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Histoires de scoop. PHOTO #122, nov 1977: Daniel Angéli

Histoires de scoop. PHOTO #122, nov 1977: Daniel Angéli | Photography Now | Scoop.it
I’d be a fool not to click the shutter when I surprise a famous person at their worst, a star in the nude or some celebrity couple. For three reasons: first, somebody else would get the picture; second, I’d lose a lot of money; and, finally, because I’d miss out on the fun. I...
Mario Pires's insight:

 The paparazzi are the stars of a exhibition and a book. "The exhibition analyzes the phenomenon from its origins, which date back to the early 20th century, to the development and explosion of the illustrated press in the United States and Europe."

In a time where people want to know everything about the ones that have a celebrity aura, it's interesting to know a phenomenon since it's origins.

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Beyond The Panopticon - Disphotic

Beyond The Panopticon - Disphotic | Photography Now | Scoop.it

In a series of letters written in 1787 Jeremy Bentham outlined his concept of the Panopticon or ‘inspection house’. It was to be a structure designed to create the illusion in the minds of its inmates of continual observation by an invisible warden. Bentham considered it ideal for prisons, factories, hospitals, insane asylums, and ‘any sort of establishment in which persons of any description are to be kept under inspection’.

Mario Pires's insight:

"A huge networked panopticon, algorithmically detecting or perhaps even pre-empting transgressive or subversive behaviour sounds like dystopian science fiction, but the pieces that could make it reality seem to be falling into place. Given a choice, would people agree to being monitored by such a disturbing system? The National Security Agency surveillance revelations reveal the problem of assuming that our assent would even be sought."

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Posing Questions of Photographic Ethics

Posing Questions of Photographic Ethics | Photography Now | Scoop.it
In the aftermath of this year’s debates over manipulated photos, a new show sets out to explore the history of altered images in photojournalism.
Mario Pires's insight:

Machines don't care, but humans need to think about ethics.

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Capturing a war crime

Capturing a war crime | Photography Now | Scoop.it
As Yugoslavia crumbled in the early 1990s, photographer Ron Haviv secretly took a picture of a Serb paramilitary soldier kicking a prone Bosnian Muslim civilian. The image became a symbol of outrage, but when the paramilitary leader — the feared Arkan — found out, he promised to drink Haviv’s blood. Ron Haviv shares that experience with Dr. Anthony Feinstein, a world leader on the psychological effects of war on frontline journalists
Mario Pires's insight:

“I realized that even though I had a few frames of the victims, I needed verifiable proof that this was being done by these guys. … I just wanted a photograph of the paramilitaries and the bodies of the people as they lay dying in the same frame and [for this] I had to go into the middle of the street."

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A Conversation with Pieter Hugo - Xenophobia, Self-Censorship and the Commodity of ‘Blackness’ | ASX

A Conversation with Pieter Hugo - Xenophobia, Self-Censorship and the Commodity of ‘Blackness’ | ASX | Photography Now | Scoop.it
“We live in an era where artists constantly have to self censor. In my experience more often to pander to a disingenuous idea of political correctness than to conservatism.”
Mario Pires's insight:

"I’m not interested in making work that sits only in a comfortable space, work that is purely decorative, so if my work strikes some nerves and irks some critics and creates a debate, then it has succeeded. "

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A few thoughts on Adobe Stock

A few thoughts on Adobe Stock | Photography Now | Scoop.it

Jon Oringer of Shutterstock said it well: barrier of entry in  stock photography licensing  today is very low (actually getting lower), barrier to scalability is very high and getting higher. In other words, it is easy to find and regroup content to license (UGC or not). It is much harder to find clients.

Mario Pires's insight:

"I find it very interesting that a company like Adobe has chosen a microstock model to license images. For a company that has made much of its glory thanks to pro photographers via Photoshop, it is ironic that they chose the lowest pricing point, almost as a slap in their faces."

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The conversational image. New uses of digital photography

The conversational image. New uses of digital photography | Photography Now | Scoop.it

Favored by connected tools and social media, the second revolution of digital photography is that of the conversational uses of image.

Mario Pires's insight:

"By combining the visual dimension to exchanged data, the image allows to provide indications about a situation (arrival or presence in a place, use of a means of transport…), appearance checks (testing an outfit, new haircut, physical appearance…) but also other countless practical information, such as purchase of a commodity, ingredients of a recipe, state of a building, etc… that photography allows to record or to transmit more quickly than a written message."

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William Klein’s Tokyo Pop | ASX

William Klein’s Tokyo Pop | ASX | Photography Now | Scoop.it
William Klein was invited to Tokyo in 1961, where he shot for three months and made more than 1,000 pictures.
Mario Pires's insight:

"Klein’s Tokyo images broke with Western preconceptions of a diminutive Japan—and even with the pretty, descriptive, and “Zen-like” (Klein’s word) pictures of late-fifties Japanese photographers. His Tokyo is dense, raw, and restive. Its space is compressed and fragmented, filled with signage and Légerian interlocking verticals and horizontals, repeating reflections and afterglow."

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The Problem is Photobook World is not Incestuous Enough

The Problem is Photobook World is not Incestuous Enough | Photography Now | Scoop.it

It's a question that came up on the Photobooks Facebook page where questions were asked on the business model of photobook-land, its incestuousness and all the other usual questions that we repeatedly ask of photobookery.

Mario Pires's insight:

"These are people who have popped up out of nowhere (or almost nowhere) simply because they made something interesting, int he same way that Doyle, Nolan and Obara made something interesting. So you can make it 'big' in photobook world, make an interesting book. It's that simple."

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Vienna Photobook and the Entertainment of Photography

Vienna Photobook and the Entertainment of Photography | Photography Now | Scoop.it

So my talk at Vienna is going to be about my German Family Album (you can see some of the pictures here and more of them here) and the stories that Photobooks can tell.
The problem for me is how do you tell family stories, and they are quite tragic and sad story when those stories are overshadowed by the horrors of Nazi Germany.

Mario Pires's insight:

"We all love Azoulay, Barthes and Baudrillard, but you are killing your audience if the book starts with the dense essay that ticks off the names of the usual suspects. It might tell people how educated you are in conventional photographic theory, but that really means diddly-squiddly to most people. If you want to tell people about your intelligence, rather than spending your £15,000 on making a photobook,  you might as well print a bunch of flyers saying how smart you are, and stand on the corner of the local High Street handing them out to whoever is daft enough to take them."

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Why we take pictures - Thoughts of a Bohemian

Why we take pictures - Thoughts of a Bohemian | Photography Now | Scoop.it

To understand the role of photography today, we have to understand why we take pictures. We automatically tend to associate picture-taking as an addition to our memory function since a lot of our natural visual activity is geared towards storing information for later use. However, with the advent of digital and especially mobile photography, we have largely expanded the role of images in our lives and with new emerging cognitive technologies, might even push its boundaries further.

Mario Pires's insight:

"As cognitive computer science evolves and automated extraction of information from images become more common, we will probably see other types of reasons why we take pictures. "

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How to Develop a Project: Vanessa Winship

How to Develop a Project: Vanessa Winship | Photography Now | Scoop.it
From the series "she dances on Jackson" © Vanessa Winship
In 2012 and 2013 fototazo published thirteen short essays from photographers to the basic question, "What advice do you have for starting a project?
Mario Pires's insight:

"I often have multiple threads going at any one time and eventually the strongest ones win through. I begin to focus more on a specific thread or threads. But I don't just work with dramatic images, I like to work with images that make sense in sequence as much as images that work alone. "

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The Lomography Petzval 58 is the First Petzval Bokeh Control Lens

The Lomography Petzval 58 is the First Petzval Bokeh Control Lens | Photography Now | Scoop.it
Back in 2013, Lomography resurrected the 19th century Petzval lens for Canon and Nikon DSLRs, creating a modern 85mm version of the classic portrait lens.
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Kara Woodward's curator insight, June 3, 5:35 PM

these are actually pretty good......made by zenit I think

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A Visualization of Sunrise and Sunset Photos Being Snapped Around the World

A Visualization of Sunrise and Sunset Photos Being Snapped Around the World | Photography Now | Scoop.it
“All Our Suns” is a new project by NYC telecommunications grad student Michelle Chandra that visualizes the snapping of sunset and sunrise photos around the world using Instagram data.
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Child at a window (by Paul Strand, 1950)

Child at a window (by Paul Strand, 1950) | Photography Now | Scoop.it

“Look at the things around you, the immediate world around you. If you are alive, it will mean something to you, and if you care enough about photography, and if you know how to use it, you will want to photograph that meaning. If you let other people’s vision get between the world and your own, you will achieve that extremely common and worthless thing, a pictorial photograph.” – Paul Strand

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ISLAM REDA's comment, June 26, 8:33 AM
HOW TO ADD AN ENCHANTED ATMOSPHERE TO YOUR PHOTOS

Color Grading
IMPROVING THE BACKGROUND AND MAKING YOUR SUBJECT POP OUT
Advanced Color Correcting Tutorial

In this 2 hour video tutorial we will take this photo of a little girl standing in the woods and transform it into a fairytale-like scene and make her pop out of the photo! Most of this tutorial will focus on color correction/color grading techniques that will allow us to drastically change the look of a photo!

If you are looking to make your photos 'pop' more by improving the look of the background and foreground, this tutorial is for you! http://adf.ly/1JPVw7
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The Vienna Photobook Festival: Why Make a Photobook?

The Vienna Photobook Festival: Why Make a Photobook? | Photography Now | Scoop.it

I really enjoyed Vienna Photobook Festival and the books I saw, talks I heard and people I met.

Mario Pires's insight:

"Making a book is a long, painful and expensive process comparable to simultaneous ripping up £50 notes into confetti and flogging yourself over the back with vinegar-tipped brambles. You have to know (or get to someone who knows) photography, design, paper, printing, construction, binding, writing and so on. And you have to have a bag of £50 notes. Why anyone would do it is beyond me."

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20 Inspiring Quotes About What Photography Is

20 Inspiring Quotes About What Photography Is | Photography Now | Scoop.it
Photography allows one to capture the world around them with the press of a shutter. From a scientific perspective, it is the act of recording light either electronically or chemically.
Mario Pires's insight:

Photography is lots of things, what is it to you ?

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Vince Musi at Look3

Vince Musi at Look3 | Photography Now | Scoop.it
When the National Geographic photographer Vince Musi learned not to say no to assignments, he redefined his approach — and relationship — to photography.
Mario Pires's insight:

"Everybody has this romanticized vision of what you’re doing — a little bit of Robert Kincaid in the “Bridges of Madison County.” The truth is, we are like the Expendables. We’re like Sylvester Stallone and Terry Crews and they are bringing us in when there is some guy who has been kidnapped in Kazakhstan and they’ve got to get him out. And it’s ugly, it’s not pretty. There is never an excuse of like, it rained or my camera didn’t work. You don’t have too many second chances."

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The Rediscovered Face of Vincent Van Gogh

The Rediscovered Face of Vincent Van Gogh | Photography Now | Scoop.it

On a December morning, two somewhat hesitant people stood on the sidewalk of the Boulevard Haussmann, looking for a pop-up gallery we had opened for a period of six months next to the Musée Jacquemart André.

Mario Pires's insight:

"The result of the search were favorable and we were able after some hesitations to identify the compagnons of Vincent Van Gogh, ,and to understand the context of the picture "

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In The Wake of Richard Prince and Instagram, Revisiting Copyright Law, Appropriation and History

In The Wake of Richard Prince and Instagram, Revisiting Copyright Law, Appropriation and History | Photography Now | Scoop.it
Since Richard Prince first exhibited infringing appropriated photographs, reproduction technologies have thrown established conventions into disarray.
Mario Pires's insight:

"On October 19, 1976, President Ford signed into law the first major revision of United States copyright since 1909. The Copyright Act of 1976 confronted a number of author’s rights issues relating to the myriad technological advances (e.g., film, radio, television, etc.) that had occurred in the first three-quarters of the twentieth century. Addressing the accelerated manner in which cultural works could be reproduced, both enhanced legal definitions, as well as measures not previously codified, were included in the new legislation, all of which attempted to maintain the balance between author’s rights and fundamental freedom of speech rights. In other words, the 1976 Act attempted to protect new types of authors and the works they produced from would-be counterfeiters or pirates, while avoiding overreach that might foreclose certain artistic possibilities and thus have a “chilling effect” on cultural production as a whole."

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BTS: Photographing the 2015 Champions League Final

BTS: Photographing the 2015 Champions League Final | Photography Now | Scoop.it
What does a day of covering one of the biggest events in soccer look like? Chief photographer Joel Marklund of the Swedish photo agency Bildbyrån recently photographed the 2015 Champions League final match between powerhouses Barcelona and Juventus.
Mario Pires's insight:

Events are very hard to photograph well, hat's off to Joel for his mastery.

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La couleur dans le reportage. Les années 1960-70. Entretien avec Michel Poivert | Le Clin de l'oeil

La couleur dans le reportage. Les années 1960-70. Entretien avec Michel Poivert | Le Clin de l'oeil | Photography Now | Scoop.it

 Le n°1 des Cahiers lancés par la Fondation Gilles Caron, soutenue par la Fondation Bru, est paru aux éditions Filigranes, dirigé par Michel  Poivert. Sous la forme d’un entretien, mon  point synthétique sur la couleur dans le reportage des années 1960-1970.

Mario Pires's insight:

"Dans l’histoire du photojournalisme au 20ème siècle, la valorisation du noir et blanc par la profession est une constante, qui le lie au sujet noble, le news ; au contraire de la couleur dévalorisée, réservée aux sujets plus frivoles et plus mondains, que le photojournalisme revendique peu pour sa propre histoire."

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New York : Frederic Brenner An Archeology of Fear and Desire

New York : Frederic Brenner An Archeology of Fear and Desire | Photography Now | Scoop.it

An Archeology of Fear and Desire is part of an unprecedented photographic project initiated by Brenner, which explores Israel and the West Bank as place and metaphor.

Mario Pires's insight:

It’s been an exploration of the human condition through a hole in the door,” 

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Chris Leskovsek Executes The Artist Book Concept With Absolute Perfection — Medium

Chris Leskovsek Executes The Artist Book Concept With Absolute Perfection — Medium | Photography Now | Scoop.it
Photographers, naturally, want an audience for their work. This want often manifests itself in the desire to publish. However, publishing is a challenging world to navigate. I won’t be the one to say traditional publishing is anachronous, or even evil incarnate, as some have suggested.
Mario Pires's insight:

"Chris Leskovsek possess a unique photographic signature. It’s not without roots (one can quickly see the influence of Moriyama, for example) but it is still unique enough that we don’t merely feel like we are looking at “copies”. The photographs in this collection are part of the Japanese school, but they are also fresh and serve well to disrupt and enrapture."

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Kara Woodward's curator insight, June 2, 12:36 PM

I've been following Chris Leskovsek for a while now.  He is a Ricoh GR shooter and has a very compelling style.  I think I will be getting this book.....

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These Photos of Mini Figures Capture the Frustrations of Office Life

These Photos of Mini Figures Capture the Frustrations of Office Life | Photography Now | Scoop.it
Ad agency brand strategist Derrick Lin has developed a creative way to vent about all the little annoyances of his office job.
Mario Pires's insight:

"While trying not to let the stress get the best of me, I decided to turn the mundane and often annoying little moments in my agency life into inspirations for something whimsical and magical."

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Francis Bacon Discussing Photographs, Painting, Destructive Criticism and More

Francis Bacon Discussing Photographs, Painting, Destructive Criticism and More | Photography Now | Scoop.it
“I’ve had photographs taken for portraits because I very much prefer working from the photographs than from them.
Mario Pires's insight:

"It’s true to say I couldn’t attempt to do a portrait from photographs of somebody I didn’t know. But, if I both know them and have photographs of them, I find it easier to work than actually having their presence in the room. I think that, if I have the presence of the image there, I am not able to drift so freely as I am able to through the photographic image. "

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