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Sexy Sotchi : les débats autour du calendrier des athlètes féminins russes

Sexy Sotchi : les débats autour du calendrier des athlètes féminins russes | Photography Now | Scoop.it

Quelques jours avant l'ouverture des jeux olympiques de Sotchi, la délégation russe a publié les photos sexy de son calendrier créant immédiatement une polémique sur internet.

Mario Pires's insight:

Olympic portraits have been subject to many debates, but these photographs of the Russian female athletes raises also questions about gender roles and sexuality. 

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La photo doit-elle bousculer l’espace d’exposition ?

La photo doit-elle bousculer l’espace d’exposition ? | Photography Now | Scoop.it
Les expos photos : il y a celles qui alignent sagement les images à la queue leu-leu sur les murs. Et il y a celles qui semblent vouloir à toute force échapper à cette forme classique de présentation.
Mario Pires's insight:

"Pour que les artistes soient amenés à montrer la photo autrement, il a fallu que celle-ci change de statut et soit traitée non plus comme un tableau photographique à contempler, mais comme un élément ou une matière qui pouvait se plier à de nouvelles formes artistiques. Le passage du médium par l’art conceptuel et ses démarches n’y a pas été étranger : la photo s’échappe hors de son cadre, devient flexible et ne connaît plus de limites."

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Death of Mary Ellen Mark (1940 - 2015)

Death of Mary Ellen Mark (1940 - 2015) | Photography Now | Scoop.it

Yesterday, May 25th 2015, the american photographer Mary Ellen Mark passed away at the age of 75. "She was all about the work. I had discussed the possibility of doing a workshop for our 9th festival last year with Mary Ellen. She wanted to teach for us but was unable to make it work in her busy schedule for 2014.

Mario Pires's insight:

"Last year in October I met with her at her studio offices in Manhattan. She told me then she had some health issues, without being too specific. She did tell me that she had been at the hospital earlier that day for a transfusion yet she was all about teaching the workshop. I asked pointedly if she felt she would be up for it six months down the road and she assured me she would. She said – “It’s important for me.” "

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Daido Moriyama’s Two Cities

Daido Moriyama’s Two Cities | Photography Now | Scoop.it
When I had first looked at Moriyama’s Okinawa it was to photograph the cover of the book on the ICP copy-stand. The clear, black and white contrast on the cover led me to quickly flip through the book before deeply looking into it.
Mario Pires's insight:

"After comparing Moriyama’s two books I realized that the closeness I had felt with one of them was contrasted by the wonder I had for the other. The original appeal of Moriyama’s black and white balanced style led me to enjoy his two books for their balance to me. I was able to romanticize one part of the world with Okinawa, and then appreciate my home with ’71 NY."

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Billy & Hells : Portraits

Billy & Hells : Portraits | Photography Now | Scoop.it

Billy & Hells is the pseudonym for the creative duo comprised of Berlin based photographers Anke Linz and Andreas Oettinger. The photographers met in the mid-1980s and shortly after, began collaborating creatively. Since 1995, the two have worked together under the name Billy & Hells.

Mario Pires's insight:

"Billy & Hells’ photographs exist in a world of in-betweens. Their deceptively simple, straightforward portraits convey a certain complexity. The archetypal characters depicted in their photographs—mothers, soldiers, cowboys, nurses, and teachers— possess an underlying sense of mystery, hinting at the duality of the sitter as well as the fictional world they inhabit."

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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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Film vs. Digital: A Comparison of the Advantages and Disadvantages

Film vs. Digital: A Comparison of the Advantages and Disadvantages | Photography Now | Scoop.it
In a world in which photographs are primarily taken with digital image sensors, there are a growing number of photographers who are newly interested in film formats of the past.
Mario Pires's insight:

"Not all explanations can be laid within technical comparisons though. Many will argue that shooting analog is a more personal and enjoyable experience – that decision, is completely up to you."

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Aerial Photographs of London Glowing at Night

Aerial Photographs of London Glowing at Night | Photography Now | Scoop.it
After photographing a number of US cities at night through the open door of a helicopter, photographer Vincent Laforet has taken his Air project across the pond to shoot aerial shots of European cities.
Mario Pires's insight:

I find them simply mesmerizing. And this was the biggest surprise and discovery of this particular city. The LACK of a rectilinear grid can be just as beautiful as perfectly linear streets.

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Lady bartender at home, New Orleans (by Diane Arbus, 1964)

Lady bartender at home, New Orleans (by Diane Arbus, 1964) | Photography Now | Scoop.it

“Taking pictures is like tiptoeing into the kitchen late at night and stealing Oreo cookies.” – Diane Arbus

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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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