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Photography Now
The role of photography today
Curated by Mario Pires
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Yesena Popova – Urban Insects

Yesena Popova – Urban Insects | Photography Now | Scoop.it

“Urban Insects examines how a change in perspective can bring a new way to see ordinary objects.

Mario Pires's insight:

"The concept and the name of the project came naturally. My first photographs were ready and I looked at the machines’ systems – they resembled bugs. I decided to paint every system in a different color, to make them more vital. Thus they became Urban Insects. This series examines how a change in perspective can bring a new way to see ordinary objects."

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Zenon Texeira The Official Formula 1 Opus

Zenon Texeira The Official Formula 1 Opus | Photography Now | Scoop.it
“No driver, no person, will ever be bigger than Formula 1 itself.” – Bernie Ecclestone.

The gallery CAMERA WORK presents The Official Formula 1 Opus Exhibition. The exhibition shows a selection of 40 portraits of the greatest legends from the history of Formula 1 – created by the artist Zenon Teixeira.

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On the NYT Mag “Abortion by Mail” Cover

On the NYT Mag “Abortion by Mail” Cover | Photography Now | Scoop.it
Of course, the design is superb. Form following function, right? But notably, this cover is more important than it is cool.
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8/30/14 The Morning Coffee: The Rembrandt of Chicken Photographers

8/30/14 The Morning Coffee: The Rembrandt of Chicken Photographers | Photography Now | Scoop.it
I have many favorite photographers whose work I try to keep up with. One from Britain, Kate Kirkwood, is, in my soberest judgment, the greatest photographer of chickens ever to have lived.
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Art Producers Speak: Jonathan Kozowyk

Art Producers Speak: Jonathan Kozowyk | Photography Now | Scoop.it

How many years have you been in business?

I’ve been working in the industry for a little over 12 years. I started out assisting, and have been shooting on my own for about 3 years now.

Are you self-taught or photography school taught?
I went to Massachusetts College of Art for Graphic Design, but knew I wanted to make photographs. After I graduated I pursued my passion for photography and I was really lucky to apprentice some talented folks.

Mario Pires's insight:

 "I try to make pictures everyday, even if I am stuck in front of the computer doing post work, bidding on projects, or even while on phone calls. Sometimes they are just pictures of my dog or of people around the neighborhood.
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Katarzyna Mazur – Teaserettes and Teasers - workshopx

Katarzyna Mazur – Teaserettes and Teasers - workshopx | Photography Now | Scoop.it

Teaserettes and Teasers group started in Berlin 9 years ago. The idea was simple: to combine comedy with performance and top it off with a generous portion of sex-appeal. Dancing, singing, stand-up and setting breasts on fire are just a small example of their repertoire.

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On Making and Publishing a Book – For Photographers

“Passion and Purpose” – The credo put forth by Robert Frank as the necessary ingredients to creating successful and meaningful photography. I would add to that another, “Perseverance”. In any endeavor it would be impossible to attain true success without Passion and Purpose. Many photographers exhibit either passion, purpose or perseverance but the ones that succeed exhibit all three.To create a successful photography book you must exhibit these three traits.

Mario Pires's insight:

"I doubt the first publisher who sees your book maquette will publish it. Probably not the second, third, fourth, fifth….. You can not let rejection be a reflection upon the merit of your book or more importantly you. There are many publishers and most won’t be right for your book. When your book is rejected politely ask what it that the publisher is looking for. If you see a common denominator from publishers possibly adjust your book to eliminate the problem."

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Marie Destot & Marilia Destot

Marie Destot & Marilia Destot | Photography Now | Scoop.it

Two photographers from France and Brooklyn respectively are taking part in today’s ‘The Swap’ by the name of Marie Destot and Marilia Destot http://theswap.info/mdmd.html.

Mario Pires's insight:

"We’re posing together but we take turns with the remote and then each of us decide of the moment and somehow takes its own picture. I don’t remember exactly who took what actually, i guess from arm positions that my mum took the one with eyes closed, and me the one with eyes open, though it doesn’t really matter to me. We liked the idea of symmetry and reversed clothes and eyes position,  evoking the mirror idea of this swap, the reflection of time passing and exchanging roles = the photographer becomes the model and vice versa."

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An interview with Trent Parke - Try Hard Magazine

An interview with Trent Parke - Try Hard Magazine | Photography Now | Scoop.it

Your most recent series, The Black Rose Diaries, seems to be an ever-evolving body of work, which you have spent the last six years making. Could you explain a little about the project and perhaps how it came about?

The Black Rose Diaries initially started as a Magnum project. Each year my agency, Magnum Photos, gathers for the annual AGM in either the New York, London, or Paris office.

Mario Pires's insight:

"I have always been a storyteller and I am always working towards the book as the final work. It’s very hard to tell a story with those types of single stand-alone street images. I am interested in ideas. I am not interested in doing the same thing over and over again. The reason I take photographs is to make discoveries for myself. Always trying to piece together the puzzle, that’s where I get my rush. Once I find the answer I am looking for that’s usually it for a project, the excitement and energy is gone. I move onto something else, or away from that subject matter until I can view it with fresh eyes again."

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Dorthe Nors on Bergman

He lived on a small island called Faro, north of Gotland, where he would plan his films, write the scripts, make the screenboards, and everything. He limited his activities: Besides working and thinking, he might go for a stroll. In the late afternoon or evening, he would have visitors over to go and look at a movie in his cinema. And that was his routine, every day.That’s pretty disciplined to me — living primarily in service to one’s art.

Mario Pires's insight:

"We can separate artistic pain, the experience of feeling deeply, from leading a painful life. One is not a requirement for the other. What’s interesting about Bergman — he shows you can use your demons to pull your way through life. You can use them for good things instead of trying to let them destroy you."

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Edgar Allan Poe

Edgar Allan Poe | Photography Now | Scoop.it

Edgar Allan Poe, American, 1809 - 1849
ca. 1847
daguerreotype

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How Nazraeli's Chris Pichler Determines Book Prices and Print Runs

How Nazraeli's Chris Pichler Determines Book Prices and Print Runs | Photography Now | Scoop.it
The founder of Nazraeli Press explains how photo books are traditionally priced, and what photographers need to know about the changing business of book publishing.
Mario Pires's insight:

"I'm surprised sometimes by how many people—photographers or otherwise—imagine that all books are printed in editions of tens [of thousands] or hundreds of thousands of copies. Very, very few books, especially art books, are printed in runs that even begin to approach that figure. Our highest print runs are closer to 5,000 copies, and standard runs are closer to 1,000 copies."

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‘A Tale of Two Cities:’ Bushwick and Disco Collide in These Photos of NYC in the 1970s and 1980s

‘A Tale of Two Cities:’ Bushwick and Disco Collide in These Photos of NYC in the 1970s and 1980s | Photography Now | Scoop.it

For A Tale of Two Cities: Disco Era Bushwick, photographer Meryl Meisler delves into two distinct archives of New York City history, merging under one volume her snapshots of a thriving Manhattan night life and a struggling Bushwick, Brooklyn. In her 20s, Meisler frequented such hot spots as Studio 54, Paradise Garage, or Xenon. Just a few years later in 1981, she took a job as a public school art teacher in Bushwick, where she began shooting in daylight, capturing an untold story that persisted just a few miles away from a flourishing Manhattan.

Mario Pires's insight:

"Under Meisler’s gaze, Bushwick and Manhattan run parallel to one another as an unlikely set of twins, obviously divergent yet united under the ineffable energy of a particular era in a single city. Despite the social tensions that at times divided disco-era New York, both bodies of work exude a palpable thrill of vitality."

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The Problem of Critical Issues as “Bottom-Tier” Visual Stories: Take Education

The Problem of Critical Issues as “Bottom-Tier” Visual Stories: Take Education | Photography Now | Scoop.it
It has become something of a photojournalistic convention to go for the shocking image. Everyone knows that if it bleeds it leads.
Mario Pires's insight:

"At the same time, the photo invites us to relate this particular teacher and these particular students in this particular classroom to concerns over Common Core and cynical attitudes about national education standards. Notice, by the way, how the caption proximally relates what the teacher is doing in the lead sentence to the status of these guidelines."

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Jeunes photojournalistes, pourquoi dépensez-vous vos économies pour partir en guerre ?

Jeunes photojournalistes, pourquoi dépensez-vous vos économies pour partir en guerre ? | Photography Now | Scoop.it
Ils ont une trentaine d’années, peu d’expérience, pas de magazines derrière eux, et pourtant, ils décident de partir photographier des conflits, en supportant tous les coûts et sans aucune garantie de vendre leurs images.
Mario Pires's insight:

"Je n’ai pas réellement choisi d’autoproduire mes sujets. Je suis arrivé dans le milieu il y a deux ans maintenant. Je ne disposais pas encore d’assez de contacts mais je voulais témoigner et produire. Je suis donc forcément passé par l’autoproduction en attendant d’avoir peut être la chance d’obtenir des commandes. Peut être qu’un jour j’attirerais l’attention de quelqu’un."

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Vittorio Daniele's curator insight, Today, 1:27 PM

Hanno 30 anni, poca esperienza, nessuna testata giornalistica dietro di loro,  nessun incarico ma decidono di partire per fotografare in guerra, sobbarcandosi tutti i costi e non hanno nessuna garanzia di vendere le loro immagini. Questi fotogiornalisti, designati come la nuova generazione, sono costretti ad autoprodursi per iniziare a mostrare il loro lavoro e farsi conoscere.

Le spese da sostenere per almeno tre settimane a Gaza o in Siria sono molto alte. Per iniziare il biglietto aereo di andata e ritorno, vitto e alloggio. Ma una volta arrivati sul campo, ci sono altri tipi di spese fisse: l'interprete, una guida indispensabile per la logistica e per i collegamenti sul posto, auto a noleggio, assicurazione, giubbotti antiproiettile, casco, etc etc. Tutto questo  facilmente supera i 3000 €. Questo investimento è enorme per chiunque, e specialmente per i fotogiornalisti non ancora affermati e che non hanno nessuna certezza di riuscire a "piazzare" il loro lavoro. Con la grande crisi della carta stampata sono ormai sempre di più i fotografi free-lance sui campi di battaglia.La crisi  non ha colpito  solo  i giovani, ormai anche noi, quasi cinquantenni,  pur non andando in guerra, siamo costretti ad autoprodurci senza nessuna garanzia di riuscire a "piazzare" i nostri lavori.

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Between Affect and Apathy: Roe Ethridge’s Sacrifice Your Body

Between Affect and Apathy: Roe Ethridge’s Sacrifice Your Body | Photography Now | Scoop.it

Sacrifice Your Body begins like a magazine with a Chanel ‘ad’, before pivoting into a kind of faux film noir, and then on against its grain through a series of diaristic ephemera that yoke together in dissonant absurdity the landscapes of central Florida, and downtown Paris.

Mario Pires's insight:

"The book is intensely object-driven, in the sense of possessing an unwavering fascination with the surface of commercial goods. However, even as the photographs continually evoke the question of desire, their stress on the alternating extremes of pastiche and banality suggest that desire’s influence is inescapable."

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Stallabrass on the complicity of Art and the Market

Stallabrass on the complicity of Art and the Market | Photography Now | Scoop.it
“Art overruns the borders of local particularity, aiding the transformation and mixing of the world’s cultures and economies. The progressive and regressive aspects of this process are inextricably related.
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CGSociety - Building 3D with Ikea

CGSociety - Building 3D with Ikea | Photography Now | Scoop.it

The IKEA team didn’t feel there was anything wrong with traditional photography, quality-wise. Like any company, they just wanted to make things easier for the team to work on - to make the process simpler, cheaper and faster. With traditional photography, you need to have prototype furniture being built in different parts of the world shipped over so it can be photographed. Everything needs to be there on time and it can be logistically difficult, expensive and not that environmental. Then if there are changes everything needs to be re-shot. With CG re-creations of pieces, it removes a lot of this difficulty. However to start with, Martin says, “There was no vision initially to create entire rooms in CG, like we do now. We just wanted to create the individual pieces - the ones you see on white backgrounds on the web.”

Mario Pires's insight:

It makes perfect business sense for IKEA to follow this workflow that doesn't use photographers. It's not a shape of things to come, it's a reality, and it will spread everywhere.

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Nils Jorgensen: What Was He Thinking?

Nils Jorgensen: What Was He Thinking? | Photography Now | Scoop.it

Nils Jorgensen is a minimalist based in London.

Describe what was happening at the moment of exposure - Nothing as far as I recall.  I was wandering about, in a bit of a dream no doubt.


What were you thinking? - I do not remember.  It’s a while back.


What were you looking for? - I don’t remember that either, but not a sequence, which was something which occurred to me later.
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Yoav Horesh Selects

Yoav Horesh Selects | Photography Now | Scoop.it

The premise here is simple: to ask a curator, blogger, editor, photographer or other person involved in contemporary photography to select five portfolios of work that they are currently excited about to recommend to the rest of us, placing emphasis - ideally - on work that hasn't seen heavy rotation online. The portfolios are not presented in any sort of order.

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We Recommend: Laurent Chehere de Fototropía

We Recommend: Laurent Chehere de Fototropía | Photography Now | Scoop.it

Chehere Laurent is a French photographer who decides to leave his advertising work to travel and explore cities, suburbs and countries around the world as an inspiration for his photographs. In his different series he covers from reportage to conceptual photography.

Mario Pires's insight:

"According to Chehere, each of the building is a story to tell: freedom, escape, fun, drama, poverty, hope, fantasy, romance, beginning or end; according to the story that every viewer wants to read."

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Giving Away Photos to Make a Profit

Giving Away Photos to Make a Profit | Photography Now | Scoop.it
With the changes sweeping over photojournalism, Getty Images has been anticipating the needs of both viewers and editors.
Mario Pires's insight:

If customers are going in a different direction or they find a better way, a cheaper way or a quicker way to get the picture, you better supply it to them or somebody else will.”

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Another country

Another country | Photography Now | Scoop.it
This is a long piece. It’s got a lot of images. Most are being published for the first time, but I hope it doesn’t come over as too self-indulgent, and is perhaps more ‘reflective’.
Mario Pires's insight:

"My own slide into photography was gradual. The images I’ve come across reflect this growing interest, illustrated in the negatives I’ve recently been scrutinizing and scanning. Although I’ve worked professionally as a photographer for thirty years, I made a decision early on to combine it with other work, on a part-time basis. There’s a saying in the West Highlands that “If you only have one job, you’ll often have no job”, and it’s something I’ve heeded."

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La ravaudeuse de souvenirs | Léa Deligey

La ravaudeuse de souvenirs | Léa Deligey | Photography Now | Scoop.it

Léa Deligey se décrit comme une ravaudeuse de souvenirs. En effet, à partir de photographies anonymes, sans contexte ni propriétaire, elle crée une histoire, inventée de toutes pièces

Mario Pires's insight:

"Toutes les photographies n’ont pas le même destin.

Il y a les photographies anonymes, promises à l’abandon puis à l’oubli.

Les images traversèrent le temps physiquement, mais leur histoire à chacune s’est perdue en chemin.

L’oubli a tout recouvert, et depuis la mémoire est muette.

Orphelines du temps, je les ai adoptées."

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Dani Gherca – A Diagram of Periphery

Dani Gherca – A Diagram of Periphery | Photography Now | Scoop.it

“Trough photography I am trying to clarify to myself why some contingencies that I live cause me negative emotions, how this reactions are triggered and what is the relationship between rational and emotional. I am using the photography as an interment to understand if my anxiety emotions are triggered by actual events or by the cultural interpretation that I have on those events.

Mario Pires's insight:

"The structure of the statement takes in the form of Keywords. These words are traces left by the need that I felt when I took the photos. The Keywords are the bridge between photography the viewer and my own need to know myself through photography."

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