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New : The latest eBook
Dor de Vama (Uncensored) Free pdf download 
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The books
The Anti-manual of Street Photography / 2018
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"In all, The Anti-Manual is one of the most interesting and energizing street photography books, I’ve read. It’s more than bombast and bluster, it’s a rallying cry to free the street photographer’s mind, as well as their eyes. I feel this work especially speaks to the jaded, to those who may have become numb to the work they produce and see. Moscholios is passionate and eager to create, and his spirited style of writing instills the same feeling into the reader. The Anti-Manual is as intellectual as it is unruly and, most importantly, a call to grab the camera, go out, and keep the fire burning. Highly recommended." Andrew Sweigart - StreetHunters.net
Download Michail Moscholios’ Anti-Manual On Street Photography eBook for free here!
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To be a good photographer is not an eternal achievement but just a clandestine touch of genius!”
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By Tzen Xing
Finally, there’s someone who cares, thinks and writes deeply about photography today. It’s Michail Moscholios, author of the “Anti Manual of Street Photography, v. 2.” We are living in an unprecedented time when millions of photos are churned out daily online, most of them formulaic, repetitive and forgettable, threatening to drown us all in a tsunami of mediocrity. Michail offers us a helping hand with his Anti Manual. His book, accessible freely online, provides us with many intriguing images and 14 chapters full of revelations, sometimes practical, often provocative, always inspiring, never boring, preachy or pedantic. His writings are an astonishing flow of brilliant insights, visionary thoughts, and intense convictions. Not an easy accomplishment, especially when he tackles the timely and hard questions: What is a good or great photographer? What is a good or great photograph? What is the difference? There are no easy answers, but like a good guide, he maps out the pitfalls and bullshit to avoid. In Chapter 9, The “Real” Photographer, he advises us not to be shackled by settings, presets, gear, composition, or projects. Instead, shoot like you’re obsessed, like Winogrand, who didn’t give a f. about talking about photography, or anything else that prevented him from prowling the streets, high on shutter hits. We can be sure that Garry would not have wasted his precious time on Facebook! This book is not for the faint of heart, the dilettante or the social media addict. So who is it for? Well, anyone who wants to challenge their limitations, or for a breakthrough outside the box rather than a break. It’s for those who choose “madness” over “mediocrity,” which Michail describes as “very easy to achieve. Just let hypocrisy, egotism and conformism invade you.” It’s for the “visionary rebel photographer” who creates images as an act of rebellion. He urges us to resist the enslavement of our creativity to experts, judges, critics, and curators. Run as fast as you can from their dictates about formulas and composition (leading lines, fill the frame, the rule of thirds, sharpness, etc.). Avoid like hell the cliches, pretensions, rules, recipes, comfort zones, me-only narcissism, going viral, and the tyranny of “likes.” He is a fierce advocate for creative freedom, urging us to have faith in our instincts, dreams, feelings and experiences (even failures), instead of following like sheep the latest trends. He has deep empathy for the photographers who create images as an existential struggle against an increasingly oppressive, alienating and prison-like world. |
He’s on the side of photographers who dare to take the red pill, “when all becomes a paradox” and “what we seek, the real hunt, is the impossible, the invisible, the immaterial, the dream. We want a picture that contains both the tangible and the futile.” (Chp. 12, Revelations). Unsurprisingly, at this point some of us may despair that the pursuit of a great image is as elusive and challenging as finding the tomb of Genghis Khan. But life is short, there’s no time for regrets, and failures can lead the way to unexpected destinations. Let’s remember Michail’s farewell as we embark on our adventure of a lifetime, “Go shoot and then present your work knowing that you are a hero! Because it takes courage to reveal, to share the intimate moments of a partial failure, to understate that to be a good photographer is not an eternal achievement but just a clandestine touch of genius!” |
Exposure
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SHOWS / 2005-18
The Romanians (collective) : Bucharest 2018, BULB Annual Exhibition (collective) : Bucharest, Athens 2016 - Σιωπηλά σαν Σημάδια (collective) : Aegina, Greece, August 2014 - Fugitives : Vama Veche, Romania, August 2013 - Arte povera : Vama Veche, Romania, August 2012 - How do you do Brussels (collective) : Brussels, June 2011 - Estcetera : Athens, May 2009 - Romania keeps walking : Brussels, May 2008 - Urban Shadows : European Parliament, Brussels, March 2007 - Woman (collective) : Bucharest, December 2006 - Romania through the lens (collective) : Bucharest, June 2006 - Europa Mia : Brussels and Athens, May 2006 - As you set out for Ithaca : Brussels, February 2006 - Solitudes I & II : Brussels, June 2005 Binario 3 : Brussels, April 2005 - Of streets and seas : Brussels, November 2004 PORTRAIT EPSON / 2009
EPSON B&W portrait award Athens 2009 MODES DE VIE / 2005
Prix du public and 2e prix du jury - Bruxelles 2005, 1er prix RP couleur 11.2005 - France, 2e prix photo couleur CE 2005 - Bruxelles |
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About
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My father handed me my first camera (a rangefinder) when I was 16 but funnily enough I have never shot street photography with that camera. Today, founder of BULBphotos Collective, of PhoS Street Photography Days and of the SCP community, writer and editor of various books, I want to pay back my debt to him and to my good friend Nikos Papadimitriou who was a great fan of Henri Cartier-Bresson and he transmitted me the virus.
Street photography took me hostage because it is the photography of freedom, of emancipation, of synergy among human beings and at the same time the total absence of them. It is an attitude against the ordinary, an instinctive response to the unpredictable, a juxtaposition of the unrelated. |