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Sarah Malakoff Untitled Interior

Sarah Malakoff Untitled Interior | Photography Now | Scoop.it
We received this portfolio without any statement. If the artist want to add a couple of lines, she is free to do it, we would be happy to publish it.
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Mihai Biris – Visitors

Mihai Biris – Visitors | Photography Now | Scoop.it

Visitors is a pure street photography series, nothing more. It came naturally as I think I was always fascinated by tourists and the way they are always lost in cities they travel, always searching on maps or GPS, trying to find another place to check on their list.

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PHOTOTALKS: YING LIGHT PAINTING (形.光)

PHOTOTALKS: YING LIGHT PAINTING (形.光) | Photography Now | Scoop.it

Inspired by the proliferation of art during the Umbrella Movement and in a good will to uplift spirits, a group of Hong Kong graphic designers, media workers and photographers teamed up to bring a dash of creativity to the city under its political haze. They called themselves Ying Light Painting (形.光). I talked to Alex and photographer Simon Lun about their intriguing project.

Mario Pires's insight:

"Camera is a medium that records light. We thought we can have more fun with light. Not only do we use flashlight and LED stick to render images, we want to establish a relationship between the rendered images and the environment."

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Être éditeur photo aujourd’hui : rencontre avec Jérôme Huffer

Être éditeur photo aujourd’hui : rencontre avec Jérôme Huffer | Photography Now | Scoop.it
Jérôme Huffer travaille au service photo de Paris Match depuis plus de 13 ans. Éditeur et maintenant chef du service, il a assisté et participé à la révolution numérique que vit la presse et le photojournalisme depuis une décennie.
Mario Pires's insight:

"Si les éditeurs photo ne sont pas intégrés dans les sites web, ils ne pourront pas participer à la construction d’un nouveau modèle économique. Les éditeurs photo font preuve d’un vrai soutien vis à vis des photographes. Et d’ailleurs, quand tu regardes quels sont les sites qui croissent d’un point de vue économique, ce sont ceux qui ont intégré des éditeurs photo à leur rédaction web (Lens, Lightbox…)."

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PHOTOTALK WITH STÉPHANIE ROLAND

PHOTOTALK WITH STÉPHANIE ROLAND | Photography Now | Scoop.it

1. You studied ‘Visual communication’. What is the difference between this and a ‘classic’ photography degree?


The multidisciplinary approach of the medium. The main idea that influenced me in the visual communication department at La Cambre was that you have to express your concept in the most relevant medium. We gained basic skills in illustration, typography, video, animation, graphic design, edition, etc. (in the applied arts field).

Mario Pires's insight:

"Digital manipulation is just one tool among many others to achieve the result I want. However, I’m frugal with manipulation because I like to construct real things for pictures and I love to try to find the best light possible for my pictures. However, coming from another background, I find the orthodoxy of some photographers who are afraid of or reject digital manipulation weird. It’s just a (relatively) contemporary tool that can be carefully chosen to work with or not."

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10 minutes with Hristo Shindov

10 minutes with Hristo Shindov | Photography Now | Scoop.it

When did you first know that you wanted to be a photographer?


It is a combination between me getting my first job after high school at an Advertising studio and not learning to play an instrument and becoming the music scene photographer instead.

Mario Pires's insight:

"Everything in my life has happened as one thing lead to another and as such I’ve no idea if any advice could or would work. Even the events I try to regret, when I look back, have been instrumental in developing other ones that I cherish. So in such way I try not to say “only if I…” as I have figured that it is pointless and I can’t change the past.
There are certain things that I know that could have been helpful to establish better report with other people – being less stubborn, more diplomatic…
In the end though – I know that if one treats others with respect and stand up for themselves it will lead to their chosen path."

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Sex, Cameras, Unlawful Meetings: The Night Lights of Lina Hashim

Sex, Cameras, Unlawful Meetings: The Night Lights of Lina Hashim | Photography Now | Scoop.it

The idea of the project is quite simple really. It's making visible that is supposed to remain invisible, it's about making a documentary project that, in the most direct manner possible, gets to the point of what it is like to be a human, something Hashim, whose 36-year life history is a phenomenal story of hope, conflict and despair all wrapped in one.

Mario Pires's insight:

"The project started actually because of  my interest in  the phenomena of Unlawful Meetings, The word in Arabic is Zināʾ (زِنَاء) And it is an Islamic law concerning unlawful sexual relations between Muslims who are not married to one another. It includes extramarital sex and premarital sex, such as adultery (consensual sexual relations outside marriage), fornication (consensual sexual intercourse between two unmarried persons), and homosexuality (consensual sexual relations between same-sex partners). Traditionally, a married or unmarried Muslim male could have sex outside marriage with a non-Muslim slave, with or without her consent, and such sex was not considered zina. (I'm keeping this part for another project)."

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Art-Writing Clichés to avoid this year...

Art-Writing Clichés to avoid this year... | Photography Now | Scoop.it

In today's newsletter artnet news lists 30 Art-Writing Clichés to ditch in the New Year. Here are some of my pet hates.

Mario Pires's insight:

"deconstructs
This is a paradoxical term in that the people who know what “deconstruction" actually was will probably roll their eyes. But the air of theoretical sophistication that it brings seems to me the main reason that it is so overused. Saying that Marilyn Minter's book featuring photography of female pubic hair "simultaneously deconstructs and glamorizes her subject" seems rather gratuitous, no?"

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Startling Portraits of WII Re-enactors Dressed as Nazi Soldiers

Startling Portraits of WII Re-enactors Dressed as Nazi Soldiers | Photography Now | Scoop.it

For Targets Unknown, Los Angeles-based photographer Stacy Kranitz inserts herself into the world World War II reenactment, inhabiting the role of Nazi propaganda.

Mario Pires's insight:

"Targets Unknown ultimately exists within this middle ground between truth and falsehood, between history and make-believe. An internet search for images from the time period recalls these new reenactment pictures alongside archival photographs preserved from the war, notes Kranitz, and as time passes, history is transformed by our own flawed perceptions. The project, explains the artist, is designed not to rectify the injustice of the past but to navigate those slippery boundaries that separate right from wrong."

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Blake Fitch: Dress Rehearsal

Blake Fitch: Dress Rehearsal | Photography Now | Scoop.it

Blake Fitch brought an interesting, well-seen project to PhotoNOLA, Dress Rehearsal, that depicts young girls in one of their favorite Princess character costumes.  As a photographer and mother, she is a participant observer of her daughter’s world of play and the current contemporary templates for adulthood that big business thrusts upon children.

Mario Pires's insight:

"As the mother of a four-year-old daughter, it was inevitable that I learn about the media phenomenon known as the Princess Culture (“PC”), developed by the media merchandising giant, Walt Disney. Introduced in the early 2000s to boost anemic sales in its consumer products division, PC has rocketed Disney sales into the stratosphere, causing other companies to jump onto the PC bandwagon. By re-branding its earlier movie princesses as well as creating new ones, Disney appeals to the previously-untapped demographic of young girls playing princess."

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Maggie Shannon – Teeth of the Sea

Maggie Shannon – Teeth of the Sea | Photography Now | Scoop.it

“My project Teeth of the Sea documents the relationship that residents of Martha’s Vineyard have with the ocean.

Mario Pires's insight:

"The ocean is a constant presence on Martha’s Vineyard, even the air has a consistent note of brine. Much like the sense of danger the shark represents in Jaws, I have tried to make the water into a similar force: nothing tangible but instead a lurking apprehension that underscores our fear of dark waters and the unknown. The photographs record places and scenes central to the storyline of Jaws, exploring ideas and relationships inspired by these events. In this project, I have mixed fact and fiction, myth and reality, and past and present to shape and inform a narrative about islanders’ relationship with the ocean."

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Twin Peaks Goes California

Twin Peaks Goes California | Photography Now | Scoop.it
all pictures by Werner Amann
If you've ever wondered what Twin Peaks might have looked like had it been filmed in LA, Surf Fiction by Werner Amann is the book for you.
Mario Pires's insight:

"Surf Fiction is lively fun but also a little bit sad. The characters you imagine you see, the stories you imagine they live are probably not too far from the reality of their sad existence. Twin Peaks is much happier when it's lived in Washington than New York. Or maybe not."

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The Photographer Pulled From the Trash

The Photographer Pulled From the Trash | Photography Now | Scoop.it

Recent "discoveries" have brought attention to photographers unrecognized in their own time including Irwin Denison Norling, Louis H. Draper and - most notably - Vivian Maier.  It is the mid-20th century Colombian portrait photographer José Marulanda, however, who has most literally been pulled from the dustbin of history.

Mario Pires's insight:

"Santiago Londoño cites the use of lighting, tonal range, and the sharpness of the images – abilities learned under the master de la Calle – as part of the reason the images impressed him. In addition to their aesthetic qualities, however, Marulanda's photographs have particular importance as social documentation, Lodoño said.  The images include men, women, children, and couples; subjects represent all ages and come from across the racial spectrum of Colombia."

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Classroom: Andrés Sánchez

Classroom: Andrés Sánchez | Photography Now | Scoop.it

This post features the work of Andrés Sánchez - who was our 12th microgrant recipient - and comments from his assigned mentor, Amani Willett, as well as additional comments from Dawn Roe.

Mario Pires's insight:

"My research work focuses on the search for the expression of pain, how to represent that feeling that is intangible and often inexpressible. My work also focuses on how the medical world objectifies the human body, how it analyzes, fragments, divides, classifies, encases, displays, invades, removes, transforms, wraps, sews and burns it, how it makes it sick and how it makes it better."

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Ed Ruscha on Studio Life, Domestic Life and Its Tax on the Creative Drive | AMERICAN SUBURB X

Ed Ruscha on Studio Life, Domestic Life and Its Tax on the Creative Drive | AMERICAN SUBURB X | Photography Now | Scoop.it

There was one period when I moved to Pasadena. I had a studio at 60 West Colorado Boulevard that was about 20,000 square feet.

Mario Pires's insight:

"I couldn’t mix the domestic life and the free form life, I just couldn’t. They’re sort of difficult to mix. I just couldn’t work, I can’t work with a kid over me. Sometimes I think I can. I like to have my boy come over here, and he sits down and draws and I encourage him to do that. But it seems like, no matter what, you just owe your attention to a child if he’s going to be around. If you think you’re not giving him attention, you still are, your mind is preoccupied with it. So when he’s around me, I can’t really get that much work done."

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Ed Bremner's curator insight, Today, 3:53 AM

A perennial problem for the creative mind, but somehow one which, in my experience at least, Mum's are better at playing.  
Although it is really about identity and the problems of trying to be both a 'creative' and a 'father' at the same time.  I know some, in fact many,  can find a way to make it work, but I know where this guy is coming from.

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A camera is a camera

A camera is a camera | Photography Now | Scoop.it
curtains, flashedAll cameras have some qualities of its own. A good camera doesn't even have to make images. For example the collection of Jan Boettcher contains a lot of nice cameras which don't make images.
Mario Pires's insight:

"The new purpose makes "memories" of million people. You could make them wherever you wanted with this cheap and portable device. The quality of the images was secondary. This is a trend that survived already more than a century."

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Alexa Vachon photographie le sexe dans les pornos et dans la vraie vie

Alexa Vachon photographie le sexe dans les pornos et dans la vraie vie | Photography Now | Scoop.it

Alexa Vachon est une photographe originaire de Toronto qui vit et travaille à Berlin. Quand elle demande à des personnes de poser pour elle, la canadienne ne fait pas que leur tirer le portrait : elle les photographie en plein acte sexuel et les invite à explorer leur sexualité devant son appareil photo. Entretien avec une artiste qui photographie des personnes avant tout et non simplement des organes génitaux.

Mario Pires's insight:

"Lors d’un tournage, mon « job » principal est d’être invisible et silencieuse. Je ne peu pas être un obstacle à la mission principale de l’équipe qui est de réaliser un film. Et comme maintenant je travaille surtout avec des personnes qui me connaissent déjà, ils me font suffisamment confiance pour me laisser prendre part à l’organisation du tournage. J’ai de plus en plus l’occasion de prendre des photos entre les prises et de demander aux performeurs de recréer des scènes ou des moments que j’ai vus pendant le tournage. Mon principal objectif est de montrer ce qui se passe quand les caméras ne fonctionnent pas."

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Paris: #JeSuisCharlie by Haytham Pictures Agency

Paris: #JeSuisCharlie by Haytham Pictures Agency | Photography Now | Scoop.it

That day, photographers from the Haytham Pictures Agency also mobilized for the Republican march organized in Paris, setting up two photo studios in the street near the Place de la République, managing to take over a hundred portraits of the demonstrators within a few hours.

Mario Pires's insight:

"Photographers of Haytham Pictures strongly believe that they are here to deliver information and stories, as honestly as possible, with a camera or a microphone. Photographers of Haytham Pictures are not just photographers; they are members, part of the administrative structure of the agency and participate in the strategic decisions process."

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Iconic Photos

Iconic Photos | Photography Now | Scoop.it

America’s current debate on its multiracial present should benefit greatly from remembering a moment from its recent past. It was a photograph which was widely reprinted back then, but not much since; of the United States’ civil rights struggle in the 1960s and the 1970s, many iconic photos had been made, but only a handful conveys the scale of anger and hatred this photo captured on May 28, 1963.

Mario Pires's insight:

"Take a good look at the young man pouring sugar over Trumpauer’s neatly coiffed hair, and then at the man smoking a cigarette, and at glaring eyes of the rest of the spectators. There were looks of anger, disdain, and apathy. Unsettlingly, they were not fighting some rearguard action for segregation. The majority of the mob were teenagers and students from nearby Central High School."

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Alan Vlach: Sand and Ice

Alan Vlach: Sand and Ice | Photography Now | Scoop.it

Photographer Alan Vlach brought stunning sand abstracts to the photoNOLA reviews, each captured and printed with great consideration.  Alan uses both traditional darkroom techniques and new technologies.

Mario Pires's insight:

"I am especially attracted to the visual potential of abstraction in my photographs. It allows us to recapture the wonder and awe that we lose as we identify, catalog and filter out information as a result of our education and experience. It provides an experience not unlike unmetered verse or improvisational jazz with its syncopation and dissonance. One must divest oneself of rules and fixed ideas to fully appreciate the experience."

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Margaret Adams Selects

Margaret Adams 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.

Mario Pires's insight:

"I have long thought about my photographic "family tree." How my professors and mentors have led me to become who I am now as a photographer/curator/professor. I learned the most from my professors who were truly working artists."

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"La photographie : c'est la mémoire du monde" (Roland Barthes)

"La photographie : c'est la mémoire du monde"  (Roland Barthes) | Photography Now | Scoop.it

We made a New Year’s resolution to publish an editorial every Monday, keeping you up to date on L’Oeil de la Photographie’s community, which grows every day. Then there was madness, the unspeakable, deadly intolerance, horror and, a few days later, an unprecedented moment, a communion, a gathering of one and all, a time of great and shared emotion where everything seemed possible.

This picture by Martin Argyroglo will stay as one of the main picture of this incredible week.

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Kin, le dernier livre de Pieter Hugo sur l’Afrique du Sud post-apartheid

Kin, le dernier livre de Pieter Hugo sur l’Afrique du Sud post-apartheid | Photography Now | Scoop.it

Avec sa série Kin, le célèbre photographe sud africain Pieter Hugo explore les paradoxes de la société et de l’identité de son pays.

Mario Pires's insight:

"La série fonctionne sur des contrastes, des contraires tels que le portrait et la nature morte, l’habit et le nu, l’espace intime et l’espace publique, qui permettent au photographe de révéler les paradoxes de la société Postapartheid."

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40 ans de photojournalisme, Génération agences, by Michel Setboun and Marie Cousin #10

40 ans de photojournalisme, Génération agences, by Michel Setboun and Marie Cousin #10 | Photography Now | Scoop.it

This image is taken from Michel Setboun’s third book about agencies. Eighty reporters were chosen to comment on one iconic image  taken during their careers. The image we’re publishing today is a picture by Vincent Leloup.

Mario Pires's insight:

"The streets were covered with black soot. So were the sheep, and the children leaving school. It was snack time. The city was covered with black smoke and a toxic substance released by the zinc factories. The companies said it was all harmless, and everybody went about like everything was fine, hanging their laundry and planting their gardens."

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QUESTION | Le support de la photo est-il plus important que son contenu ?

QUESTION | Le support de la photo est-il plus important que son contenu ? | Photography Now | Scoop.it

Une photographie du dessinateur Jean Cabut dit Cabu. Il sourit, la tête penchée. A partir de ce portrait, le graffeur Juis réalise, sur un mur de Marseille, une fresque aux couleurs joyeuses signée Je suis Charlie. Le soir-même, sur les réseaux sociaux, circule la photo de la fresque, illuminée par des petites bougies votives déposées au pied du mur. La photo d’origine se transforme, devient image, avant de redevenir une photo d’actualité. C’est aujourd’hui le destin des images que de se transformer et s’adapter pour mieux circuler et se transmettre. Mais le sens de l’image se modifie-t-il au gré des supports ? Et le support qui accueille la photo ne pourrait-il pas être finalement plus important que la photo elle-même ?

Mario Pires's insight:

"Mais qu’en est-il de la photographie, dont on dit qu’elle est elle-même un médium ? Il faut bien distinguer : ici, le mot médium renvoie plutôt à la pratique artistique et renvoie aux arts plastiques (la peinture, le cinéma sont des médiums) alors que dans la formule de McLuhan, il renvoie au média, c’est-à-dire à la notion de support."

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London/Pittsburgh by Mark Neville at Alan Cristea Gallery

London/Pittsburgh by Mark Neville at Alan Cristea Gallery | Photography Now | Scoop.it

The gallery exhibits thirteen works from these two significant projects, side-by-side for the first time. The pairing of Here is London (2012) and Braddock/Sewickley (2012) contrasts British and American society, further emphasises social disparities, and yet reveals behavioral characteristics which are shared regardless of economic circumstance, cultural factors or geographic location.

Mario Pires's insight:

"Mark Neville works at the intersection of art and documentary. His socially focused projects incorporate photography, film and book publishing and are often based upon new research by expert sociologists."

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