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Instagram — It’s About Communication — John Stanmeyer

Instagram — It’s About Communication — John Stanmeyer | Photography Now | Scoop.it

With discussions continuing on whether Instagram is just a fad or a publishing entity to embrace, thought it might be interesting to share the complete discussions I recently had with Olivier Laurent, editor of the prestigious British Journal of Photography. Last week he published a well written and researched article titled The New Economics of Photojournalism: The rise of Instagram. Everyone who uses any form of communication should read his story.

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« Press the button, we do the rest » : étude sur l’essence de la photographie

« Press the button, we do the rest » : étude sur l’essence de la photographie | Photography Now | Scoop.it

En 1988, Kodak scandait « Press the button, we do the rest ». Jean-Luc de Laguarigue s’interroge sur cette définition répandue de la photographie comme simple acte de prise de vue et cherche à comprendre « le reste », la mémoire photographique au-delà de la capture de l’image. Ses questionnements donnent lieu à …The Rest, une étude photographique réalisée sans appareil photo.

Mario Pires's insight:

"Les images de Jean-Luc de Laguarigue déplacent le regard photographique de la prise de vue au développement et créent un instant T à retardement. Car l’essence de la photographie n’est rien d’autre qu’une configuration créative du hasard, du temps et du regard, qu’elle est lieu à la prise de vue ou après."

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Media disruption (1): The primacy of the screen and mobile

Media disruption (1): The primacy of the screen and mobile | Photography Now | Scoop.it
What are the key features of the media economy in 2015? And how do those features effect the work of visual storytellers?
Mario Pires's insight:

"People are consuming more media, and doing it principally through screens of various sizes connected to the internet. Other platforms like print will persist, but in new and more limited ways. This is the media infrastructure producers need to know and work with."

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Je zappe et je matte (mes voisins). - OAI13

Je zappe et je matte (mes voisins). - OAI13 | Photography Now | Scoop.it

Caetano Grippo – « Les Fantômes » Quand un photographe en a marre de regarder la télé, il regarde ses voisins. Caetano Grippo, vidéaste brésilien, va clairement dans ce sens. Scènes de vie quotidienne et mystères digitalisés : bienvenue dans Les Fantômes.

Mario Pires's insight:

"Ces personnes sur mes images, c’est comme si elles n’existaient plus. De toutes façons, pour moi, à partir du moment où on capture une image, ce n’est plus la réalité."

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Comment lisons-nous les images? Les imageries narratives

Comment lisons-nous les images? Les imageries narratives | Photography Now | Scoop.it
A quoi servent les images? À illustrer des discours. Telle pourrait être en résumé l’impression que l’on retire des travaux appuyés sur les formes visuelles dans la période récente. Ayant à peu prè...
Mario Pires's insight:

"Avec le triomphe de la société de consommation et des médias de masse, l’après-guerre voit en effet le renforcement de dynamiques qui n’avaient jusque-là été prises en compte que dans les domaines de la publicité ou de la propagande. Le caractère de plus en plus massif de ces ensembles complexes les dote à l’évidence d’une emprise considérable sur l’imaginaire. Notre lecture des images dans l’espace social dépend en majeure partie du filtre imposé par ces répertoires."

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Interrogating The Notion of Documentary Truth: Stacy Kranitz – ‘As it was give(n) to me’

Interrogating The Notion of Documentary Truth: Stacy Kranitz – ‘As it was give(n) to me’ | Photography Now | Scoop.it

Charged with sexualized iconography of women, drug use and stereotypical characterizations of Appalachians, her work employs the tropes of the documentary tradition to reimagine and subvert the established form and intent of the genre.

Mario Pires's insight:

"When discussing As it was Give(n) to me, I find it necessary to acknowledge the level of consideration and research that has gone into the production of each image. The depth of Kranitz’s work offers a glimpse into the obsessive relationship between the artist and her process. She decisively shuns the fast-paced production model utilized by journalists for that of the long-form documentarians."

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A novelist and a photographer walk into a theater…

A novelist and a photographer walk into a theater… | Photography Now | Scoop.it

Over the three years I’ve been writing The Literate Lens, few events have screamed “blog post!” as loudly at me as the one I attended last night at Symphony Space, in which Sally Mann, the acclaimed photographer (who, by her own admission, rarely leaves her Virginia home), was in conversation with Nashville-based novelist Ann Patchett.

Mario Pires's insight:

"Mann thinks photography is easier. “So much is given to you as a photographer,” she said—from subjects to light and mood. “As a writer, you have to create the choices you make. I can’t wait to go back to being a photographer!” Patchett, who writes both fiction and nonfiction, said that photography was more analogous with nonfiction in that the subject already exists, whereas in fiction, “you have to make up the trees.” However, she contested the idea that photography was easier than writing, saying, “I couldn’t begin to do what you do,” then deadpanning wistfully, “I do like the idea of going outside, though. That sounds nice.” "

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Colloque “Où en sont les théories de la photographie?”

Colloque “Où en sont les théories de la photographie?” | Photography Now | Scoop.it

Durant la majeure partie du XXe siècle, la pratique photographique s’est accompagnée d’un important travail d’élaboration théorique, qui a contribué à structurer le champ. L’arrivée des technologies numériques a accéléré l’essor des usages de l’enregistrement visuel. Qu’en est-il de la préoccupation théorique dans ce nouveau paysage?

Mario Pires's insight:

"Les caractéristiques de l’enregistrement définissent-elles les contours des pratiques? Une approche générale de la photographie est-elle encore légitime? Les formes de l’authenticité sont-elles liées à une technologie?"

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Mise en scène et photo de presse : équation incompatible ? Entretien avec Emile Loreaux

Mise en scène et photo de presse : équation incompatible ? Entretien avec Emile Loreaux | Photography Now | Scoop.it

Quand on pense aux photographies de presse, ce sont avant tout des images de reportages qui nous viennent à l’esprit. Pourtant, un bon nombre de celles-ci sont aussi mises en scène et assumées comme telles. Qu’est-ce qu’une image de presse mise en scène ?

Mario Pires's insight:

"Je suis venu à me mettre en scène pour essayer d’aller un petit peu plus loin dans ce que je voulais faire passer dans une image, dans ce que je voulais dire. Je trouvais que le reportage limitait trop ma manière de traiter un sujet. La mise en scène me permet finalement d’apporter d’avantage de subjectivité et de jouer avec le réel, sans pour autant avoir le sentiment de m’éloigner d’une image qui parle de lui. C’est une manière de me positionner, de me placer, d’essayer de dire quelque chose en mon nom."

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London : Vee Speers at The Little Black gallery

London : Vee Speers at The Little Black gallery | Photography Now | Scoop.it

The Little Black Gallery presents Vee Speers new series Bulletproof in London, through May 16th, 2015.The new series follows six years after her infamous series The Birthday Party. Continuing the theme Speers now photographs these same children.Since then, much has changed - their bodies are taller, longer. Their faces have thinned and transformed. Speers has recorded it.

Mario Pires's insight:

"She has taken them to imaginary lands, playing fields, and curious places where these characters are ever prepared and always win. Vee Speers eternalises the fragile beauty of adolescence. She photographs a time that follows the first loss: that of childhood."

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Suzanne Perrottet: A Fragmentary Discourse of Bodies in Subtle and Grotesque Exertion

Suzanne Perrottet: A Fragmentary Discourse of Bodies in Subtle and Grotesque Exertion | Photography Now | Scoop.it

When dancer Suzanne Perrottet died in 1983, she left behind an extensive archive. Amongst the notes, letters, documents, and photographs were a number of banana boxes full of magazine and newspaper clippings. The boxes remained in the storeroom of Swiss photographer Giorgio Wolfensberger’s house for more than 30 years. When they were finally opened, they were found to contain tens of thousands of carefully catalogued images of human bodies in motion. Bewegungen (Movements) reproduces a small selection of this collection.

Mario Pires's insight:

"Perrottet was an obsessive recorder of the physical possibilities of the human body, from its most subtle gestures to its most grotesque exertions. Bewegungen offers a glimpse of this obsession."

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Collecting the Japanese Photobook

Collecting the Japanese Photobook | Photography Now | Scoop.it

Ryuichi Kaneko is a leading historian of Japanese photobooks, and over the course of four decades he has amassed a formidable collection of twenty thousand volumes, including magazines and catalogues.

Mario Pires's insight:

"In Japan the photobook has had special significance for photographers from the 1930s onward; from the 1950s to the 1970s, there was a widely accepted understanding that there were certain modes of expression that could only be achieved in the form of a photobook. The print was forgotten to a certain degree."

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Kara Woodward's curator insight, May 12, 2:28 PM

the Japanese photobook is a wonderful genre

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Views & Reviews Martin Parr on Paris Ihei Kimura 木村伊兵衛 Photography

Views & Reviews Martin Parr on Paris Ihei Kimura 木村伊兵衛 Photography | Photography Now | Scoop.it

Ihei Kimura… was Japan’s leading photographer of the immediate postwar period, and represented the dominant photographic aesthetic of that era: social documentary based on a broadly humanistic approach… Kimura… [was] influenced by classic photojournalism in the Cartier-Bresson mode, and [was] keen to set Japanese photography on a much more professional basis…

Mario Pires's insight:

"Ihei Kimura first attracted the world’s gaze when his photo collection of Paris,“Pari”, was released. At that time, he was traveling through several European cities and providing his photographic works to camera magazines. His color-photographs of Paris surprised everyone."

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Kara Woodward's curator insight, May 12, 2:29 PM

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La ronde de nuit des idées reçues

La ronde de nuit des idées reçues | Photography Now | Scoop.it

L’image a fait réagir, en France, à partir de sa reprise sous forme de tweet par le philosophe médiatique Michel Onfray, assortie d’un «sans commentaire» éloquent.

Mario Pires's insight:

Images deceive you, you can forge meanings just by placing your prejudices on a caption.

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Interview with Aurélien Valette of the Arles Multimedia Library

Interview with Aurélien Valette of the Arles Multimedia Library | Photography Now | Scoop.it

Last week we took readers on a visit into the archives of the Rencontres d’Arles. Accessible to all, the Arles Multimedia Library, or Médiathèque, features an unexpected audiovisual patrimony for researchers and photography lovers.

Mario Pires's insight:

"It should be seen as an online reference library related to the experience of the festival but not entirely. We also hope to give people  content  , create collections about photographers or subjects addressed during the festival. There are interviews, transcriptions of conferences and debates, over 50 hours of videos, documentaries, recordings from the Théatre Antique, hundreds of hours of sound, mostly from conferences."

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How Photos Beget Photos: Frida’s Flower Children

How Photos Beget Photos: Frida’s Flower Children | Photography Now | Scoop.it
I wonder if you’ve seen any of the “Maya girls” taken by AP photographer, Daniel Ochoa de Olza?
Mario Pires's insight:

"If perfectly nice in their display of youth, layer and pattern, what’s more illustrative is the way fresh blooms channel the allure of more exquisite flowers already planted in our cultural DNA."

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A Game of Expectations | Conscientious Photography Magazine

A Game of Expectations | Conscientious Photography Magazine | Photography Now | Scoop.it

A few weeks ago, I listened as a photographer described his work. It had something to do with the financial markets and how they operated, specifically how there was an ever accelerating trend towards financial transactions to be done by computers, while, at the same time, the equally accelerating trend towards embracing neoliberal policies was essentially gutting the kind of society large parts of us (those who are older than, say, 30) have been taking for granted.

Mario Pires's insight:

"Given how much power over the human imagination photographs have been having, there is something totemistic about them. We laugh or dismiss what we call “primitive” attempts by seemingly less sophisticated cultures to deal with our cosmos, with life and death. Yet when we encounter photographs, we essentially embrace the same primitivism, staring at a piece of paper or a pattern temporarily formed on a computer screen as if we were faced with what is depicted therein. It’s remarkable."

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Photography: The Instagram audience — more than just talent ? — Medium

Photography: The Instagram audience — more than just talent ? — Medium | Photography Now | Scoop.it
A May 2nd report on France 2 lit the fuse to the powder keg: Instagram may be the enemy of the professional photographer. On one hand, you have the true photographer, covered in costly equipment, and on the other, the amateur, equipped only with a smartphone (Instagram is only accessible with a mobile phone app) that allows you to cut out the professional.
Mario Pires's insight:

Instagram is a excellent model for a image distribution and licensing network. 

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Tim Tadder Shares What Inspired Him to Shoot One of His Most Popular Series

Tim Tadder Shares What Inspired Him to Shoot One of His Most Popular Series | Photography Now | Scoop.it
After we published the post about Tim Tadder’s Dia de los Muertos series going viral,  many people reached out wondering what inspired him to create the project.  So, I asked him.  Here is what he had to say.
Mario Pires's insight:

"On Halloween as the ghouls and goblins paraded through the neighborhoods the concept materialized, and Las Muertas was born. For the next month we studied the traditions of the Mexican holiday Dia De Los Muertos, and found that out scorched earth would be the perfect setting to depict the visiting of past spirits. Its eerie charred beauty matched perfectly with the designs of the traditional Dia De Los Muertos dress. during our production research we found LA based sculpture artist Krisztianna that made the most incredible Dia De Los Muertos art pieces. I new she was the perfect person to elevate this project and I needed her help."

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Trop simple, la photographie ?

Trop simple, la photographie ? | Photography Now | Scoop.it
Mais qu’arrive-t-il à la photographie ? Partout, elle semble au sommet de sa popularité, mais voilà qu’elle se fait très discrète dans un salon aussi prestigieux que le Salon de Montrouge, manifestation consacrée à la jeune création contemporaine.
Mario Pires's insight:

"La question devient plutôt : pourquoi semblerait-il que la photo seule ne suffise plus et qu’elle soit même un peu ostracisée (voir les mots de Safouane Ben Slama) ? Serait-ce parce que la photographie a déjà ses festivals, ses institutions et ses circuits de diffusion ? Ou parce qu’elle est devenue une pratique plus marginale chez les étudiants des écoles d’arts ?"

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Black nude (by Jeanloup Sieff, 1979)

Black nude (by Jeanloup Sieff, 1979) | Photography Now | Scoop.it

“I’m proud of the two adjectives, superficial and frivolous.” – Jeanloup Sieff

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Andrew Sanderson: The Single Image

Andrew Sanderson: The Single Image | Photography Now | Scoop.it
A few weeks ago Andrew Sanderson reached out to me. He had read an interview I had written for rfotofolio where I mentioned the confinement of the photographic project–20 images and a statement, wrapped up in a neat bow.
Mario Pires's insight:

"In the last ten years, there has been a shift away from creating single images to creating work in projects, shot with intention, created around a conceptual idea or a way of examining the world. My belief is that this shift has come from a variety of reasons."

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Tina Barney Talks to Us About Her New Exhibition, The Passage of Time, and the True Meaning of Portraiture

Tina Barney Talks to Us About Her New Exhibition, The Passage of Time, and the True Meaning of Portraiture | Photography Now | Scoop.it

In decade in which we obsess over change, be it catastrophic or fortuitous, the photographs of Tina Barney continue to remind us of that which is constant. Beginning the 1980s, she has captured the world, her world, in large-scale analogue photographs, laying bare the push and pull of tension and familiarity that run beneath domestic life.

Mario Pires's insight:

"When looking back, it never ceases to amaze me how I started off my career thinking that things were going to change. Thirty years have gone by and very little has changed, at least as far as the situations in my own life. Once in a while they change, and from time to time, I photograph that."

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Tseng Kwong Chi: Performing for the Camera, aCurator

Tseng Kwong Chi: Performing for the Camera, aCurator | Photography Now | Scoop.it

Combining photography with performance, personal identity with global politics, and satire with farce, Tseng Kwong Chi (1950-1990) created a compelling body of work whose complexity is belied by its humor and grace.

Mario Pires's insight:

"Remarkably, Tseng made virtually all the works on view here in the course of just ten years, before his untimely death from AIDS-related complications at the age of 39."

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Argentina Notebook: Q&A with Gaby Messina

Argentina Notebook: Q&A with Gaby Messina | Photography Now | Scoop.it

Jaime PermuthEleonora Ronconi and I are collaborating to explore contemporary photography in Argentina. We're looking at trends and how they relate to traditions; events, institutions and venues; as well as pursuing conversations with curators, academics, gallerists and photographers on what's happening currently.

Mario Pires's insight:

"I am interested in surrealism within realism. Play, an invitation to get out of the routine, which can be recreating characters, I mean acting, or a play with a touch of grotesque. Or it could be lighting. I work with flashes, and the natural and artificial light of the place where I photograph. But the idea always gives me the rest."

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Chère Fleur, comment photographier au musée ?

Chère Fleur, comment photographier au musée ? | Photography Now | Scoop.it
D’un côté, grâce à la touchante spontanéité de notre ministre de la culture, l’autorisation enfin accordée de photographier au Musée d’Orsay (un peu en retard sur ce coup-là, par rapport à d’autres institutions).
Mario Pires's insight:

Museums have had a very difficult relation with photography. Art should be appreciated and shared, and photography should be part os this relationship.

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