Встреча с легендой.

Гм… А я вот это не рискнул бы рекомендовать читать перед съемкой:

EXIT – EXIT – EXIT – EXIT – EXIT – EXIT

EXIT #29 — PEEPSHOW — February / March / April 2008

Olivares, Rosa / A Place without Limits
Wallace, Marina / Erotic Visions: The Body Exposed
Barba, Andrés / Porn as Ceremony and Place
Lehman, Peter / In the Realm of Confusion

Rubira, Sergio / Interview with Susan Meiselas
Helfand, Glen / Interview with Larry Sultan
Portillo, Mónica / Interview with Jeff Burton

Barker, Stephen / Nightswimming, NYC 1993-94.
Kereszi, Lisa / Show World.
Jakrlova, Hana / Big Sister.

http://www.exitmedia.net/prueba/eng/sumario.php?id=35

Архив (много доступных статей):

http://www.exitmedia.net/prueba/eng/anteriores.php

# 0 - The mirror

November 2000 / January 2001

# 2 - On the skin

May / July 2001

# 6 - Fictitious Architecture

May / July 2002

# 8 — Censored

November 2002 / January 2003

Olivares, Rosa — Don’t look at that, don’t touch this, don’t say that
http://www.exitmedia.net/prueba/eng/articulo.php?id=50

# 10 - Self-Portraits

June 2003 / August 2003

# 11 - Ordinary Things

August 2003 / October 2003

И т.п., т.е. Abstraction, Writing Pictures, Cities, Still-Life, Through the Window, Uniforms…

http://www.exitmedia.net/prueba/eng/index.php
http://www.exitmedia.net/

Снимок и текст — Luminous-Lint — Online exhibition —

John Loengard: Celebrating the Negative


John Loengard
André Kertész "Satiric Dancer" 1926
[Celebrating The Negative]
1926 (original image) 2008 (publication)

Gelatin silver print
Etherton Gallery
Mission du Patrimoine Photographique, Paris
Hands: Noel Bourcier, 3.31.93

André Kertész took Satiric Dancer in 1926, a year after arriving in Paris from Budapest at the age of 31. He was clowning around with some Hungarian pals in sculptor István Beothy’s studio. Dancer Magda Förstner mimicked the host’s statuary, and Kertész, with his small glass-plate camera, recorded her jest.

Later in his life, Kertész became allergic to photographic chemicals. Igor Bakht, a Russian who grew up in Teheran, where his father was official photographer to the Shah, made all his prints after 1964.

“If you are not careful printing Satiric Dancer, the dress goes black and has no detail,” says the 62 year-old Bakht. “I give an extra bit of exposure to the right edge of the negative, and I’ll burn in the arms and legs and the lower part of the sculpture with an even longer exposure in order to get a bit of tone and separation there.”

“André wanted rich prints, but not too rich. If I’d brought out the clouds too dramatically in a picture, he’d say, ‘That’s too crafty. I want it slightly on the subtle side.' ”

This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 5

All photographs copyright © John Loengard. Gelatin silver prints printed by Chuck Kelton, Kelton Labs, New York City, under the direct supervision of John Loengard. Printed on Ilford Multigrade Warm Glossy paper. Design and portfolio box construction by Jace Graf, Cloverleaf Studio, Austin, Texas.
:
Celebrating The Negative/Photographs by John Loengard was published by Etherton Gallery, Tucson, Arizona, in March, 2008, in an edition of eighteen portfolios, including fifteen numbered copies and three artist’s proofs.


John Loengard
Man Ray "Femme avec Longs Cheveux" circa 1929
[Celebrating The Negative]
1929 (ca, original image) 2008 (publication)

Gelatin silver print
Etherton Gallery, Paris
Hands: Lucien Treillard, 4.26.94

Man Ray, born Emmanuel Radnitsky in Philadelphia, once said his work was “designed to amuse, bewilder, annoy or inspire reflection, but not to arouse admiration for any technical excellence usually sought in works of art. The streets are full of admirable craftsmen, but so few practical dreamers.”

This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 6

John Loengard
Henri Cartier-Bresson "Behind the Gare St. Lazare" 1932
[Celebrating The Negative]
1932 (original image) 2008 (publication)

Gelatin silver print
Etherton Gallery, Paris
Hands: George Fèvre, 5.11.87

Actually, I asked Henri Cartier-Bresson to let me photograph another negative showing two prostitutes in Mexico City. They lean through openings in their crib doors. The print is often published.

“Oh, no! No! No! Think of their feelings! They might be grandmothers now. No, no! You can’t publish that,” he replied with intensity that surprised me. Instead, he let me photograph the negative to his most famous photograph. It shows a man leaping into a puddle in Paris. George Fèvre, who prints many of Cartier-Bresson’s pictures, put it out on the light table.

In The Decisive Moment Cartier-Bresson described taking it, “There was a plank fence around some repairs behind Gare St. Lazare. I was peeking through the spaces with my camera at my eye. This is what I saw. The space between the planks was not entirely wide enough for my lens, which is the reason the picture is cut off on the left.”

For safekeeping, the negative was cut from a strip of 35mm film at the start of World War II. Sprocket holes are missing on one side. Possibly the film was manufactured without them—or possibly someone has cut them off. Asked about this, Cartier-Bresson replies, “I swallowed them.”

This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 9

John Loengard
Yousuf Karsh "Winston Churchill" 1941
[Celebrating The Negative]
1941 (original image) 2008 (publication)

Gelatin silver print
Etherton Gallery
National Archives of Canada, Ottawa, Ontario
Hands: Yousuf Karsh, 2.16.94

“When I am with a camera, I feel I am the most important person in the world,” says Yousuf Karsh, describing his first encounter with Winston Churchill, on December 30, 1941.

Leaving the floor after addressing Canada’s Parliament, Churchill was surprised to find Karsh in the Speaker’s Chamber, prepared to take his portrait. The photographer stepped up to remove a freshly lighted cigar from Churchill’s lips. “It was an act of reverence, as I would shoo a fly off a person’s coat before I photographed him. By the time I was back at my camera he was looking as belligerently at me as if he could have devoured me,” wrote Karsh, who took the picture anyhow. He adds, “I was very happy with myself when I left the building. I knew I had it.”

Karsh crops out Churchill’s elbow in prints—as well as most of the chair and the upper part of the wall. As a result, he says he’s never noticed the three odd-looking black lines that appear on the negative, high above Churchill’s head and to the left.

This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 13


John Loengard
Richard Avedon "Ronald Fischer, Beekeeper" 1981
[Celebrating The Negative]
1981 (original image) 2008 (publication)

Gelatin silver print
Etherton Gallery
New York City
Hands: Richard Avedon, 5.3.94

Even before Richard Avedon started his project In the American West in 1979, he planned to photograph a man covered with bees. He advertised for a subject, and found Ronald Fischer, a Chicago banker and amateur beekeeper. After queen-bee pheromone was applied to his skin (to attract drones), the tall, shaven-headed Fischer stood patiently outdoors in Davis, California, while Avedon ran though a stack of 8 x 10 inch film holders, and they both got stung.

This photograph is included in the portfolio Celebrating the Negative photographs by published by John Loengard, Etherton Gallery (2008), pl. 18

John Loengard
Celebrating the Negative


Portfolio, page layout

Введение и заметки, очень любопытные:

I noticed that Richard Avedon held his negative barehanded. Imogen Cunningham’s son, Rondal Partridge, held hers that way too. Yousuf Karsh put on gloves, but he was holding his 1941 negative of Winston Churchill, a jewel in the National Archive of Canada…

For over 150 years, including when I made the photographs in this portfolio, every black and white photograph had to be made first as a negative. Since then, digital technology has caused the negative to become an obsolete industrial artifact. Perhaps the implications of that obsolescence will spark wider interest, but so far, collectors do not collect them, and most museums won’t accept them…

…I’m surprised by the widespread disinterest in the negative, because when exposed, it is the plan for what the print will show. I know that once in the darkroom, I’ll recollect how light fell upon the subject; what shadows I wanted to lighten; what gesture I’d hoped to see clearly, and what shapes I expected to dominate the scene, when color and one dimension vanished. All these commitments are lodged in the negative. Making a print simply brings them to life. Ansel Adams likened the negative to a composer’s musical score, and the print, to its performance. The serious work was done when the film was exposed. As Adams said, “It is especially rewarding to me when I am going through the thousands of negatives I have never printed, to find that I can recall the original visualization as well as discovering new beauty and interest which I hope to express in the print.”

Photographers treat their negatives differently. For example, Adams fussed with his zone system for exposing and developing film, while Edward Weston, who was equally dedicated to profound control of his image, used instinct…

См.:

http://www.luminous-lint.com/app/vexhib ... _01/2/0/0/

Colin Pantall's blog: Sally Mann

An excerpt from a question and answer session between Sally Mann and Stephen Cantor, director of What Remains — interesting what Sally Mann has to say about misconceptions about the responses to her work.

http://colinpantall.blogspot.com/2008/0 ... -mann.html

CNN Transcript - Larry King Live Weekend: The Lowdown on Hollywood Stars…

…Actually, "Vanity Fair" literally invented the notion of modern photographic portraiture.

Before "Vanity Fair," photographs were very, sort of, dusty- looking. And "Vanity Fair" invented, sort of, what is now considered, like, modern lighting in photographs and trying to capture somebody in a certain way, an iconographic way.

KING: And you have certain photographers that are you stock in trade, like Annie Leibovitz.

CARTER: Annie Leibovitz, Bruce Weber, Helmut Newton, Mario Testino, Jonathan Becker, Harry Benson…

http://transcripts.cnn.com/TRANSCRIPTS/ ... lw.00.html

Koen Hauser

Имя, которое имееется в «Новых фотографах 2007»:

http://corporate.gettyimages.com/market ... age=events

На его сайте — набор проектов (диорам… мнсталяций и т.п.); философия автора реализуется в миксах разных фотографий и цифровых манипуляциях.

Colin Pantall пишет о нем немного:

Time, distance and reinvention:



… In Cri de Couer, Dutch photographer Koen Hauser (via Mrs Deane) reuses his unfinished 'visual sketchbooks for unfinished work' to create strange but compelling combinations of text, archive and digital manipulations (I think) that become 'objects of their own'. It's hard to know what he means from his website, but you get an idea.

In De Luister van het Land ( The Lust of the Land - I'm guessing) he uses '250 photographs in which I interweaved old photographic narratives with my personal image in an installation on imagination and ephemerality'. Available now at a bookstore somewhere.

http://colinpantall.blogspot.com/2008/0 ... ntion.html

К примеру:

…Photograph I, 2006

Thinking of photographs as dioramas, framed illusional representations of real or surreal worlds, I created a life-size diorama representing a photograph. A grey child-like figure is lying on a bed in 1930's interieur totally made in black and white tints, that can only be viewed through a tinted glass of 65 x 90 cm.

http://www.koenhauser.com/

*
И, чуть ранее, о Сартре:

A Dangerous Liaison by Carol Seymour-Jones
details the relationship between Jean-Paul Sartre and Simone de Beauvoir in all its salacious and gossipy detail. Sartre expounded ideas of living in good faith at great length in his novels and philosophical writing. He also borrowed de Beauvoir's idea of the look to come up with a concept that (as the look or the gaze) heavily influenced both photographers and writers on photography.

…Sartre ossified himself into a French philospher totem - that's why he looked so much like a philospher should look.

Lithuanian photographer, Antanas Sutkus, captured this aspect of him in this great picture. He didn't get Sartre in among the squids of the sea, but did persuade him out onto this expanse of sand dunes near Vilnius, Lithuania.

http://colinpantall.blogspot.com/2008/0 ... iason.html

Там же — ссылки:

Towards diagnosis
of Lithuanian photography scene

Tadas Šarūnas

http://www.katse.org/index.php?id=147

(и ссылка на каталог на проекте, о котором уже был разговор:

http://www.3xpozicija.lt/?page_id=13&language=lt

http://www.3xpozicija.lt/wp-content/upl ... alogas.pdf

и журнал magazine postPhotography:

http://www.3xpozicija.lt/wp-content/upl ... nalas(post)fotografija.pdf

)

*
…review of A Dangerous Liaison from The Weekend Guardian.
by Joanna Briscoe

http://books.guardian.co.uk/review/stor ... 36,00.html

Ну вот, прошло 24-е апреля:

2 Canadians, 3 Chinese compete for new $50,000 photography prize
Last Updated: Thursday, February 14, 2008 | 1:24 PM ET
CBC News

Montreal's Raymonde April and Winnipeg's Sarah Anne Johnson have been named as finalists for the Grange Prize in photography, a new $50,000 award.

Five finalists for the award were announced Thursday, selected from across Canada and a different international region each year. This year the other entrants are from China.

They are Miao Xiaochun and Liu Zheng, both of Beijing, and Huang Yan of Changchun.

The winner of the award, named for the Grange, the historic home on the grounds of the Art Gallery of Ontario, is determined by online voting.

http://www.cbc.ca/arts/artdesign/story/ ... prize.html

Winnipeg photographer Sarah Anne Johnson wins $50,000 Grange Prize


Sarah Anne Johnson of Winnipeg, shown with small dolls that feature in many of her photographs, has won the Grange Prize.

Winnipeg photographer Sarah Anne Johnson, whose playful works incorporate hand-made dolls in scenes drawn from her experiences as a tree planter, has won the inaugural Grange Prize.

The $50,000 award created by the Art Gallery of Ontario and Aeroplan is for the best contemporary photography.

Johnson was competing with three finalists from China and another from Canada. The finalists were chosen by a jury.

Johnson, 31, entered the Grange competition with a photo of tree planting workers standing in a circle in early morning mist in northern Manitoba and a series of other works showing northern landscapes, often with clay figures.

She received 53 per cent of the 2,700 online votes for the atmospheric photos. Johnson has attracted unprecedented attention for such a young photographer. She sold 64 photographs from the series Tree Planting Project to the Guggenheim Museum in New York in 2005.

Johnson studied at the American Academy of Dramatic Arts in New York before gaining a bachelor of fine arts degree at the University of Manitoba. She completed her master of fine arts degree at the Yale School of Art in 2004.

She was awarded the Grange Prize at a ceremony in Toronto Thursday evening, and the AGO will display her work in spring 2009.

Sarah Anne Johnson
Tree Planting

February 4-March 12, 2005
Reception for the artist: Thursday, February 3, 6-8 p.m.



http://www.saulgallery.com/chronicle/johnson_tree.html

Sarah Anne Johnson artwork presented by Stephen Bulger Gallery


Bearded Man
Chromogenic Print / Dye Coupler Print


Guy and Graydon
Chromogenic Print / Dye Coupler Print


Untitled, planter on his knees
Chromogenic Print / Dye Coupler Print

http://www.bulgergallery.com/dynamic/fr ... %20Project

Trunk Show: Sarah Anne Johnson Tree Planting
By Alison Gilimor

ike many middle-class university kids, Winnipegger Sarah Anne Johnson worked as a tree planter. During three two-month stints in northern Manitoba, she lived in remote camps, endured heat, rain, muck and bugs, and performed stoop labour for the piecework wage of 10 cents a tree.
And she took photographs.
It turns out that the New York art world is fascinated by this Canadian subculture. Johnson, who studied at the University of Manitoba’s School of Art and then began an MFA in photography at Yale in 2002, was headhunted by New York’s Julie Saul Gallery even before she graduated. Her solo debut show in February 2005 received raves from the Village Voice and The New York Times for the way it blended two distinct working modes — deceptively casual photographs of her fellow planters, and photographs of her handmade tableaux featuring modelling clay figures.
Johnson’s profs at Yale had told her to pick one format and stick with it, but her stubborn conviction that “the two styles need each other to tell the whole story” became the foundation of her art. Individually, the works are funky, immediate and appealing. Taken together, their exploration of visual truth packs a conceptual punch…

http://www.cbc.ca/arts/photogallery/gal ... nneJohnson

The Grange Prize

http://thegrangeprize.com/index.html

http://thegrangeprize.com/artists.html

Мимо такого названия трудно пройти… да и проект симпатичный:

In between
Ronan Guillou
Sous Les Etoiles The Gallery
USA. New York, 08 May-20 Jun 2008


Ronan Guillou. Schoolboys

Пишут о новом взгляде автора:

Capturing the sudden moments of urban life: Ronan Guillou's photographs reveal peaceful environments disconnected from everyday life. Through the streets, we observe anonymous people in movement, in places that can be at once the origin and the result of a course. Their glances exceed their hopes and dreams.

The photographer observes banal locations, awaiting the precise moment for a character to emerge and fit involuntarily into a cinematic backdrop. He achieves an aesthetic without artifice in an intact yet spontaneous balance. Through the precision of his glance, he exposes the force of contrasts combined with the geometry of urban cities.

Attracted by this play of form, Ronan Guillou invents a new perspective of seeing what might seem insignificant.Sensitive and generous, the photographer collects coincidences between place and character. "I like this situation observing urban flow, where social and aesthetic differences live together. The city is rich with varied atmospheres, vibrations, and enigma. It offers us situations where characters can become unconscious actors of a sudden harmony." says Guillou.

Автор замечен:

Ronan Guillou received first prize in 2007 for his series "Passage," presented at the Museum of Decorative Arts of Paris (France), and was nominated in January 2008 for the Fondation HSBC pour la Photographie.

http://photography-now.com/popup_ausst_ ... gen=T60747

Коллекция:


San Diego, 2002
7x9 INCH, limited edition, edition of: 7
$1600


Canal Street, 2007
9x9 INCH, limited edition, edition of: 7
$1600

http://www.souslesetoilesgallery.net/co ... .asp?id=10

Для нас же — лишний повод подумать над судьбами и карьерами… Галерея Sous Les Etoiles — та самая, которая представляет Александру Катьер, по версии галереи, Russian, born in 1978. Alexandra began her photographic studies in Moscow. In 2003, she moved to New York where she completed a certificate program at the International Center of Photography. After graduating from ICP, she worked as an assistant in the studio of Mr. Irving Penn.

She was a participant of Art & Commerce, a traveling exhibition of emerging photographers that began its journey in D.U.M.B.O., NYC.

Recently she have been selected to be in DESCUBRIMIENTOS PhotoEspana 2006, Madrid.


ALEXANDRA CATIERE

http://www.souslesetoilesgallery.net/po ... 5&filter=5

Ранее — здесь:

http://forum.znyata.com/viewtopic.php?p=22132#22132

Suzanne, Amsterdam, 1999, tirage argentique, 40 x 50 cm, Ed. 10 ex

Moments
Mart Engelen
PHOTO 4 et Galerie Lucie Weill & Seligmann
F. Paris, 29 May-30 Jun 2008


Monique, Ameland, 1989, tirage argentique, 24 x 30 cm, Ed. 10 ex.

…Mart Engelen born in Heerlen 1960 The Netherlands

In 1980 he enrolled at University of Utrecht as a law student but switched after 2 years to follow photography classes. By coincidence he was discovered to be a model and worked professionally all over the world for a period of 6 years.

In 1991 he started his career as a photographer. Soon he was working on advertising commisions for clients such as PHILIPS, CANON, CITIGROUP as well as commercial editorials for international magazines like: Esquire, George, Interview, Vanity Fair and many others.

During his period in New York 1997-2001 he specialized in portraits. As a portrait photographer he captured many celebrities in the world of fahion, business, movies among whom: Woody Allen, Roberto Cavalli, Morgan Freeman, Richard Branson.

http://photography-now.com/popup_ausst_ ... gen=T60829

А вот какую мудрость там еще можно почерпнуть:

"It's very important that there is a certain honesty and spontaneity of the moment in my pictures."
Mart Engelen

Photography expresses itself through the sensibility of a lens, a light, a film.
A camera is nothing else but the extension of the human eye.

Photography is one of the highest forms of human sensibility. I believe that's why Mart is a photographer.Always searching for the depth,the lightness of the individual, of live of being. This high capacity of sensibility makes Mart's work unique.
Luc Clement, Memories 2003

As a close friend of Mart Engelen, I have had the privilege of sharing many of his memories. His pictures are a testimony to his strong creative force and demonstrate his keen eye for the soul of his subjects.

What divides the men from the boys in this art is your ability to go beyond the image in the picture and to reflect your interpretation of the world around you.
Jac Veeger

Галерея на PHOTO 4:

http://www.photo4.fr/artistes_engelen.htm

Belarusian Reality © by Andrei Liankevich/ AnzenbergerAgency

YOUNG EASTERN EUROPEAN PHOTOGRAPHY
An exhibition with 12 young talents from Eastern Europe and Russia.
Andrej Balco - Slovakia, Ivan Blazhev - Macedonia, Jan Brykczynski - Poland, Bevis Fusha - Albania, Andrei Liankevich - Belarus, Rafal Milach - Poland, Janis Pipars - Latvia, irina Dana Popa - Romania, Agnieszka Rayss - Poland, Max Sher - Russia, Filip Singer - Czech Republic, Igor Starkov - Russia.

May 20 to 23, 2008. Tuesday, Wednesday, Friday 2-7 pm, Thursday 10 am-6 pm

EAST PHOTOGRAPHY
Along with the book EAST the AnzenbergerGallery shows the fine art work of the 17 photographers featured in the book EAST published by moser verlag München
AnzenbergerGallery, Zeinlhofergasse 7, 1050 Vienna.
May 30 to September 15, 2008.

http://photography-now.com/popup_ausst_ ... gen=T60020

new book and exhibition: »east« by Regina Maria Anzenberger (editor)

http://www.anzenbergergallery.com/en/article/3.html

The agency remains – is perhaps now more than ever – a place for photojournalists with the ambition to witness the world and produce exciting photo-essays that are visually interesting and journalistically relevant. A meeting place for photographers from both East and West. A family, not a factory, dedicated to photography and quality. A place for people with passion. A virtual home for photography in the midst of Europe, the beautiful city of Vienna.” Regina Maria Anzenberger, Vienna, April 2008

Photographers: Andrej Balco, Ivan Blazhev, Jan Brykczynski, Sinan Cakmak, Davin Ellicson, Bevis Fusha, Christine de Grancy, Andrei Liankevich, Daniele Mattioli, Rafal Milach, Fatih Pinar, Janis Pipars, Irina Dana Popa, Agnieszka Rayss, Max Sher, Filip Singer, Igor Starkov

Essay by Ingo Petz
Texts by Robert Haidinger
Art Director: Lucie Schmid

Text: German and English
288 pages
Publisher: moser verlag münchen
May 2008
ISBN: 978-3-9812344-0-4

Price: Euro 59,-
cover and portfolio inside titles in gold.
size: 24,5 x 29,4 cm
slipcase

http://www.anzenbergergallery.com/en/article/1124.html

SFR Jeunes Talents Photo

9 April-8 June 2008

"SFR Jeunes Talents Photo" is a competition organized in association with Réponse Photo magazine. Its aim is to discover young amateur and professional photographers. Open to all, it posts photographs on the Web and on mobile phones, and offers the most talented contestants professional support. The Maison Européenne de la Photographie supports this initiative by offering an exhibition space to the winning photographer. Working on the theme of " the sequence ", the winner of the third competition, Corinne Burgaud, asked the painter Kanibal to pose with his personal belongings.

Corinne Burgaud was born in 1978 and has lived in Paris for ten years. Self-taught and fascinated by urban culture, she is particularly interested in graffiti and collage. As she meets different people, she transforms her solo work into a team effort, sharing her enthusiasm and spontaneity. Above all, her photography is about people.

http://photo.sfrjeunestalents.fr/prix-photo-2008/


Le Grand Prix du lauréat

SFR Jeunes Talents offre au lauréat :

une exposition d’une sélection de ses photographies à l’occasion de différentes expos SFR Jeunes Talents, notamment aux Rencontres d’Arles 2008, à Paris Photo 2008 et dans le futur « Le Studio SFR » à Paris.

Le lauréat sera invité à participer à ces événements emblématiques : les Rencontres d’Arles 2008, du 7 au 13 juillet 2008, et Paris Photo 2008, du 11 au 16 novembre 2008 (transport en France métropolitaine et hébergement offerts).

Un ouvrage monographique dans la collection SFR Jeunes Talents.

Une mise à l’honneur dans le magazine et sur le site SFR Jeunes Talents.

Une dotation de 5 000 Euros.

L’acquisition par SFR de 5 de ses œuvres, minimum, pour un montant total de 5 000 Euros.

Une exposition dans une galerie parisienne de renom en 2009

Un trophée réalisé par un artiste pour le "Grand Prix SFR Jeunes Talents Photo 2008"

Sans titre, 2000
Série Mariées marocaines

Valérie Belin
Photographs, 1996-2006
9 April-8 June 2008

Adhering to a precise protocol, Valérie Belin's photographs are remarkable in that they are at once spectacular and pared-down; they betoken an uncompromising approach that prohibits both projective assumptions and narrative drift.

Her work can be seen as an obsessive attempt to appropriate reality, in which the body, in the broadest sense, plays a determining role. When the body is not strictly speaking present in the image, an allusive figure reinforces the idea of its dematerialization or its absence. And when the body is explicitly represented, its status is that of a decorative feature or a mere object. This singular treatment of people and things is bound up with Belin's interest in a form of abstraction in photography.

Exhibition organized in collaboration with the Huis Marseille Museum, Amsterdam and the Musée de l'Elysée, Lausanne, supported by Neuflize Vie and sponsored by Figaroscope.


Sans titre, 1997
Série Venise II


Sans titre, 2006
Série Métisses

http://www.mep-fr.org/us/actu/vb.htm

Планируемая выставка:

Musée de l'Elysée, Lausanne, Switzerland,
November 6, 2008-January 4, 2009

См. галереи работ Valérie Belin:



2004 Valérie Belin


http://www.valeriebelin.com/works/

Вдогонку:

http://forum.znyata.com/viewtopic.php?t=4924

Просто чудесно:

World Pinhole Camera Day Camera



http://www.corbis.readymech.com/templat ... /WPCDC.pdf

Peyote


http://www.corbis.readymech.com/templat ... peyote.pdf

Другие камеры:

http://www.corbis.readymech.com/en

Фактс:

Q: Who designed the cameras?
A: Fwis, a small design firm based in NYC, created the concept for the flatpack paper cameras exclusively for their friends at Corbis! Yay!

Q: Will there be more in the series?
A: Yes, we will be periodically uploading new designs. Continue to check www.corbis.com/readycam for the latest and greatest.

http://www.corbis.readymech.com/en/faq

Думать квадратом…


SmogRanch

Hip Being Square



I'm posting this because I got an interesting comment regarding my explaining not doing black and white conversions from digital, and that I don't shoot color and black and white the same way. It seems that some people took offense to that, but I have another example of something along these lines.

I shoot a lot of square images with a Hasselblad camera. Recently someone looked at my work and said, "Ya, I do square too." "I just shoot my Canon 5D and crop it into a square."

Now this struck me kinda funny.

First, when I shoot square, I think square, and compose that way. And, I've chosen a film specifically for the ingredients it provides, in that particular camera and that particular lens. The falloff on the Blad is very different than my 5D, so shooting with my 5D and cropping looks very different than my Hasselblad. Better? Maybe, depending on what you looking for in your images, but regardless, they are simply not the same.

If you want a square, why not shoot square?

I think sometimes we rely on the wizardry of the computer to try and give us things that we are fooling ourselves to think we have. And, how much time do you want to spend per image to "mimic" what you could have had by just using the right tool for the look?

Another example of this is the work I have done with Kodak Tmax 3200 film. Over the years I've seen one tech expert after another try and mimic this film on the computer. What each of these experiments proved to me was that none of these people had used the film or it had been so many years they had forgotten what it looked like because the end result always looks like a digital file made to look like Tmax.

What I'm wondering about is if the digital file is the final frontier, why are all these software companies spending so much developing actions that "simulate the look of film?"

Am I the only one that finds humor in this stuff? Please tell me no.
So, in honor of this lunacy, let's honor the square for what it is. Square.

Полностью вот отсюда:
http://smogranch.blogspot.com/2008/05/h ... quare.html

Bourse du Talent 2008 : tremplin pour la profession
Kodak Professional, Photographie.com, Picto, Prophot et la Bibliothèque nationale de France encouragent la création photographique en instituant trois fois par an, la Bourse du Talent couvrant : le Reportage (17 avril), le Portrait (26 juin) et l’Espace, Paysage, Architecture (23 octobre).

http://www.photographie.com/?evtid=115490&secid=1

Sélection Bourse du Talent #34
Prison de plastique (les forçats du légume) / Christophe Chammartin
Présentation


Eloignés de leur famille, éloignés de la société andalouse et des centres urbains, les migrants vivent, au cœur des serres, en petite communauté organisée par nationalité. Un migrant marocain sans emploi nettoie la cuisine qu’il partage avec 5 compagnons, Campohermoso, province d’Almeria, avril 2007 © Christophe Chammartin


Les forçats des champs vivent discrètement au milieu des milliers de kilomètres de serres. Ainsi la société espagnole peut minimiser, voire nier les terribles conditions sociales dans lesquelles ils se trouvent. Près d’El Ejido, mai 2006 © Christophe Chammartin


Logement mis à disposition de migrants sénégalais par leur employeur, près de Tabernas à 70 kms d’Almeria, mai 2006 © Christophe Chammartin

http://www.photographie.com/?pubid=1047 ... =3&rubid=1

Calmen + Bech
HackelBury Fine Art Limited
GB. London, 25 Apr-31 May 2008

HackelBury Fine Art — Calmen & Bech


Nénuphars IV


Givre II


Prêles I

http://www.hackelbury.co.uk/artists/cal ... cb_sm.html

Working in collaboration to create captivating and mysterious landscapes, French artists Calmen & Bech consciously retain a sense of anonymity. In their alluring and atmospheric artworks an acknowledgement of time and place is not significant. Instead we are suspended in timeless space: the familiar transcends the everyday and the viewer is introduced to what they describe as 'the ends of our world.'

Firmly grounded in the strength and beauty of nature itself, the photographs of Calmen & Bech recall the Romantic era and the origins of the photographic medium. They revive artistic values first embraced by masters of nineteenth century photography such as Gustave le Gray, and later by the Pictorialists. The silvered waters of a lily pond, the twisted roots of the oak tree, and the lush grasses of a fog-swept field encourage us to reconsider our relationship to the natural world.

Though influenced by history and tradition, the work of Calmen & Bech offers a unique and contemporary point of view. Creating multiple panels that fragment the landscape, the artists weave texture and form in a way that appears almost cinematic. Shown in sequence, the photographs suggest the narrative for a story never fully told; the conclusion found only in the eye of the beholder.

Their international debut at New York's AIPAD Photography show was a resounding success with both private collectors and museum curators.

На сайте побольше:



Two glances of which trajectories oppose,
one rising towards the sky, towards infinity,
towards the country of the angels,
the other towards the depths of the earth,
towards the buried memory,
towards the country of the fallen angels.

Two glances which undergo the phenomenon of refraction
as we say of a beam of light deviated
from its trajectory when it crosses a transparent body.

Two glances diverted by the crossing of the body of the other one
and trajectories of which join on the suface of the water,
there, where the earth and the sky unite.

On the surface of the earth,
there, just in front of their feet,
there, where they will put their next step.

There, at feet of the tree,
between the roots which sink into the ground
and the trunk which rises towards the sky.

There, everywhere where remains the track of the angel.



http://calmen-bech.com/

Photolucida.org | 2008 Northwest Summer Portfolio Reviews

July 26th & 27th, 2008

The Reviews

Photolucida’s in-person Portfolio Reviews give photographers a chance to show their work to gallery owners, curators, editors, collectors and publishers from all over the US, but this time with a particular emphasis on professionals from the country’s Northwest region. The list is still growing, but check out the great reviewers that have confirmed so far. Photographers register for one-on-one meetings with the reviewers of their choice and receive 4 or 5 20-minute reviews per day. It's a great opportunity to put your work in front of people who love photography and make decisions. Numerous photographers have walked away with opportunities to exhibit, publish and sell their work after attending the Portfolio Reviews. Past attendees from our spring Reviews have included Donald Weber, Doug Dubois, Elaine Ling, Todd Deutsch, Dona Schwartz, Rachael Dunville, and John Chervinsky.

Registration fee for two days of Reviews is $475.

Photographer's Master Index & The Portfolio Walk

Just as we do at our spring Reviews, each photographer's contact information and a thumbnail image will be printed in a Photographer’s Master Index, a reference tool to be distributed to all of the reviewers to keep among their treasures. All registered photographers are also invited to participate in the Photolucida Portfolio Walk, an off-site casual exhibition of their work. It gives the photographers, the reviewers, and the general community a chance to see all the great work that has come together for the weekend. In previous years this has been a very successful event, drawing in large numbers of viewers from the area.

http://www.photolucida.org/nw_portfolio.aspx

Reviewers

http://www.photolucida.org/nwp_reviewers.aspx

Critical Mass

Critical Mass 2007 Results:

The Critical Mass 2007 book award winners are:

Hardbound: Joni Sternbach
http://www.jonisternbach.com/index.html

Softbound: Peter van Agtmael
http://www.petervanagtmael.com//main.php

Congratulations!

General Info on Critical Mass:

What Is Critical Mass?

Critical Mass is an annual juried competition sponsored by Photolucida. It is a valuable addition to Photolucida's popular in-person Portfolio Reviews, and offers an online submission and selection process. Critical Mass participants receive tremendous artistic exposure at a fraction of the cost of in-person reviews. 2007 is the fourth year of Critical Mass.

The aim of Critical Mass and all Photolucida programming is to provide participants with career-building opportunities and to promote the best emerging and mid-career artists working today.

http://www.photolucida.org/current.aspx

Joni Sternbach

Только вот была ссылка:
http://forum.znyata.com/viewtopic.php?p=32255#32255

(Все) Surfers:

07.02.18 #3 William

Statement / 8" x 10" tintype. Rincon

http://www.jonisternbach.com/gallery_surfers.html

Другие серии:

The Salt Effect


The Salt Effect: 08.04.08 #15 Salt Storm
Statement / 30" x 40" Archival Pigment Print.


The Salt Effect: 08.04.13 #3 In the Field
Statement / 8" x 10" unique tintype.

http://www.jonisternbach.com/gallery_thesalteffect.html

Abandoned


Abandoned: 05.10.07 #1A
Statement / 6.5" x 8.5" ambrotype. Deer Isle

http://www.jonisternbach.com/gallery_abandoned.html

http://www.jonisternbach.com/index.html

http://www.jonisternbach.com/information.html