Angie Lázaro is a photographer that successfully captures the challenging complexity
of‘sensitivity and explosive passion’, which exist simultaneously in every scene.
She works and lives in Cape Town, South Africa, often traveling locally and abroad to interesting locations either for photographic work or photographic play. A perfectionist and opportunist for just the perfect light, Angie captures emotion, simplicity and depth intertwined. Having shot fashion, travel, food, documentary, decor, music and everything in-between she seeks out subjects that allow her to capture the unspoken nuances with imaginative interpretations. Lighting, colour, texture, expression and shape mould her images. Lured into the glamour of fashion early in her career, she quickly found her way into the world of flickering illusion. A master at interpreting a brief, she produces images that are real and tangible but ignite the imagination.
Her camera, as an extension of her vision, pushes the boundaries of the digital medium and subject matter. Sometimes refreshing, other times fascinating but always turning what would seem mundane into its own unique expression.
She holds a National Diploma in Fashion Design from Pretoria Technikon, a Bachelor of Journalism and was awarded a Masters degree in Photojournalism, with distinction, from Rhodes University, in Grahamstown, South Africa.
She has worked as a full-time and as a freelance photographer for a variety of clients both locally and internationally. She was the senior photographer at Top Billing Magazine, a lifestyle glossy publication linked to a weekly television lifestyle show by the same name, for over five years.
“Photography for me is a moment; a creation; an expression for a lifetime.” – Angie Lázaro
For a more one-to-one perspective of Angie, read this Shape Magazine article on her.
Angie Lazaro’s Masters thesis extract on: An informed community’s perception of the impact of digital technology on the credibility of news photography.
Abstract
South African photojournalists’ perception of digital technology’s impact on the credibility of news photographs is investigated in this study. Digital technology has the capabilities to produce “manipulated” photographs that appear realistic and credible. Credibility is dependent on a variety of factors including codes of realism and codes of production, which fit conventional codes of photographic representation. Manipulation is the act of deviating from accepted codes of photographic representation that may jeopardise the credibility of news photography.
This thesis proposes a new theoretical framework that encompasses existing theories of semiotics, ideology, naturalism, realism and credibility. These theories underpin the definitions and discussion on manipulation and credibility.
A descriptive survey is used which attempts to discover photojournalists’ views towards credibility. This research draws on qualitative research methods using a largely qualitative questionnaire, which generates both qualitative and quantitative data. The questions are formulated around two case studies of digitally manipulated photographs. The trends and responses in the research data are connected and discussed.
The findings of this study are discussed in terms of credibility, awareness of the digital changes, the reason for the changes, the role of a caption, deletion techniques and background changes. The empirical situation is analysed in relation to the theoretical discussions and this study’s theorisation of photographic representation.
The graduands streamed out, camera’s poised and then as a brunette walked out, I heard ‘That’s her’, they were referring to Prince William’s girlfriend (Kate Middleton). Motor-drives ablaze. Soon thereafter William emerged. He did not look up, darn. The press wanted more so they convinced Clarence House representative to move us to Press Area 2. William, Charles and Camilla were scheduled to do a walkabout and this would be the spot to be. We were given five minutes to move, so cameras, lenses, tipods, monopods, ladders and some oversized photographers did the big ‘run’. This was a free for all, no pre-marked spots. I swiftly moved pass them with my light-weight equipment. We must’ve looked really funny running down the street with all the onlookers peering at this cumbersome lot. Once settled in our new ‘home’ we did the wait once again. I realised then how fast the clouds move in this part of the world. Jerseys off and on with the peak-cap, some more sun block and then, back with the jersey. All that was forgotten as the crowed roared at the first sign of William.
