“In Passing”  Story, by Želimir Koščević

It is easy to present the world in its full, diversified beauty. But the real challenge begins where the attractiveness of beauty is superseded by the intricate mythical structure and spirituality on which civilizations and cultures rest. In other words, a serious discussion about photography begins when the photographer, through the medium which he fully controls, succeeds in capturing the fluid of the location’s aura, and when the image is filled with that energy that affects not our eye but our soul. These are the “equivalents” Alfred Stieglitz searched for in his own time: to achieve a spiritual balance between reality and the image...

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 The Portrait in Marin Dimeski’s Photographs, by Boris Petkovski, Ph.D.

... Most probably there is a retroactive influence of (art) photo-realism on his fundamental current stylistic standpoints (mostly from the works of Anastasov and Lulovski). Some portraits have baroque and romantic elements (the gradation of light and dark areas and characteristic poses remind us of Courbet’s early “romantic” self-portraits in Dimeski’s pictures of the painter R. Korubin and the photographer V. Akimović), or of the Spanish art tradition, as far back as Goya (Anastasov’s portrait). Some portraits are close to some older models from the past (T. Lulovski’s portrait, to Durer’s self-portrait from his mature period)...

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  Marin Dimeski Photography
 by Lazo Plavevski 
 
... In his laboratory he later opted for relationships that displayed less contrast, with greater respect for the information found in the negative, although in this approach, too, the artist tended to compose carefully the tonal relationship so that he could give specific directions to the glance which was supposed to ‘slide’ along the photograph... 
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