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Vanessa Winship – She Dances on Jackson

Vanessa Winship – She Dances on Jackson | Photography Now | Scoop.it

The American road trip is a well-trodden path with a rich and varied photographic history. It is a history full of either Americans looking at themselves or visitors looking at Americans. Between autumn 2011 and winter 2012 Vanessa Winship travelled extensively across the United States with her large format camera. 

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Photography Now
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Sally Mann’s Exposure

Sally Mann’s Exposure | Photography Now | Scoop.it
What an artist captures, what a mother knows and what the public sees can be dangerously different things.
Mario Pires's insight:

"The Bad Mother letters usually raised the question of informed consent. But the kids were visually sophisticated, involved in setting the scene, in producing the desired effects for the images and in editing them. When I was putting together “Immediate Family,” I gave each child the pictures of themselves and asked them to remove those they didn’t want published. Emmett, who was 13 at the time, asked me to exclude one picture from the book. He had been playing Bugs Bunny and fell asleep still wearing nothing but long white socks on his arms, meant to look like the white legs of a rabbit. He was uncomfortable not because of the nudity but because he said those socks made him look like a dork. It was a question of dignity."

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Editing with Kevin WY Lee

Editing with Kevin WY Lee | Photography Now | Scoop.it
Various IPA editing sessions with Kevin WY Lee in Singapore and Asia.
We are talking to a range of photographers, photo editors, professors of photography, book designers and others about the physical process of editing images.
Mario Pires's insight:

"On editing. There's a few rounds of editing/selections to be done. The first round is a wide 'kind' edit where you respond to the images purely as images, without any bias aside from visual appeal. You can be kind to yourself and select any image you like, and for whatever reason. This will help you make that first cut."

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The economy of ignorance

The economy of ignorance | Photography Now | Scoop.it

Pat is a photographer, and he was asked by the band Garbage to give them some of his work for free. Pat was unhappy with the ‘deal’ on offer, having apparently also had his work used without permission by the band previously, so aired his dismay publicly.

Mario Pires's insight:

"Moral of this story: creative people need to be paid for their work, however unpalatable some may find that concept. And if they weren’t paid, musicians like Garbage would not be as successful and wealthy as they are.

Creativity matters. And proper payment for creative work generates revenue that filters right down through society, and benefits everyone.

Everyone.

And we should all remember and respect that fact."

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Réédition d’un best-seller : Invisible city, Ken Schles

Réédition d’un best-seller : Invisible city, Ken Schles | Photography Now | Scoop.it
A l’occasion de la sortie de son nouvel ouvrage, Night Walk, Steidl réédite la première monographie du photographe Ken Schles parue en 1988. Une opportunité de (re)découvrir Invisible City, une incroyable exploration des bas-fonds de New-york.
Mario Pires's insight:

"Entre architecture délabrée, alcool et scènes de sexe, le photographe décrit un quartier ravagé, violent et sans issu. Il nous montre la pulsion de vie de ses habitants, qui tentent de s’échapper en s’aimant, en faisait la fête tout en étant empêtrés dans l’insalubrité et la saleté."

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Que se passe-t-il la nuit à 3h17 ?

Que se passe-t-il la nuit à 3h17 ? | Photography Now | Scoop.it
Nox, une série de Nicolas Wilmouth (textes et photos)
Les personnages de Nox sont livrés à eux même, à leurs fantômes, à leur démons, à leur ennui.
Mario Pires's insight:

"Mes personnages rêvent de nuits impossibles où des matelas dociles accepteraient l’horizontale une heure ou plus, pour laisser leurs âmes partir en paix et sans valise sur la route du répit. Ils rèvent à des couvertures tendres et des polochons complices pour s’abandonner au voyage sans filet."

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East Timor, 1999

East Timor, 1999 | Photography Now | Scoop.it
Indonesia that gained independence in 1950 was an artificial state, cobbled together from an assortment of sultanates and princely kingdoms by her Dutch colonial masters.
Mario Pires's insight:

"Just then Joaquim Bernardino Guterres entered my life. He was barefoot and armed with two rocks to protect himself from the militia. He ran up to a group of nearby policemen and begged them to intervene. They ignored him. He asked more passionately, and the police began to punch and kick him. Guterres broke away and ran toward me."

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The Art of the Personal Project: Michael Rubenstein

The Art of the Personal Project: Michael Rubenstein | Photography Now | Scoop.it
As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer.
Mario Pires's insight:

"Variety is the spice of life right? To me, the challenge is making something that speaks to me. Whether its on assignment or personal really doesn’t factor into it. Once I have the project, self assigned or not, I need to make the best of it."

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The New Color Photography - Sally Eauclair, 1981

The New Color Photography - Sally Eauclair, 1981 | Photography Now | Scoop.it
 
Sally Eauclair's milestone book The New Color Photography, compiled and edited by Eauclair in 1981 was the first book of serious (for want of a better word) photography that I had ever come across. The book contained, to me, fresh new voices.
Mario Pires's insight:

"A magazine photographer has to please an editor and a public, and the point of his picture has to be reasonably clear. An art photographer, however, does not have to please anyone but himself - and the curators, dealers and collectors who make his career - and therefore he can be as obscure as he likes."

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Editing with Miska Draskoczy

Editing with Miska Draskoczy | Photography Now | Scoop.it

We are talking to a range of photographers, photo editors, professors of photography, book designers and others about the physical process of editing images. Selecting, sequencing and laying out photographs - be it for a magazine, book, online site or gallery presentation - seems something of a mysterious process for many photographers and a process that seems perhaps hard to give words to.

Mario Pires's insight:

"I tend to be exhaustive at first, trying many edit combinations and quickly discarding those which are definitely not going to work. I'll start small and build up, identifying various pairs that go well with each other, and then building pairs of pairs and onwards. It feels like writing or music: using notes to make bars, choruses and songs, or words to make sentences, paragraphs and chapters."

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Le selfie de Thelma et Louise (1991)

Le selfie de Thelma et Louise (1991) | Photography Now | Scoop.it

Juste avant leur départ en excursion, après avoir rangé leurs bagages dans le coffre de la voiture, Thelma et Louise, dans le film éponyme de Ridley Scott (USA, MGM, 1991), réalisent ce qui ne porte pas encore le nom de selfie.

Mario Pires's insight:

"Ce que Thelma et Louise immortalisent, c’est le portrait d’un moment et d’une expérience, l’instant du début du voyage qui les réunit, dans une photo qui porte leur signature visuelle, à la fois par leur présence dans l’image et par son caractère autoproduit."

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Felipe Russo’s Centro: Seeing a City Through Its Patina

Felipe Russo’s Centro: Seeing a City Through Its Patina | Photography Now | Scoop.it

If there’s one thing photography does well it is to faithfully depict the surface of people and objects.

Mario Pires's insight:

"Photography is nothing but interpretations layered upon interpretations, with each additional human component adding another layer. This makes this oh-so technical medium the worst, well, the least bad of all ways of humans mediating and communicating the world around them (just witness the seemingly never-ending discussions in photojournalistic circles about truth, about how much manipulation is allowed, etc. – essentially a battle that can only be lost, given it’s fought on an absurd ground)."

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Paul Graham and Gerry Badger – in conversation

Paul Graham and Gerry Badger – in conversation | Photography Now | Scoop.it

Paul Graham, one of the most prolific and respected photographers in the UK, showed no sign of slowing down last year.  His eagerly awaited photo book Does Yellow Run Forever? was published by Mack Books, with an accompanying exhibition at the Pace/MacGill Gallery in New York. On the release of the photobook, Graham talked to the renowned photography and architecture critic Gerry Badger for BJP, about ‘straight’ photography, becoming an adopted America, and a life of publishing


Mario Pires's insight:

"I’m a firm believer in working in the world as-it-is, and arriving at your ideas through that. It has to be a balance between the conscious mind struggling to rationalise, to make sense of it all, and the world itself, which doesn’t give a flying fig for your ideas concerning it. Too much of the former, and you end up with dry didactic work, illustrating an idea with no life. Too much of the latter and you end up with random snapshots that have no redeeming interest or substance. You gotta seek out the sweet spot."

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Philip-Lorca diCorcia talks about his latest body of work - East of Eden

Philip-Lorca diCorcia talks about his latest body of work - East of Eden | Photography Now | Scoop.it

Philip-Lorca diCorcia - Genesis,2015
On today's Artspace edition Philip-Lorca diCorcia talks about the inspiration behind his new series East of Eden.

Mario Pires's insight:

"People have shifted their attention from just wanting to be rich to wanting to be rich and famous. If they could afford it, I’m sure most people would get themselves a Kim Kardashian ass implant."

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Bruce Davidson Talks to ASX about Exploring, Entering a World and Earning Your Dues | AMERICAN SUBURB X

Bruce Davidson Talks to ASX about Exploring, Entering a World and Earning Your Dues | AMERICAN SUBURB X | Photography Now | Scoop.it

I went to visit Bruce Davidson on a painfully cold February morning. His wife, Emily, let me into their large Upper West Side apartment, which overflows with more than forty years of sculptures, art, prints of Davidson’s work and family photos. I asked Bruce questions about his life in photography and he showed me his darkroom and fifty years worth negatives and prints. The following is a slightly edited and condensed account of that conversation.

Mario Pires's insight:

"Look, I’m kind of an explorer. I’m entering a world and it takes time. Young kids, students, they want it too quickly. They should take one thing and really explore it, look at from different angles. With theBrooklyn gangs, I’d read about them, they’d made the front page of something, and I went there and offered to take pictures of their bandages for their lawyers. And the first pictures were made on Kodachrome so I just gave them the slide. That was the beginning; I was coming every once in a while, weekends, no agenda."

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J’ai découvert le portfolio d’un photographe hongrois des 1930s dans mon grenier

J’ai découvert le portfolio d’un photographe hongrois des 1930s dans mon grenier | Photography Now | Scoop.it

Fille et petite fille de marin, j’ai passé mon enfance entourée par des objets exotiques. Mon grand-père a navigué aux quatre coins du globe et a rapporté dans son barda un tas de bibelots et de souvenirs tous aussi insolites les uns des autres. Il y a quelques temps, en farfouillant dans les affaires de famille, je suis tombée sur un ancien portfolio venant du Japon. 

Mario Pires's insight:

"Ce portfolio me fascine surtout pour sa temporalité paradoxale. Si aujourd’hui il a une valeur historique certaine, il ne l’avait pas moins pour ses contemporains. Francis Haar tente de saisir l’essence du Japon et puise dans ce que ce pays a d’intemporel et d’éternel. Aucune trace des années 50 ici, mais une place forte donnée à l’architecture des temples, aux costumes traditionnels et aux visages."

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Maricarmen Husson's curator insight, April 17, 7:15 PM

Descubrí lel portfolio de un fotógrafo húngaro desde la década de 1930 en mi ático

Mario Pires visión:
"Este portfolio sobre todo me fascina por su temporalidad paradójica. Si hoy tiene algún valor histórico, no menos tenía para sus contemporáneos. Francis Haar intenta captar la esencia de Japón y dibuja lo que este país un atemporal y eterna. No hay rastro de los años 50 aquí, pero una fortaleza dado a la arquitectura de los templos, los trajes tradicionales y las caras

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Photos Document the Empowerment of Afghan Girls Through Skateboarding

Photos Document the Empowerment of Afghan Girls Through Skateboarding | Photography Now | Scoop.it

When Australian Oliver Percovich first set his skateboard down on the streets of Kabul, he was almost instantly surrounded by a throng of curious children, all wanting to learn how how to speed, flip, and maneuver the board just as he did. Since that fateful day in 2007, Percovich has established Skateistan, a non-profit devoted to inspiring, educating, and empowering children through the sport of skateboarding.

Mario Pires's insight:

"At Skateistan, they are taught dream, to become responsible citizens in their communities, to respect the environment, and perhaps more than anything, to stand up for what they believe in and not to doubt their abilities."

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Legacy Keeper: An Interview with Mary Engel

Legacy Keeper: An Interview with Mary Engel | Photography Now | Scoop.it

The April issue of Photo District News features an article I wrote about managing photographers’ legacies. This is an important topic, but one that isn’t discussed or written about much.

Mario Pires's insight:

"Photographers generate huge amounts of material that’s hard to organize and appraise: often they fail to do so, leaving a giant mess for their heirs."

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‘Killer Angels': Portraits of Death Metal Fans Taken at Over 60 Shows

‘Killer Angels': Portraits of Death Metal Fans Taken at Over 60 Shows | Photography Now | Scoop.it

Maybe it’s hard to believe but death metal fans are some of best people out there, or so says Baltimore photographer J.M. Giordano. He would know. For his latest project Killer Angels, the photojournalist attended over sixty death metal shows. His subjects however weren’t the bands, but the fans.

Mario Pires's insight:

“There are NO fucking studio shots. These are the real deal.

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Celebrating the Negative : Edward Weston by John Loengard

Celebrating the Negative :  Edward Weston by John Loengard | Photography Now | Scoop.it

A week after Sonya Noskowiak brought Edward Weston a pepper from the market in Carmel, California, Edward Weston wrote in his diary that it was beginning “to show the strain and tonight should grace a salad.”

Mario Pires's insight:

It has been suggested that I am a cannibal to eat my models after a masterpiece, but I rather like the idea that they become part of me, enriching my blood as well as my vision”.

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A Dissolution of the Document: Daniel Shea’s Blisner, IL

A Dissolution of the Document: Daniel Shea’s Blisner, IL | Photography Now | Scoop.it

An essay on "Blisner, IL" [fourteen-nineteen, 2014] and a conversation with the photographer Daniel Shea.

Mario Pires's insight:

"Since his earliest projects in 2007, Daniel has made photographs that conceive of extraction, productivity and obsolescence as three forces inextricably linked to the logic of capitalism. His images have sought to disassemble the lived consequences of dispassionate economic theories, and to assess their accumulated effects in the bodies and the landscape of the American Midwest."

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The Daily Edit – Mark Hanauer: We Transfer

The Daily Edit – Mark Hanauer: We Transfer | Photography Now | Scoop.it

We Transfer
Photographer: Mark Hanauer
We Transfer Facebook
We Transfer Twitter

Mario Pires's insight:

"I enjoyed a lot of the graphics that they used on their site and one day I decided to send them a series of images that I thought were appropriate for their format."

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Les femmes sont-elles sous-représentées dans l’histoire de la photo ?

Les femmes sont-elles sous-représentées dans l’histoire de la photo ? | Photography Now | Scoop.it
Dans les différentes histoires de la photographie, la place des femmes est surtout devant l’objectif plutôt que derrière.
Mario Pires's insight:

"Je regarde rarement la signature d’une photo en me demandant si elle a été faite par une femme ou un homme. Parce que selon moi, un tel questionnement ramène à des clichés aussi éculés qu’attribuer à un art féminin plus de sensibilité ou de délicatesse. Par exemple, je me refuse à croire que les œuvres de Iris Hutegger, parce qu’elles sont brodées en partie, sont les oeuvres d’une femme : elles sont avant tout celles d’une grande artiste."

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« Tokyo » : Interview with William Klein

« Tokyo » : Interview with William Klein | Photography Now | Scoop.it

In his living room in Paris, William Klein flips through the new edition of his book, Tokyo, which just arrived from Japan. Klein, always particular, is pleased with the quality of the thick, glossy paper which enhances the contrasts of his 1961 photographs.

Mario Pires's insight:

"In Tokyo, the newspapers were all talking about the project. I remember one headline that read, “William Klein Arrives To Shoot Portrait of Our City.” Sometimes, when I was taking pictures, people would duck out of the way because they knew it was for the book. They were intrigued, too. It’s true that an American photographer in Tokyo in the early ‘60s was a little bit crazy. Hiroshima was no picnic. But I was very well received. I was a guest of honor, noteworthy, whereas when I was in New York nobody gave a damn… It’s funny."

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The Art of the Personal Project: Paolo Marchesi

The Art of the Personal Project: Paolo Marchesi | Photography Now | Scoop.it
As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer.
Mario Pires's insight:

"I never shoot for my portfolio, my personal work is my portfolio. Since the beginning of my career as a photographer I only photographed things that I was passionate about or involved in. I never specifically photographed subjects that might sell or get me a job. If I am not interested in them I don’t shoot them. I became a photographer by documenting my lifestyle and activities I participate in."

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Emma Grosbois a photographié les mendiants comme des saints

Emma Grosbois a photographié les mendiants comme des saints | Photography Now | Scoop.it
Emma Grosbois a vécu à Florence pendant trois ans. Plusieurs fois par jour, sur le chemin qui la mène à sa voiture, elle croise et salue un mendiant qui porte autour du coup un « Santini », une image de saint dont les Florentins font grand usage.
Mario Pires's insight:

"Ce que l’on voit et remarque dans l’espace public est conditionné par des moules visuels et culturels qui se superposent. Alors je m’attache à créer une autre image des mendiants par le biais d’associations visuelles nouvelles afin d’amorcer, peut-être, une perception différente de la mendicité."

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