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Colin Pantall's blog: The Photographic Caste System

Colin Pantall's blog: The Photographic Caste System | Photography Now | Scoop.it

It's the idea that the photographer (and the world of which he or much less often she - 86% of World Press submitting Photographers were men, 14% were women - is part) is somehow all-seeing, all-knowing, the only one aware of the power of photography and the way in which it can objectify and humiliate. The photographer is investing too much of the old magic stuff in the power of the image. We pretend we are rational but really believe that the photograph captures souls in some way.

Mario Pires's insight:

Coteries, private clubs and Caste systems, are designed to keep most people out, and that is never a good thing.

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1. The Current Scene of Photo Book and Art Book Publishing, As I See It

1. The Current Scene of Photo Book and Art Book Publishing, As I See It | Photography Now | Scoop.it

I am not a theoretician, nor overly intellectual, nor an art historian, nor a regular writer – just a manic art book publisher who, after 25 years in the business of making art and photography books, has taken a break to consider the years gone by. 

Mario Pires's insight:

"Looking at the current scene of photo book publishers, I can say, that, yes, there are still independent publishers (independent from the big media companies or institutions) but they usually depend (so they are not so “independent” as they appear to be) on funding (more or less) for the books they publish."

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A War Photographer Embeds Himself Inside a Video Game

A War Photographer Embeds Himself Inside a Video Game | Photography Now | Scoop.it
The Last of Us Remastered is a post-apocalyptic video game released earlier this year on PlayStation 4 with an in-game Photo Mode, which freezes the game and lets players shoot, edit and share photographs of their achievements.
Mario Pires's insight:

Now, virtually anyone can be a war photographer from the comfort of the couch, and make breaks for coffee or food. The mythology is still strong, despite all the facts that deny it.

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#LightBoxFF: Jeff Riedel’s Instagram Anachronism

#LightBoxFF: Jeff Riedel’s Instagram Anachronism | Photography Now | Scoop.it

This week on #LightBoxFF, we speak to commercial and editorial photographer Jeff Riedel, (@jeff_riedel_polariods) whose meticulous approach to photography has not only landed his work on the pages of GQ, Vanity Fair, Rolling Stone and Vogue, but has also helped him accumulate a massive collection of Polaroids, which he has used for years to test and fine-tune variables during shoots and is now posting to his Instagram feed.

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We Recommend: Ann Mansolino de Fototropía

We Recommend: Ann Mansolino de Fototropía | Photography Now | Scoop.it

Ann Mansolino is an American photographer with a bachelor's degree in English Literature from the University of California, Riverside and an MFA from Ohio State University.

Mario Pires's insight:

"Her photographs are constructed by symbolic elements that represent the self and the other, the reality and the idealised. In her photographs she talks about her rough and inspired moments."

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Heinrich Harrer’s Tibet

Heinrich Harrer’s Tibet | Photography Now | Scoop.it
As 65th Anniversary of the Communist Takeover of China approaches, Iconic Photos is looking back at the world it changed.
In April 1944, Heinrich Harrer escaped a British internment camp in India to begin his 20-month journey across the Himalayas.
Mario Pires's insight:

 "As Court Photographer, he had taken over 2,000 negatives, of which a selection was published in 1991 in the album Lost Lhasa. His book was an unparalleled and sole account of nomadic, feudal, and monastic life as lived by the Tibetans well into the 1940s and 50s."

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The iPhone is NOT for Photographers | Blair's Blog

The iPhone is NOT for Photographers | Blair's Blog | Photography Now | Scoop.it
My take on the iPhone and its role, or lack thereof, in professional photography
Mario Pires's insight:

Do you agree ? But are we talking about professional comercial photography ? And even then, are not many uses when it is conceivable that the images are a match for the target ?

When i bought the iPhone4 i used it as a artist would use it, i have a total creation studio in my pocket, and that feeling did not change. For some jobs i use my DSLR and all the gear i find necessary for the intended use of the images. But besides those exceptions, it's my constant companion on many art projects. And i love it.

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The Bechers are Hilarious

The Bechers are Hilarious | Photography Now | Scoop.it

I find the work of the Bernd and Hilla Becher funny. In museums and galleries, I have laughed out loud standing in front of their photographs.

Mario Pires's insight:

"The Bechers’ grids are not showing us a fit, trim army of trained killers. These are ragtag bands, the resultof architecture without architects. One guy has his hat on backwards, another is holding a dented tuba and his jacket is missing an arm, another has dried wine streaking down the front of his shirt."

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Coup de Cœur ANI 2014 Pierre Morel

Coup de Cœur ANI 2014 Pierre Morel | Photography Now | Scoop.it

I'm a professional photojournalist, 26 years old, and before I became a pro, I started photography by taking picture of my mum Marie Morel, painter artist, at home.

Mario Pires's insight:

"Since then,I have been  taking picture of her both working and during private moments. It is a very personal story about what she does as an Artist."

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‘Tinderella’: The Story of One NYC Photographer and Her Many Tinder Dates

‘Tinderella’: The Story of One NYC Photographer and Her Many Tinder Dates | Photography Now | Scoop.it

Aussie photographer Kirra Cheers braved all the awkwardness, intrigue and excitement of online dating, becoming a protagonist of contemporary love for her series Tinderella. The 26-year-old used Tinder, the infamous hook up mobile app, to meet dates and then photograph them all across New York City.

Mario Pires's insight:

Sex, photo, and apps, what could be more XXI century than this ?

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Me and Mortensen Photography with the Master

Me and Mortensen Photography with the Master | Photography Now | Scoop.it

When I was seventeen and photography was a lot younger I would sometimes see pictures of by a man named William Mortensen in the photography magazines I read. There was nothing else like them…nothing. They looked like paintings but not, and they were like illustrations but not and they were beautiful but made in a way I couldn’t begin to comprehend. I loved them.

Mario Pires's insight:

"After a while they disappeared from the publications and I forgot about them but I guess not really because when  I saw one again fifty years later, the surge of emotion that came with recognition took me totally by surprise. I loved them again as strongly as I had as a teenager. I was able to learn, the internet told me parts of the Mortenson’s story , his successes, his fights with Ansel Adams in Camera Craft magazine, his disappearance from photographic history at the hands of Adams and Beaumont Newhall and now  a slow reemergence of him and his work as books were written and his work was republished."


This is quite interesting, photographic history should not erase parts of itself. No one should do it just because they find it "not worthy" of being shown. But then good work emerges from the dungeons to be appreciated by all of us again.

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Love has to be reinvented

Love has to be reinvented | Photography Now | Scoop.it
Polish photographer's reflection on memories, dreams and the unconscious.
Mario Pires's insight:

"I know your deepest secret fear. And you know my deepest secret fear: egoism."

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America from the Outside: Nixon’s Prop Wash by Jean-Pierre Laffont (and Annie Leibovitz)

America from the Outside: Nixon’s Prop Wash by Jean-Pierre Laffont (and Annie Leibovitz) | Photography Now | Scoop.it
For some time, I’ve been interested in how visual observers and visual media look at America from a distance.
Mario Pires's insight:

"If the iconic image of Nixon’s farewell is fully tinted with shame, it’s also sensational, laced with pomp and ceremonial dignity, if not for an American president than for the office.

Laffont’s version has none of that baggage and presumes none. Instead, he takes the ceremony, along with the pretense, and sticks a fork in it. (A delicious touch also involves the blade of the presidential helicopter, with its load of kryptonite, seeming to slice through the Washington Monument.)"

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Pourquoi suis-je photographe #6 | Léo Delafontaine

Pourquoi suis-je photographe #6 | Léo Delafontaine | Photography Now | Scoop.it
Ma pratique photographique provient d’une succession de hasards. Je n’ai pas eu de vocation, à proprement parler, même si – comme beaucoup – j’ai hérité du vieux boîtier paternel à l’adolescence.
Mario Pires's insight:

"J’aime particulièrement ce moment où l’on voit chaque élément d’une scène se mouvoir peu à peu pour s’agencer parfaitement dans notre viseur, ce moment où la réalité se transforme en image."

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Why I’ll Photoshop Your Face and Why I Believe It’s Okay

Why I’ll Photoshop Your Face and Why I Believe It’s Okay | Photography Now | Scoop.it
Last Spring, Lorde Tweeted the photo above and wrote, “i find this curious – two photos from today, one edited so my skin is perfect and one real.
Mario Pires's insight:

Frank Multari gives yet another perspective from the endless debate about photoshoping faces. 

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Anoek Steketee & Eefje Blankevoort - Love Radio Project

Anoek Steketee & Eefje Blankevoort - Love Radio Project | Photography Now | Scoop.it

The transmedia project Love Radio was created by the journalist and filmmaker, Eefje Blankevoort, and the photographer Anoek Steketee. The story is based on the radio drama Musekeweya (“New Dawn”) which addresses the reconciliation process that followed the Rwandan genocide.

Mario Pires's insight:

Photography has many lives, this is a good example of the way it connects with other media.

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View from Notre Dame (by Ernst Haas, 1964)

View from Notre Dame (by Ernst Haas, 1964) | Photography Now | Scoop.it

“It’s just you and your camera. The limitations in your photography are in yourself, bacause what we see is what we are.”– Ernst Haas

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Pétur Thomsen : « La photographie du paysage islandais est devenu un genre en soi »

Pétur Thomsen : « La photographie du paysage islandais est devenu un genre en soi » | Photography Now | Scoop.it

Pétur Thomsen est un photographe islandais. Le paysage de son pays natal, il le connaît par cœur.

Mario Pires's insight:

"Les paysages islandais sont presque devenus un genre en soi. Ils sont très travaillés, souvent contrasté, parfois en HDR. Les images d’Islande sont de plus en plus irréelles. [  ]

En fait, elles ne me parlent pas vraiment. Elles sont très loin de mon expérience du pays. Je ne veux pas dire que ce sont de fausses images, mais elles donnent une vision tellement exagérée de l’Islande que j’ai du mal à y reconnaître mon pays."

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Rich and Miserable: Portraits of Shoppers on Rodeo Drive in 1984

Rich and Miserable: Portraits of Shoppers on Rodeo Drive in 1984 | Photography Now | Scoop.it
Stereotypical ideas about the residents of Los Angeles, in usually sunny Southern California, often revolve around the concept of fun in the sun had by vapid, shallow people who are always smiling.
Mario Pires's insight:

"And while it’s absolutely possible to appreciate this project in a surface way, the real appeal of Hernandez’s Rodeo Drive is that it’s a greater commentary on this social landscape, as well as the interaction between watcher and watched. Promenaders on Rodeo Drive, locals and tourists alike from all ends of the socio-economic spectrum, know they’ll be on a sort of pedestrian catwalk when walking these high-rent streets."

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Olympia and her cat

Olympia and her cat | Photography Now | Scoop.it
Here's Manet's Olympia. It caused a scandal at the Paris Salon in 1865 because she's a prostitute and is looking boldly at the viewer and has a black cat (instead of a faithful dog).
Mario Pires's insight:

"Olympia is inexplicable from any point of view even taken for what she is, a punymodel stretched out on a sheet. The color of the flesh is dirty, the modeling non-existent. The shadows are indicated by more or less large smears of blacking.  What’s to be said of the negress who brings a bouquet of flowers in a paper, or the black cat that leaves its muddy footprints on the bed? "


Can we rely on critics ? It's easy to laugh now at the lack of vision. Can you spot the sparkle of change when it's still not fully developed ? I think that very few people can. Education and openness are key to this ability.

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Henry Amistadi: As We Know It

Henry Amistadi: As We Know It | Photography Now | Scoop.it

This week I have hand picked five emerging artists, all young, and all either in an undergraduate program or freshly out of school.  Being a young artist and photographer myself, I am interested in providing exposure to many of my peers.  Today I am happy to introduce my friend Henry Amistadi.  His body of work, As We Know It, is a thoughtful celebration of the here and now.

Mario Pires's insight:

"As We Know It is an autobiographical exploration of life at the edge of adolescence and adulthood. As a series it blends documentary aspects of my life- real characters, settings and scenes, with my own fictionalized narrative investigating the edge, boundaries, centers and outliers as literal and metaphorical concepts."

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Software is Eating the Camera

Software is Eating the Camera | Photography Now | Scoop.it

I grew up around photography, rolling black and white film into film cartridges, developing film and exposing prints in the darkroom, foul chemicals and rough timing and dim lights and prints hanging to dry. It’s a nostalgic experience that’s been replaced by Photoshop and the laptop and the mobile phone, the sensations and uncertainties of yesterday replaced with the immediacy of today. Exposing, printing, framing, and hanging, now capturing, filtering, and sharing.

Mario Pires's insight:

The future is uncertain, and that's what i like about it, painting changed each time some technical advance enabled painters to produce things not previously possible. Photography (or anything you might call it) changes and mutates into something else, and we should all rejoice with the added possibilities we gain in terms of commercial or artistic expression.

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Farewell power users and thanks for all the users

Farewell power users and thanks for all the users | Photography Now | Scoop.it

Typical! Just as I’m going to stand up in front of an audience to expose Instagram’s Followcracy strategy at EyeEm’s festival this weekend, they go and get rid of it.

Mario Pires's insight:

Instagram is one of the more fascinating photo experiences to emerge from the web, and much of it it has nothing to do with photography, and that's a good thing.

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Heavy Metal: Photos of the Notting Hill Carnival Sound Systems

Heavy Metal: Photos of the Notting Hill Carnival Sound Systems | Photography Now | Scoop.it

In the restless hours before the influx of visitors to the 2004 Notting Hill Carnival, Brian David Stevens photographs the sound systems that line the city streets.

Mario Pires's insight:

"Set against the moments to come, these dark and quiet machines emerge as the secret bodies that fuel the boisterous event, utilitarian objects that give rise to mysterious and manifold enchantments."

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A Legal Battle Over Vivian Maier’s Work

A Legal Battle Over Vivian Maier’s Work | Photography Now | Scoop.it
A legal battle over the work of the photographer Vivian Maier could hide it away for years.
Mario Pires's insight:

Photography looses, photographers loose. It's a shame that the moment something has the potential to make money, legal issues arise.

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Art Producers Speak: Anthony Blasko

Art Producers Speak: Anthony Blasko | Photography Now | Scoop.it

I nominate Anthony Blasko. I’m keeping a close watch on him. There is a current of quiet drama flowing through Blasko’s photographs that harkens back to the works of 20th Century painter, George Bellows. I especially love Blasko’s “Jon Jones” series for Victory Journal.

Mario Pires's insight:

"I find people really love books. I like to print books or magazines of my personal work to send out. Right now I have 4 projects that are close to being done that will become printed pieces in some form. I’ve also worked on a number of projects with Victory Journal, which has allowed me to shoot some interesting stories, as well as get my work in front of a lot of people."

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