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Tomé Duarte - Amor e Ódio, Diários e Fotoreportagem Vol.2

Tomé Duarte - Amor e Ódio, Diários e Fotoreportagem Vol.2 | Photography Now | Scoop.it
Amor e Ódio, Diários e Fotoreportagem Vol.2 Tomé Duarte booklet, hand sewn with red silk 48 pp, 28 x 20cm edition of 100, signed and numbered laser xerox on 80g recycled paper 8€ flat rate / worldwide shipping included "volume two for an ongoing xerox...
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Photography Now
The role of photography today
Curated by Mario Pires
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20 Years of Ebola, and How Photography Has Changed

20 Years of Ebola, and How Photography Has Changed | Photography Now | Scoop.it

With all the visual focus on Ebola, a photography writer asked me the other day how the news photos of the outbreak this year compared with those from the past two decades.

Mario Pires's insight:

"It seems photojournalism today seeks to much more intentionally stir strong feelings and emotions. In so many instances, however, one has to ask how much the emotion ups our knowledge and and information value versus how much its stimulation, eliciting feelings like sadness, concern or pity at the expense of a more humanistic and insightful view."

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Tod Papageorge - Studio 54 | LensCulture

Tod Papageorge - Studio 54 | LensCulture | Photography Now | Scoop.it
Caught in brilliant flash after flash — the 1978-80's hedonistic decadence of the rich, beautiful and glamorous posers and actors who claimed this famed nightclub as their playground and parade ground
Mario Pires's insight:

"And so I photographed, trying not to be overwhelmed. After all, I could make only eight exposures with each roll of film before I had to stop and change it, rather than the 36 I counted on with a Leica, a restriction I needed all of my concentration to cope with, given the inherent difficulty of the problem and the distracting, ambient pressure (visual, sensual, sonic) of Studio 54 itself."

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Safety in Numbness: Some remarks on the problems of ‘Late Photography’

Safety in Numbness: Some remarks on the problems of ‘Late Photography’ | Photography Now | Scoop.it

The book Where is the Photograph? is a fine collection of essays by, among others, Geoffrey Batchen, Peter Osborne, Laura Mulvey, Pavel Buchler, Olivier Richon and Richard Shiff. It is long out of print so I republish my essay here.

Mario Pires's insight:

"In popular consciousness (as opposed to popular unconsciousness) the still image continues to be thought of as being more memorable than those that move. Yet if the frozen photograph seems memorable in the contemporary mediasphere it is probably because it says very little. It relies for support upon the surfeit of audio-visual information in the culture at large. Its very muteness allows it to appear somehow uncontaminated by the noise of the televisual."

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Yoon A Mi | LensCulture

Yoon A Mi | LensCulture | Photography Now | Scoop.it
"At Night" involves identifying that people have within themselves some things in which ego-consciousness cannot accept, things that goes against social rules or ideals such as the tendency, request, memory and experiences that have been rejected by an individual.
Mario Pires's insight:

"The red dots on the body of the character that appears in At Night is an expression of how one had to receive so much arrow of attention with the whole body, the measle marks on the body as a result of being both the target and the arrow by itself. As this is about trauma or a mental damage which is not visible, it was arranged to make the scar seem visible."

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Paris Photo 2014: Diary of a bibliophile Bruno Mouron

Paris Photo 2014: Diary of a bibliophile Bruno Mouron | Photography Now | Scoop.it
Bruno Mouron is a photographer. He is a book collector too. He asked questions to publishers, here are their answers.
Mario Pires's insight:

"Does the number of collectors/buyers increases ?
Thanks to the different art fairs across the world, one can meet new clients, collectors and a new audience. The international market is very large but pyramid-shaped because of the price of the books"

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Francesco Mastalia: Organic

Francesco Mastalia: Organic | Photography Now | Scoop.it

Francesco Mastalia has a new monograph, Organic: Farmers & Chefs of the Hudson Valley published by powerHouse Books,  featuring over 100 portraits of the farmers and chefs of the Hudson Valley photographed using the wet-plate collodion process. It’s a perfect marriage of process and subject, both using hands-on techniques to produce remarkable results.  The amber toned images reflect that the cultivation of land was a manual process that linked the farmer directly to the soil.

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Lucien Clergue is dead (1934-2014)

Lucien Clergue is dead (1934-2014) | Photography Now | Scoop.it
Lucien Clergue just passed away. He was a fantastic storyteller, a beautiful human being and a great photographer.
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Mário Brandão's curator insight, November 22, 6:24 AM

Um grande fotógrafo cujo trabalho segui no meu início quando a minha grande fonte de inspiração e aprendizagem da fotografia eram as revistas francesas à venda nos quiosques no nosso país. Era habitual encontrar artigos com trabalhos de Lucien Clergue com fotografias extraordinárias que faziam crescer a minha paixão por esta profissão maravilhosa.
Para mim este homem estará sempre vivo! 

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Review: Hans Eijkelboom’s People of the Twenty-First Century

Review: Hans Eijkelboom’s People of the Twenty-First Century | Photography Now | Scoop.it
There is something incredibly unsettling about Hans Eijkelboom’s People of the Twenty-First Century. Or rather there are a few of those things.
Mario Pires's insight:

"Whatever distance we can (or simply automatically will) establish between the person(s) in a photograph and us will determine to what extent we will allow ourselves to be affected by what we see. Through the fashions of the days, Eijkelboom’s photographs feel a little distant or fairly close to us. But given there are always grids of photographs, the portrayed become specimen. We don’t really look at those sixteen women, photographed on November 10th, 2013, we look at sixteen pink jackets."

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Glory as a Stage Show: On Mark Peterson’s Vegas Megachurch Photos

Glory as a Stage Show: On Mark Peterson’s Vegas Megachurch Photos | Photography Now | Scoop.it
This is just one selection from Mark Peterson’s photo essay about evangelical megachurches in Las Vegas, Nevada.
Mario Pires's insight:

"This photograph blurs ethical boundaries between voyeurism and analysis in the same way that it blurs symbolic boundaries between heaven and earth, and social boundaries between private and public. That’s a fair response given the likelihood that boundary-blurring—dare we say, inhabitation of the gray area—is precisely what happens when light and darkness converge, when the glory of heaven shines down in the shadow of Sin City."

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The Eye of Photography Turns One!

The Eye of Photography Turns One! | Photography Now | Scoop.it

L’Oeil de la Photographie turned one year old today.
At  year one, we have seven sponsors, a team of 38 people, a few hundred friends and over 200,000 visitors every month from 188 countries.On the horizon are several new projects, including a complete overhaul of the site. 

Mario Pires's insight:

I salute the team that keeps The Eye of Photography, everyday it has excellent content to marvel and reflect.

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Fractal State of Being by Sara Skorgan Teigen

Fractal State of Being by Sara Skorgan Teigen | Photography Now | Scoop.it

This is the first post in a series of book recommendations by Heartbeat, and we start with the new book from Sara Skorgan Teigen - Fractal State of Being (Journal, 2014).

Mario Pires's insight:

"To study patterns in nature and draw them small and concentrated gives me time to meditate on the forms, shapes and expressions they give. Abstract forms are fascinating because they are not familiar to us and therefore when presented or seen -we have to accept them."

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Juul Kraijer - Penumbrae — Modern Dutch Surreal Photography | LensCulture

Juul Kraijer - Penumbrae — Modern Dutch Surreal Photography | LensCulture | Photography Now | Scoop.it
Uncanny, cruel, queasy, creepy, wonderful — all of these words fail to capture the haunting feeling of the images in this great new photobook — Enjoy!
Mario Pires's insight:

"Without being literal, I'm employing the Surrealist grammar of alienation; mirroring, fusing of disparate entities, animating an object, objectifying a human body part, or casting a dazzling web of shadows on it."

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photo-eye | BLOG: Book Review: Photoshow

photo-eye | BLOG: Book Review: Photoshow | Photography Now | Scoop.it

Since the publication of Fotografia Publica in 2000, there have been a mass of books about photobooks. The Parr and Badger series are the most notable but there have been individual books on the Dutch, German, Swiss, South American and Spanish photobooks to name but a few. 
But what about the exhibition? You can find little snippets here and there on the best known exhibitions of the photographic age, but there seems to be no publication dedicated solely to the fabrication and exhibiting of photography.

Mario Pires's insight:

"It’s a book about spectacle, layout, storytelling, sequencing and scale, but it’s also about cultural transformations in how photography is made and shown. So we see the very modest scale of Diane Arbus and Gary Winogrand prints in Szarkowski’s New Documents exhibition, their size no indicator of the impact they would have on photographic culture."

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QUESTION | La photographie a-t-elle épuisé tous ses possibles ?

QUESTION | La photographie a-t-elle épuisé tous ses possibles ? | Photography Now | Scoop.it
Alors que l’usage de la retouche numérique questionne le statut de l’image photographique depuis quelques années, une tendance opposée apparaît : celle qui consiste à confronter la surface de la photo à des matières concrètes.
Mario Pires's insight:

"is photography over ?" We have seen this question applied to many arts, but i find it boring to try to answer it, i rather ask: Does it matter ?

Artistic practice evolves, that's where the focus should be, to discover if the way we practice it is still relevant to anyone other than librarians.

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“We don’t cherry pick anthropology… YO…” - The Photo Society

“We don’t cherry pick anthropology… YO…” - The Photo Society | Photography Now | Scoop.it

I posted the photo above on @natgeo last night and there was an incredible amount of back and forth.

My favorite comment was from @hellafordays: “This is a documentation of culture, which is what National Geographic does. Culture comes in every form, in every place. We don’t cherry pick Anthropology. yo.”

Mario Pires's insight:

"I’ve held off writing about how the IG audience can affect photographers and what they do, and how it can affect their work and their psyches, but now seems like a good time to jump in."

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Photography and narrative: What is involved in telling a story? - David Campbell

Photography and narrative: What is involved in telling a story? - David Campbell | Photography Now | Scoop.it
In telling visual stories about the world, photography is narrating the world. What is narrative and how does it operate?
Mario Pires's insight:

"In photography, narrative is related to the idea of context. No matter how complete or comprehensive a narrative appears it will always be the product of including some elements and excluding others. Inclusion/exclusion is part of what construction is all about, but knowing what is best included or excluded requires an understanding of context."

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Paris Photo: It's not Club Sandwich Photography

Paris Photo: It's not Club Sandwich Photography | Photography Now | Scoop.it

Making interesting photography is a long game. Interesting, complex photography of whatever genre is about bringing together aesthetics and ideas from art, history, design, war, politics, struggle, sex, wherever. Interesting photography makes links between different cultural and political expressions. It's never simple.

Mario Pires's insight:

"You get great chefs who work in very good kitchens and sometimes people come in who know nothing about food but want the cachet of eating at this or that restaurant. And they come in and they order a club sandwich. The chefs hate this. The servers hate this. They despise the people who order the club sandwiches. It's an insult to their skills and intelligence and the integrity of the restaurant. But it turns a profit and the margins are fantastic. It's the right clientele in some ways because it makes money. I guess it's the same for galleries. They hate selling the average work. It's Club Sandwich Photography."

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I Reviewed Portfolios at Photo Plus and Here are Seven Things I Said Over and Over.

I Reviewed Portfolios at Photo Plus and Here are Seven Things I Said Over and Over. | Photography Now | Scoop.it

The week that Photo Plus is in NYC is a crazy week. During that time there are so many people in town trying to get appointments with agencies that I have historically avoided visiting.  Well, this year, I decided to embrace the crazy and rather than compete for a share of voice, I opted to be part of the culture instead. 

Mario Pires's insight:

"We are being asked to direct scenes from which to capture multiple images for use in a library.   Therefore, the projects we are asked to bid often read like scripts rather than shot lists."

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Marja Pirila - Interior/Exterior, Camera Obscura Dreams | LensCulture

Marja Pirila - Interior/Exterior, Camera Obscura Dreams | LensCulture | Photography Now | Scoop.it
These pictures began to form not only a person’s living environment but also to constitute an excursion into the mental landscape: reflections of memories, reveries, fears and dreams — delightful!
Mario Pires's insight:

"Working on this series was for me like taking photographs for a family album: visitations to people and also to myself. To take the pictures I transform people’s rooms into camera obscura by covering the windows of the room with blackout plastic and placing on top of the hole cut in it a simple convex lens."

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The difference is what’s missing

The difference is what’s missing | Photography Now | Scoop.it
The difference is what’s missing. In fact, it is only when a photograph does not show it all that it begins to become powerful and potent. Why ? because it forcefully demands viewer participation by understanding the concept.
Mario Pires's insight:

"Photography is all about framing, after all: Making a decision into what to include and what to exclude."

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Flat, soulless and stupid: why photographs don’t work in art galleries

Flat, soulless and stupid: why photographs don’t work in art galleries | Photography Now | Scoop.it
A photograph in a gallery is a flat, soulless, superficial substitute for painting. Putting up massive prints is a waste of space, when the curators could provide iPads and let us scroll through a digital gallery that would easily be as beautiful and compelling as the expensive prints.
Mario Pires's insight:

"That is because when you put a photograph on the wall I cannot help comparing it with the paintings whose framed grandeur it emulates, and I can’t help finding photography wanting."


I believe Jonathan Jones is confusing craft (the process of painting a picture) with artistic merit. You could take a whole year to paint a picture, using all you love, care, and technical expertise, and the result could still be rubbish. But it's good to discuss these matters.

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Go! Go! GuatePhoto 2015!

Go! Go! GuatePhoto 2015! | Photography Now | Scoop.it
Más de 100 fotógrafos, 3,500 mls de tinta; 290,000 pulgadas cuadradas de papel fotográfico; 400,000 correos electrónicos; 19 exhibiciones; más de 400 voluntarios; 7.1 Kms de territorio cubierto en la ciudad; 3 semanas de exhibiciones y actividades...
Mario Pires's insight:

Photo festivals are everywhere, spreading the love of reflecting and seeing photography.

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The Age of Hard and Soft: Photographer's Eye, Joseph Giacomin and Thermography

The Age of Hard and Soft: Photographer's Eye, Joseph Giacomin and Thermography | Photography Now | Scoop.it
Designer and Educator Joseph Giacomin walks us through Thermal Imaging and explains why it's likely we may see more of this kind of imagery in the future
Mario Pires's insight:

"A more intellectually stimulating challenge is however the creative use which can be achieved. Heat is a very different creature from colour, thus thermal photographs have very different characteristics with respect to optical photographs. I find that thermal photographs share some features with black-and-white photos since you cannot capture subtle variations in colour. On the other hand, thermal photos reveal raw physical heat and energy in a way which black-and-white photos can’t."

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Bert Danckaert

Bert Danckaert | Photography Now | Scoop.it
There is a curious tendency to treat the landscapes we inhabit as if they resulted from some kind of abstract principle being imposed on the contingencies of a given place.
Mario Pires's insight:

"What his pictures suggest is the push-and-pull of different intentions, a deeply contested territory within what seems to be the most banal of settings."

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Processing the News: Retouching in Photojournalism

Processing the News: Retouching in Photojournalism | Photography Now | Scoop.it
Every digital image must be touched by software before you see it. But when each pixel is affected, who decides what is true?
Mario Pires's insight:

As Ron Haviv says, there is no "objectivity" in photography, so this is a debate that will never find a globally accepted answer.

 “The audience is in on it now. No one had any idea what photographers did in the darkroom. Now people are trying to find the cutoff point of what is and is not acceptable, though it’s a false pursuit. People talk about objectivity and photojournalism. But there’s nothing objective about photography. I’m not lying to you, but it’s not objective. I’m asking the viewer to trust me that this is a fair representation of reality.

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