As a human artist: I must not separate myself from who I am in all areas of my essence. I recognize, value and assume my potential and my capacity to act and represent loyalty and ethics in my relationships. I recognize, value and assume the potential of all those who are here with honor to their processes in individuation.
I assume: my prerogative to act as a planetary artistic facilitator.
I aspire: To find a viable and sustainable way for all religions, governments, markets, borders, families, armies and powers to converge, enabling humans to awaken to respect, to accept their own lives and to understand their similarities and differences. Contributing to free will and exercising free thinking in search of wisdom and growth in human existence.
With the perspective: For us to learn about the value and importance of everything that exists in this earthly journey. In search of the value of understanding why we are here. So that we can accept and be grateful for our life and that of our Pachamama (Planet Earth).
I propose: to use all available audiovisual tools (photo and video) and professional partnerships to contribute through my capacity to build, observe, record, share, question, and undertake, and to understand myself and everyone else in the Art of Living.
I would not like to admit: the limitation of our human intellectual capacity in thoughts, active development, limiting beliefs or feelings conditioned and programmed to the atavistic, historical, educational and cultural system that has not proved effective for us to imagine a future and healthy panorama for our descendants to live on Earth.
What about you? Do you believe?
Do you think it is feasible to think "outside the box" in order to reconstruct the human experience and really get closer to God within us? And to see that everything out there manifests and is sacred? Do we have for a few moments the permission to put ourselves outside the "matrix"? What do you really believe that we deserve? That we deserve to watch the extinction of our species from the sidelines?
Well, we have taken the first steps towards our noble mission of thinking and philosophizing poetically and philosophically about the Image and human existence. And we will continue without fear and without haste towards the existential infinite.
Thank you, thank you, thank you. In lakesh
TOD
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by Agora Gallery: Brazilian artist, Luiz Todeschi’s photographs are a celebration of light and movement. A lover of nature, Todeschi spends a great deal of time outdoors, searching for inspiration from the environment. His artistic style is marked by his sensitivity to the play of light and energy of color. Todeschi’s artistic perspective is influenced by his study of indigenous practices and wisdom that promote a deep respect for nature and honor relationships with all living things. Acutely moved by the plight of the indigenous people in his country, Todeschi considers it his mission as an artist to spread the message of peace through his photography. In “White Egret”, Todeschi captures the moment of an egret taking off for flight. With its soft focus, and high contrast between light and shadow, the piece is elegant and gestural. Todeschi’s intimate treatment of the egret reveals the artist’s deep reverence and emotional connection to his subject. The image has a very painterly quality to it, with large swaths of light and shadow that appear reminiscent of brush strokes. The simplicity and sweeping movement of “White Egret” evokes an overall feeling of both tranquility and grace.. "
Agora Gallery Eleni Cocordas – Agora Gallery Executive Director Mrs. Eleni Cocordas (in memorian), died on May 1, 2020, due to complications resulting from COVID-19.
Artetra Art Associates Italy - About Art Paris 2019 Picasso Prize: "The artist offered us na exciting photographic journey in search of that espiritual energy tha was given usb y the Gods to the trees of Time. Between the Earth and the water of a primordial Brazil, with his “imortal shots” the artist has stolen as Prometheus what remains the sacred fire."
British Journal of Photography
"The photos show us a brilliant light, the sky and silhouetted scenes in natural environments. I think it is clear in your photos that you captured some of this magic and the amazing qualities of light’s ability to create contrast! I think that by the way you composed your images you certainly create a poetic experience for the viewer. It appears that you are working on making these artistic photos in a unique and interesting way. Your images speak about the wonder of the sun as a metaphor for the source of all that is spiritual. " The full review on the Let it Be Light series of the British Journal of Photography: click here: British Journal of Photography
Mentors Mon Brézil
"Let there be light! "Honor the presence of light and images through your lens highlighting the importance of the same for photography is one of the artist's missions. The photo itself represents this exaltation of sunlight that is of paramount importance to life in all its expression on the terrestrial plane. Personal Brand of the photographer, the backlight of the photo clearly demonstrates this vision its ineffable presence, its omnipotence, and the consciousness that this energy is at all times transforming the humanity. "
Curators Coletivo Meu Brasil: Anna Priscilla Marques e Ricardo Esteves (Mentorship from Luiz Todeschi)
Walking through the light - Dr. Oscar D'Ambrosio
Light is of fundamental importance for anyone who walks the path of photography. Born in Curitiba in 1977, Luiz Todeschi researches in his visual journey several ways to deal with this resource, always in a perspective where new possibilities are sought. It is a process in eternal transformation, for light is an energy in motion, as is the journey of the visual artist. There is a mixed exercise of contemplation with action that constitutes a permanent enigma. On the one hand, there is the development of the aptitude of knowing to see; on the other, the practice of knowing how to build. A constant dilemma accompanying photography rightly lies in the way one decides to articulate these issues in order to arrive at the images themselves. There is a whole process of selecting what you see and choosing how you want to represent it. These processes derive from the intuition of the artist and also from his experience. Luiz Todeschi navigates these questions with competence. In dealing with color tones, abstractions and geometrized compositions, there are aspects that reveal a close look at what is around him and what can be erected by different strategies that can lead to the most diverse results, more or less realistic according to the case, but always marked by sensitivity on a journey through the paths of light. Oscar D'Ambrosio - Oscar D'Ambrosio holds a PhD in Education, Art and History of Culture and a Master's Degree in Visual Arts from the Institute of Arts of UNESP - State University of São Paulo / Brazil. Graduated in Journalism from the ECA-USP, (1986), graduated from the Faculty of Arts and Education at the Mackenzie Presbyterian University, (1986), specialization in Dramatic Literature from ECA-USP, (1989) UNESP, (2004) and doctorate in the Program of Education, Art and History of Culture of Universidade Presbiteriana Mackenzie, (2013).]
LensCulture Emerging Talent Awards – Critical Review!
About: Violet Flame, 2019.
“ You have some very strong work in your submission. I've enjoyed viewing your artwork as it is quite varied in approach. Some of your images are rather representational, or others are a bit more esoteric and lyrical in approach. Images three and two are perhaps your most successful submissions. In image three, I'm very much drawn to the implied lines formed by the foot and the flowers which lead the eyes directly to the burning candle. In addition, the biblical depiction below of course references culture and ways of attempting to negotiate spirituality and eternity. This is a beautiful image. In image two, there is an engaging sense of symmetrical balance introduced by the dark shapes that occupy the left and right sides of the frame, and these shapes are variously echoed as well. I also applaud the rather subtle degree of color contrast afforded by the warmer hues near the middle of the picture with the cooler hues of the margins. Image four offers a great deal of promise, and I particularly enjoy the backlit effect and the gradient of hues in the middle branches. That being said, the central subject placement entails that the left and right sides of the framer are void of emphasis. Consider a different approach to composition, or more simply, perhaps a vertical orientation. These are your most engaging pictures. Image one offers promise, but I find the inclusion of the shadow elements at right and bottom left to be distracting. Perhaps you intend this as a sort of framing device, but this is not clear given the information provided in the picture, the image title nor the caption. Image five is perhaps your least successful picture. You already have one image which is far more successful in depicting lens flare via photographing directly into the sun. In addition, the right side of the frame is relatively inactive and this results in compositional imbalance. I applaud your project statement, but I suggest you reconsider your words. It is often difficult to pair rather lyrical and ambiguous imagery with similarly lyrical language. I suggest you be as concrete and specific as possible. What do you hope viewers might glean from your work, for example? I also suggest you be as specific as possible as you employ many general statements. As a matter of fact, in the project statement you refer to the reconnection of "everything," and the caption for image three references also a wide-ranging "everything." Be wary of trying to assign too large of a scope to your project. Be more specific and focused when possible. That being said, I applaud in your statement that you reference a personal trip to Luz, if I understand correctly. But what exactly is the connection to this event and the larger arc of your pictures? Usually, the more information that is provided to viewers, the greater the chance that they will arrive at a more fully realized appreciation of your vision. Your overall vision is interesting, particularly as embodied in images two and three. I suggest you refine your statement and consider a bit more continuity in style and aesthetics across the images. Thank you for submitting your work to LensCulture.”
Artour International Magazine
"Brazilian photographer Luiz Todeschi left behind a career in the administration business to devote himself full-time to photography. Since that time, his masterful work has earned him worldwide acclaim. His photographs were exhibited in Brazil, the United States, France, Italy, among other countries.
He received several honors, including: Certificate of Honor to the Artistic Merit Artetra Artists Associados Italy during the Art Paris event; APAVE Brazilian Nature Portraits Contest (2013, 2014, 2015 and 2017); photo Turning Moment of Street Fotography Team Romania in Eastern Europe 2015; Certificates of Excellence - 31st Artavita 2019 online art contest in San Diego, California, USA, among others.
Through it all, Todeschi remained true to the guiding philosophies of his passion. Among them the idea that “The magic of photography is precisely that I believe that what we are recording is something that was presented just for us. When we become instruments of photography and art, we feel with a preconceived heart and cultural and social values. This combination of ineffable uniqueness and sense of collectivity permeates his newest work. The lighting piercing in "Violet Flame Earth Element", for example, emphasizes the uniqueness of each leaf - indeed each leaflet - that understands you. However, this does not diminish the aggregate plant, but accentuates the complex of interactions between the part and the whole. This theme links this work to other recent photographs, such as the dynamic “Kanaro” with its parrot blending in perfectly with its environment, even as it takes center stage, as well as “Red River” with its vivid mix of solid, liquid and gas . In this sense, in these works they become a microcosm of ourselves and our planet.
This unique blend is not an accident, but a deliberate exploration. As Todeschi says,
"I am a true seeker of self-knowledge, constant learning, expanding awareness and serving others. We can do much better. My desire really is to see the people of our country and our planet, as well as Mother Nature, being treated with respect.”
These principles, in addition to the exultant works that derive from them, give voice to its claim to be one of the most important voices for our planet and for its unfathomable depths of the aspiration of the individual to the collective.
To learn more about Luiz Todeschi and his works, visit https://www.lgtfotografia.com.br/. You can also visit their virtual online representatives, including Plogix Gallery, Artavita, View Bug and the Foundation of Arts. " Viviana Puelo CEO ATIM

Photographic manifesto by Luiz Guilherme Todeschi
This is my Personal Manifesto on Photography. It serves to guide my conduct and value what I consider appropriate to move through the imaginary universe. Any phrase or similar thought said here by another author can be considered a mere coincidence, as it guides my personal experience and way of seeing the world with a camera in hand.
1. A photographic image has a very strong symbolic charge. It can be used with great care and respect by photographers. Ethics is recommended especially in the exercise of the profession.
2. It is noticed that many photographers are currently following trends and mirror the work of other colleagues already done. Particularly in the case of commercial and copyright trials. This ultimately undermines creativity and innovation in photography. If copying or plagiarism can be avoided, we believe it is important to act accordingly.
3. A photographer who is passionate about images knows how difficult it is to take his photography differently without mirroring references from the past and without occasionally reproducing images already made. Yes, we suddenly believe that we did something innovative in our photography, and on the other side of the world a very similar image or production was recorded. That happens. No problem, when we are unaware of it. And when we are aware, we must be prepared to accept.
4. Copyrighted works that are copied or reproduced by other colleagues end up losing the true value of exclusivity. Let us not fail to honor the beautiful work already done. But that does not make us copiers of scenes and situations recorded by other photographers. The reproduction of an image enshrined in the history of photography when edited and staged is still plagiarism.
5. In photography, the search for emotions and true feelings expressed by the models portrayed can become a strong ally and give more expressive strength to the power of the image. We will abort this when we have an opportunity in our records.
6. When considering the history of mankind through photography and records of sadness and situations of conflict, misery and social deprivation, we could endeavor to use photos with caution so as not to feed negativity through images. Even knowing the importance of denunciation, war and humanitarian photography, we honor the work in this direction that has provided a differentiated way of observing the facts experienced by the human being or the need for changes in attitudes and consciences.
7. We would like to believe that one day we will have only positive images being recorded in humanity. We look for that in our photography. We may not live this life in general. But we can strive, through the communication power of our photography, to show everyone that a new world is possible. In that sense, we intend to walk.
8. According to statistics, about 125 billion images are produced and published on social networks per year. The world has become extremely creative with the advent of new technologies. Before posting an image on social media, we should really ask ourselves if it is necessary and if there will be a message of value to communicate. Even the true value of an image is questionable because what is valuable to the photographer will not necessarily be seen as meaningful by the image observer.
9. Honor copyright to the utmost. Thus we will be living up to the values and rights of photographers and portraits. In times of copy and paste, citing the source of the image or reference used and reproduced is essential. A matter of respect for the legislation and for the human being that somehow expressed itself through photography.
10. We believe that true weight photography is one that expresses the reality of the events witnessed and experienced and faithfully portrays any situation recorded by the photographer.
11. Photography is wonderful and allows, in addition to other audiovisual recording resources, stories to be told. In this sense, the power of visual narratives leaves a legacy to human beings. Let them be used wisely. In my opinion, a good narrative is one that is not lost in time.
12. Once we see our authorial photography as meaningless, don't worry. We can take a break. Breathe new air. Let it flow. Think and feel new possibilities.
13. There are phases in the life of the high and low production artist photographer. Like everything that needs inspiration in life. Our image potential will not always work to our advantage. There are days when the light doesn't help. The motivation will not exist. The scene will not appear. Even so, let us not be discouraged.
14. Ideally, photography should guide us and be called upon to do so. This will not always be possible. We cannot always claim trance and inspiration for creation. But never that makes it impossible for us to put ourselves at the disposal of the image register.
15. Every photographic study and any personal search by the photographer in his contribution to the imaginary universe is important and must be considered. Everything must be considered as part of the individual learning process.
16. The magic of photography is precisely to believe that what we are recording is something that has been presented only to us. When we become instruments of photography and art we feel with the heart and preconceived cultural and social values. In any case, every photographic intention is valid.
17. Avoid regret and error in photography as much as possible. As a photographer, the most incredible scene in your life may not be recorded because you left your camera at home.
18. All phrases and everything that was constructed in the photograph can be questioned and interpreted in different ways. Let us never fail to honor and get to know the true masters of photography. All those who are part of the history of photography. All those who express love for the art of photography. And especially all those who have the capacity to perceive the decisive moments that make the photographic act really very noble. This is critical.
19. What would life be like without photography? Those who shoot with passion and love would not know how to answer. You would go?
20. Any attempt at digital montage, performance manipulation, use of non-traditional devices or images that escape the standard of normality and contemporary trends of expression can and should also be considered as human expression and art. And in the same way it must be honored and valued.
Luiz Guilherme Todeschi
CRITICAL REVIEW - about Luiz Todeschi
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INTERVIEW: LEAVE THE BOX OF HELEN POMPOSELLI WITH PHOTOGRAPHER LUIZ GUILHERME TODESCHI
"Passionate about the art of relating to human beings, for Luiz, self-knowledge is a guiding thread for his social work, for it is said that a person has no fear. "I am a true seeker of self-knowledge, of constant learning, of the expansion of consciousness and of service to others. One who is not only mirrored in the teachings of the Masters and seeks to master the development of unconditional love. We can do so much better. My desire really is to see the people of our country and our Planet, as well as Mother Nature, being treated with respect. "