Magazine U-to-P

The U-to-P magazine was born as the result of an observation. Dialoguing with professional photographers, we found their deficiency which relates the history of photography, they know the most important photographers of the past, their vision is truncated and partial, but what about the young photographers who no longer practice analog picture in schools and, therefore, lose connections with photography that preceded them.

So we created this magazine to showcase photographers making use of all the modern techniques and ancient methods.

There is no good photo without technical or history, the technique used to develop a story, it is necessary that the image speaks to you and tells his message.

So I created the U-to-P magazine which is achieved by a highly motivated and competent team.

I'll introduce you to the philosophy that guides us in each issue, making us realize a new issue every two months. In each issue you will find photos of excellent European photographers who do not always have the visibility they deserve.

It is true that the production of photographic magazines you find at newsstands, depends on certain marketing rules with an imperative of failing sales success disappear, giving us magazines focused on the woman mostly bare (far from it displease me), wildlife, and the development of amateur photographers, amateurs, who through their work are not grow the profession.
We are not saying that amateurs in the best sense of the term, do not make great photos but, nowadays, with the cameras must have an iron will to spoiled shots.

In the confusion the world we live in, we went into raptures at the smile of the Mona Lisa, Braque Cubist vision, the colors of a Van Gogh and Monet, marine light of Vermeer, the chiaroscuro and Rubens I pass by, I can not mention them all, it was the painters with great technique that they put at the service of creation.

Nowadays, the creation has been degraded significantly, the fact remains that the buzz is who will talk about him the most. No real creation nor know, the world of "art" is no longer managed by the ephemeral and money.

Many wealthy people are established as guarantor of the art and are to cost millions promoting an intellectual vacuum, but where are the Forza, the Guggenheim, the Rothschild, the former patrons who bought works of artists for their beauty, their modernism, without speculating on a safe haven, just for the beauty and pleasure of owning?

So our motto is to present great European photographers and contemporary world, young and old and forgotten, all in a layout that is the image in its aesthetic and dimensional approach presented in the pages.


The direction