference is that technology and the internet has speeded everything up tremendously in just a few years. We take the instant transmission of photos and text for granted. As a photojournalist for 60 years, I well recall a different time when I would send packages of undeveloped rolls of film with hand written captions to editors all across the world. DHL and FedEx were vital for my international work, even the regular mail system on occasion. Then digital cameras and the internet came along, changing everything, and a lot more time had to be spent at the computer. Newspapers were the first to take advantage of the technology as they require a quick turnaround for news stories and photo quality was less demanding. It took longer for color magazines to adapt, the sort I worked with, who had to wait until digital photography improved. Online media didn't exist at all until relatively recently but it certainly didn't kill print media, as some predicted. Next episode<\/em>, promoter Marcela Paniak<\/p>\n\n\n\n

Bart\u0142omiej P\u0119drak<\/strong> The biggest difference is that technology and the internet has speeded everything up tremendously in just a few years. We take the instant transmission of photos and text for granted. As a photojournalist for 60 years, I well recall a different time when I would send packages of undeveloped rolls of film with hand written captions to editors all across the world. DHL and FedEx were vital for my international work, even the regular mail system on occasion. Then digital cameras and the internet came along, changing everything, and a lot more time had to be spent at the computer. Newspapers were the first to take advantage of the technology as they require a quick turnaround for news stories and photo quality was less demanding. It took longer for color magazines to adapt, the sort I worked with, who had to wait until digital photography improved. Online media didn't exist at all until relatively recently but it certainly didn't kill print media, as some predicted. \"no\" memory<\/em>, promoter Andrzej Grudzie\u0144<\/p>\n\n\n\n

Agnieszka Stefa\u0144ska<\/strong> The biggest difference is that technology and the internet has speeded everything up tremendously in just a few years. We take the instant transmission of photos and text for granted. As a photojournalist for 60 years, I well recall a different time when I would send packages of undeveloped rolls of film with hand written captions to editors all across the world. DHL and FedEx were vital for my international work, even the regular mail system on occasion. Then digital cameras and the internet came along, changing everything, and a lot more time had to be spent at the computer. Newspapers were the first to take advantage of the technology as they require a quick turnaround for news stories and photo quality was less demanding. It took longer for color magazines to adapt, the sort I worked with, who had to wait until digital photography improved. Online media didn't exist at all until relatively recently but it certainly didn't kill print media, as some predicted. Brzemienna_<\/em>, promoter Mariusz Gajewski<\/p>\n\n\n\n

Agnieszka Stefa\u0144ska<\/strong> The biggest difference is that technology and the internet has speeded everything up tremendously in just a few years. We take the instant transmission of photos and text for granted. As a photojournalist for 60 years, I well recall a different time when I would send packages of undeveloped rolls of film with hand written captions to editors all across the world. DHL and FedEx were vital for my international work, even the regular mail system on occasion. Then digital cameras and the internet came along, changing everything, and a lot more time had to be spent at the computer. Newspapers were the first to take advantage of the technology as they require a quick turnaround for news stories and photo quality was less demanding. It took longer for color magazines to adapt, the sort I worked with, who had to wait until digital photography improved. Online media didn't exist at all until relatively recently but it certainly didn't kill print media, as some predicted. Not_WOLA<\/em>, promoter Pawe\u0142 \u017bak<\/p>\n\n\n\n

Pawe\u0142 Strzelec<\/strong> The biggest difference is that technology and the internet has speeded everything up tremendously in just a few years. We take the instant transmission of photos and text for granted. As a photojournalist for 60 years, I well recall a different time when I would send packages of undeveloped rolls of film with hand written captions to editors all across the world. DHL and FedEx were vital for my international work, even the regular mail system on occasion. Then digital cameras and the internet came along, changing everything, and a lot more time had to be spent at the computer. Newspapers were the first to take advantage of the technology as they require a quick turnaround for news stories and photo quality was less demanding. It took longer for color magazines to adapt, the sort I worked with, who had to wait until digital photography improved. Online media didn't exist at all until relatively recently but it certainly didn't kill print media, as some predicted. I'm a DDA<\/em>, promoter Zbigniew Furman<\/p>\n\n\n\n

Iwona Suszycka<\/strong> The biggest difference is that technology and the internet has speeded everything up tremendously in just a few years. We take the instant transmission of photos and text for granted. As a photojournalist for 60 years, I well recall a different time when I would send packages of undeveloped rolls of film with hand written captions to editors all across the world. DHL and FedEx were vital for my international work, even the regular mail system on occasion. Then digital cameras and the internet came along, changing everything, and a lot more time had to be spent at the computer. Newspapers were the first to take advantage of the technology as they require a quick turnaround for news stories and photo quality was less demanding. It took longer for color magazines to adapt, the sort I worked with, who had to wait until digital photography improved. Online media didn't exist at all until relatively recently but it certainly didn't kill print media, as some predicted. ParCela (0)<\/em>, supervisor Jolanta Rycerska<\/p>\n\n\n\n

Iwona Suszycka<\/strong> The biggest difference is that technology and the internet has speeded everything up tremendously in just a few years. We take the instant transmission of photos and text for granted. As a photojournalist for 60 years, I well recall a different time when I would send packages of undeveloped rolls of film with hand written captions to editors all across the world. DHL and FedEx were vital for my international work, even the regular mail system on occasion. Then digital cameras and the internet came along, changing everything, and a lot more time had to be spent at the computer. Newspapers were the first to take advantage of the technology as they require a quick turnaround for news stories and photo quality was less demanding. It took longer for color magazines to adapt, the sort I worked with, who had to wait until digital photography improved. Online media didn't exist at all until relatively recently but it certainly didn't kill print media, as some predicted. 273<\/em>, promoter Catherine Navarra<\/p>\n\n\n\n

Agnieszka Wlachos<\/strong> The biggest difference is that technology and the internet has speeded everything up tremendously in just a few years. We take the instant transmission of photos and text for granted. As a photojournalist for 60 years, I well recall a different time when I would send packages of undeveloped rolls of film with hand written captions to editors all across the world. DHL and FedEx were vital for my international work, even the regular mail system on occasion. Then digital cameras and the internet came along, changing everything, and a lot more time had to be spent at the computer. Newspapers were the first to take advantage of the technology as they require a quick turnaround for news stories and photo quality was less demanding. It took longer for color magazines to adapt, the sort I worked with, who had to wait until digital photography improved. Online media didn't exist at all until relatively recently but it certainly didn't kill print media, as some predicted. Slots<\/em>, promoter Katarzyna Krynska<\/p>\n\n\n\n

Agnieszka Wlachos<\/strong> The biggest difference is that technology and the internet has speeded everything up tremendously in just a few years. We take the instant transmission of photos and text for granted. As a photojournalist for 60 years, I well recall a different time when I would send packages of undeveloped rolls of film with hand written captions to editors all across the world. DHL and FedEx were vital for my international work, even the regular mail system on occasion. Then digital cameras and the internet came along, changing everything, and a lot more time had to be spent at the computer. Newspapers were the first to take advantage of the technology as they require a quick turnaround for news stories and photo quality was less demanding. It took longer for color magazines to adapt, the sort I worked with, who had to wait until digital photography improved. Online media didn't exist at all until relatively recently but it certainly didn't kill print media, as some predicted. Trump<\/em>, artistic supervision by Catherine Navarra<\/p>\n\n\n\n

\"\"
Pawel Sagittarius, I'm a DDA<\/em><\/figcaption><\/figure>\n\n\n\n
\"\"
Radoslav Hebal, The miracle of surrender<\/em><\/figcaption><\/figure>\n\n\n\n
\"\"
Justyna Suszycka, Olympus digital camera<\/em><\/figcaption><\/figure>\n\n\n\n

A thesis is usually the culmination of an important stage of education. It is a testimony to the acquisition of broad knowledge, as well as the ability to use it. It is also, and perhaps even above all, a demonstration by its author that he has his own vision of the independently chosen topic of the final thesis.<\/p>\n\n\n\n

The ZPAF Photography Studio is a place associated with art that is 184 years old. In the face of painting and sculpture, photography is an absolute newcomer in the artistic family, but it has already solidified enough to be an equivalent system for building a personal statement on the subjects of what is important in modern times.<\/p>\n\n\n\n

This can be clearly seen by analyzing the works present at the graduation exhibition. The topics taken up by the authors relate to what is important today in the broader social life. These are not easy and sometimes unpleasant topics, but important and certainly worth thinking about. Contemporary art is quite a special way of showing current issues. It is often far from a clear presentation of the issue under study, it is an invitation for the viewer to ponder and build his own opinion. It does not impose anything, it poses questions rather than giving ready answers. And such are the photographic series present at the exhibition.<\/p>\n\n\n\n

\"\"
Iwona Suszycka, 273<\/em><\/figcaption><\/figure>\n\n\n\n
\"\"
Ewa Laskowska, Next episode<\/em><\/figcaption><\/figure>\n\n\n\n
\"\"
Bartholomew P\u0119drak, no memory<\/em><\/figcaption><\/figure>\n\n\n\n
\"\"
Agnieszka Wlachos, Trump<\/em><\/figcaption><\/figure>\n\n\n\n

What immeasurably enriches the presented works are the very thoughtful ways in which they are executed. Often far from what we usually see in galleries. This applies to the techniques used in making the works, as well as the preparation of all the material for exhibition. The individual diplomas are finished wholes that can constitute independent individual exhibitions. The time spent by the authors at the ZPAF Photography Studio has resulted in mature and wise final works, which speak of a very personal attitude to the subjects taken up and the way they are approached in an original, individualized way.<\/p>\n\n\n\n

\"\"
Agnieszka Wlachos, Slots<\/em><\/figcaption><\/figure>\n\n\n\n
\"\"
Agnieszka Stefanska, Not_WOLA<\/em><\/figcaption><\/figure>\n\n\n\n
\"\"
Agnieszka Stefanska, Brzemienna<\/em><\/figcaption><\/figure>\n\n\n\n

Curator of the exhibition<\/strong>: Andrew Zygmuntowicz<\/p>\n\n\n\n

\"\"<\/figure>","protected":false},"excerpt":{"rendered":"

vernissage \/ 15.09.2023 \/ 7:30 pm \/ Old ZPAF Gallery, Plac Zamkowy 8, Warsaw \/ The exhibition will last until October 22, 2023 \/ Open diploma defenses will be held on Sunday, October 22, from 10 am Warsaw District of ZPAF presents another diploma exhibition of the ZPAF Photography Studio. After three years of training, our graduates present their original diploma projects, created under...<\/p>","protected":false},"author":63,"featured_media":25238,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","footnotes":""},"categories":[352],"tags":[],"class_list":["post-25235","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-wydarzenia"],"_links":{"self":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts\/25235","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/users\/63"}],"replies":[{"embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/comments?post=25235"}],"version-history":[{"count":2,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts\/25235\/revisions"}],"predecessor-version":[{"id":25250,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts\/25235\/revisions\/25250"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/media\/25238"}],"wp:attachment":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/media?parent=25235"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/categories?post=25235"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/tags?post=25235"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}