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In his latest work John MacLean uses colour as a ‘guide and structure’ to inform his image-making process and to question the very DNA of colour

In his latest work John MacLean uses colour as a ‘guide and structure’ to inform his image-making process and to question the very DNA of colour | Photography Now | Scoop.it

From the very earliest days of the photographic medium, experiments where directed at capturing a colour image; however most of the early processes that where developed — such as the Hillotype, by the American Levi Hill (1816-unknown) — exhibited an extremely limited range of hues, or where frequently unstable and in practical.

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Thomas Alleman: The American Apparel

Thomas Alleman: The American Apparel | Photography Now | Scoop.it

Los Angeles-based Thomas Alleman's commentary on the ubiquitous and perturbing images that constitute American Apparel's ad campaigns.

Mario Pires's insight:

"The sexual fantasies portrayed in those sleek, graphically simple ads are surrounded by the very complicated reality of LA's visually chaotic urban landscape, whose grit, anarchy and blight are at odds with the blithe spirit of those strange billboards. My photographs document the "dialogue" between LA's built environment and American Apparel's groovy, pervy teenage daydreams."

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What If Clients Don’t Really Need ‘Professional Photography’?

What If Clients Don’t Really Need ‘Professional Photography’? | Photography Now | Scoop.it
Author’s disclaimer: This article is aimed toward commercial, business-to-business photographers. Consumer photographers may get something from it as well, but there are different market forces at work in that genre.
Mario Pires's insight:

"Perhaps it is time for photographers to start focusing on what they deliver: visual solutions. engagement, and brand awareness.

And those solutions may be photographs, photo illustrations, motion, full video, social media graphics, Instagram/Vine combos… whatever it takes to create something that helps a client grow their business."

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PHOTOTALK WITH HELEEN PEETERS

PHOTOTALK WITH HELEEN PEETERS | Photography Now | Scoop.it

Tell us about your approach to photography. How did it all start? What made you become a photographer?

Mario Pires's insight:

"The camera is a tool that stands in relationship to the eye. The eye stands in connection with every viewer’s intellectual experience. The result is that every perceived optical phenomenon by means of intellectual association transforms into a personal conceptual image. Essentially this describes ‘vision’ in the broadest sense of the word. I like the kind of photography that takes this stand into consideration. These works question the function of the image and the construction of subjectivity in our contemporary culture. By creating multiple voices, you let go of control. Nothing is linear, lines crisscross, coincide and change direction. The viewer has the freedom to decide the rhythm and the form in which the work develops."

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‘The First Celebrity Chef': Photos Take Us Inside the Kitchen of Marco Pierre White

‘The First Celebrity Chef': Photos Take Us Inside the Kitchen of Marco Pierre White | Photography Now | Scoop.it
When chef Marco Pierre White, famously recognized as the original celebrity chef, released his cookbook and memoir White Heat twenty-five years ago, he became a cultural icon.
Mario Pires's insight:

"Clarke envisioned White as a figure both cool and dangerous, unbalanced and invincible, outfitted always with long, tousled hair and a perpetual cigarette. In conversation with The Guardian, the chef notes that today, he looks back on these youthful photos as evidence of a dissatisfaction and anguish that bubbled beneath his aloof exterior."

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 Corinne Mariaud’s “I Try So Hard”

  Corinne Mariaud’s “I Try So Hard” | Photography Now | Scoop.it
For her latest exhibition, I Try So Hard, Corinne Mariaud examines the figure of the model and focuses her attention on the smile. While the smile is an important part of the image of women in the fashion world, what becomes of it through the lens of an art photographer?
Mario Pires's insight:

"Mariaud offers two ways of looking at the smile: one relies on duration (video) and the other on repetition (photo series). In the videos, the models are filmed  head-on for two minutes, a smile frozen on their faces. As time passes, their faces contort, showing their discomfort and the difficulty of holding the pose."

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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, January 25, 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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PTP #2: NG SAI KIT tags LAI LON HIN

PTP #2: NG SAI KIT tags LAI LON HIN | Photography Now | Scoop.it

To Ng Sai Kit (吳世傑), ‘city’ is a museum of never ending images. He carefully selects the scenes, captures them on negatives and gives the images a new meaning and a new home.

Mario Pires's insight:

"My series often start with an ambiguous idea, which I develop into a more complete concept and subsequently photographic images by wandering on the street and taking photos instead of dreaming it up in front of my computer. The interaction of my perspective with the real world, as well as my personal preferences, are the backbone of my artistic endeavour. My perspective and preference act as a unique filter of reality, while they may be altered by the external environment to develop new “pictures”."

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Porno et érotisme au féminin : où sont les hommes ?

Porno et érotisme au féminin : où sont les hommes ? | Photography Now | Scoop.it
Encore aujourd’hui, la majorité des films pornos et érotiques sont réalisés par et pour des hommes. Mais depuis plusieurs décennies, les femmes se placent de plus en plus sur ce marché, cherchant à proposer leur vision du sexe.
Mario Pires's insight:

"Quand dans les années 1980, de multiples mouvements féministes fleurissent, les activistes se retrouvent face à un constat : les photos et films érotiques sont truffés de stéréotypes dégradants et réducteurs portant atteintes à la liberté de la femme. Comment réagir à ces images ? Faut-il en faire la condamnation morale ? Une idée révoltante pour certaines de ces féministes : les femmes aussi sont constituées de désirs, de fantasmes et sont soucieuses de leur plaisir sexuel ! Non, il faut simplement se mettre à produire des films qui révèlent que les femmes ne définissent pas sexuellement en fonction des hommes et que leurs fantasmes n’appartiennent qu’à elles-mêmes."

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New York: Pheromone Hot Box at Steven Kasher

New York: Pheromone Hot Box at Steven Kasher | Photography Now | Scoop.it

The exhibition showcases the work of five young women photographers: Aneta Bartos, Amanda Charchian, Shae Detar, Olivia Locher, and Marianna Rothen.  These young artists share a common method of bringing themselves and their friends to a location where they enact loosely scripted narratives, usually in the nude. These photographs address notions of the post-selfie and confront post-feminist ideologies. 

Mario Pires's insight:

"The understood biological purpose of pheromones is creation. In addition to reproduction in the organs, creation manifests itself for the female artist as an expanded conduit for communication of pheromones between spiritual and material realms. Exuding from the female psyche, these images become an imprint from this hotbox of uninhibited vision. The tension created by sending these pheromones into a biologically confounded process is specific to photographing another woman intimately."

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Simone Lueck: American Movie

Simone Lueck: American Movie | Photography Now | Scoop.it

Photographer Simone Lueck has been creating work about perceived identity for some time.  She has a new body of work, American Movie, that again takes a look at perceived identities through movies using various approaches to her investigation.

Mario Pires's insight:

"American Movie includes a collection of casting calls. Working in various locations across the U.S.A. and in Berlin, I held open casting calls for familiar characters, simply to see who would show up. How a person reacts to a casting call tells us a lot about how they imagine themselves in a given roll-in other words, how the person and the roll intersect within their fantasy."

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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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