For his book Photography Changes Everything, Marvin Heiferman spoke to experts in 3-D graphics, neurobiology, online dating, the commercial flower industry, global terrorism, giant pandas and snowflake structure to understand the infinite ways...
Writers on photography typically emphasize the importance of the still image. This immobility twice distinguishes the medium: first, from the other distinctively modern visual media of cinema and television; second, from the temporality or...
The series Afghan Dream is a long-term project I have been working on since 2011. Having lived for several years in Kabul, I wanted to record the experience of daily life in the city through my eyes as an author.
In 1983, and within the confines of small single room of an apartment or house, Italian photographer Guido Guidi undertook what at first glance could be considered a simple exploration of light. Here, in this unfurnished room with its two windows that sit diagonally opposite each other to one corner, Guidi produced a precise body of work — titled, Preganziol 1983 — that Roberta Valtorta describes in his essay “Space, Time, Void” as a “pearl of great price in contemporary Italian photography.”
Robert Hammerstiel est un photographe autrichien. Il s’intéresse aux univers vidéo ludiques dès les années 2000 et a réalisé plusieurs séries dans l’interface populaire Second Life. Capturant des paysages géométriques ou déconstruit, l’artiste étudie le besoin de l’homme de s’évader dans ces univers virtuels.
Munem Wasif is a young photographer from Bangladesh. His book Belonging is about Old Dhaka, the historic part of the country's capital, Bangladesh. Wasif lived for some time in this area and photographed the district's daily life. His work allows us to see the city from a personal perspective rather than through the lens of the news photographer, whose focus is often limited to the latest devastating flood or earthquake.
In January 2004, at a time when the French government was debating the banning of religious and political signs from schools, Catherine Balet started taking pictures of signs, labels, codes and icons that have a social and aesthetic significance in the world of teenagers. Extending the project from Paris to London, Berlin, Barcelona and Milan, it quickly became a record of the dress codes in European schools, referencing the tribal subdivisions.
At the end of the 1980s, you didn’t hesitate to explore digital technology. What led you to this exploration? I was lucky. I had stopped shooting fashion photography by then.
Mario Pires's insight:
Today's edition of L'Oeil de la Photographie is dedicated to Frank Horvat. He deserves a much wider recognition, it was after i saw one of his experiments in book lifestreaming that i decided to blog in 2001.
Viktoria Binshtok, contrairement à la plupart des artistes qui se sont intéressés à Google Street View, a décidé d’aller photographier elle-même sur les zones où la voiture Google passent. En comparant l’image de la machine et celle produite par l’homme, elle questionne le regard que nous portons sur le monde et la singularité de l’expérience physique.
There are a number of subjects that have been rather marred by the intentions of well-meaning photographers, who in attempting to draw more attention to these topics have had the perverse effect of making them less noticeable.
The 200 photographs in the José Medeiros exhibition Crônicas brasileiras (Brazilian Chronicles), on view at the Instituto Moreira Salles de Poços de Caldas through January 12, 2014, offer a wide-ranging historical account of the country from the 1940s to the 1960s, from the poorest and most oppressed members of society to its most powerful.