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The Proxy Journalists of a Proxy War | duckrabbit blog

The Proxy Journalists of a Proxy War | duckrabbit blog | Photography Now | Scoop.it

It’s widely recognised that Syria is a proxy war, even if the details of who is fighting on behalf of who, and why often remains clouded and uncertain.

Mario Pires's insight:

Can Reuters enforce journalistic standards when they have no way of verifying the work made in the field and they rely on activists ? Meanwhile, the Syrian Presidency Instagram feed look rather bureaucratic, it could have been made in any office.

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Instagram and Art Theory - artnet News

Instagram and Art Theory - artnet News | Photography Now | Scoop.it

A force that important in visual culture is probably worth having a theory about. And in fact, rather than just being swept along by the stream of images, it may be possible for art—and art history—to add something to understanding the photo-sharing obsession.

Mario Pires's insight:

"Technology has so democratized image-making that it has put the artistic power once mainly associated with aristocrats—to stylize your image and project yourself to an audience as desirable—into everyone's hands."

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Brice Fauche's curator insight, July 31, 8:22 AM

"Technology has so democratized image-making that it has put the artistic power once mainly associated with aristocrats—to stylize your image and project yourself to an audience as desirable—into everyone's hands."

mrstock's curator insight, August 1, 5:10 AM

"Technology has so democratized image-making that it has put the artistic power once mainly associated with aristocrats—to stylize your image and project yourself to an audience as desirable—into everyone's hands."

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Amanda Hankerson and Lacey Criswell: Forever and Always

Amanda Hankerson and Lacey Criswell: Forever and Always | Photography Now | Scoop.it
We all have our preconceived fantasies of love and marriage–romances highlighted in the NY Times Style section and weddings right out of the pages of glossy magazines.
Mario Pires's insight:

"As an artistic partnership, Hankerson and Criswell are interested in how American identity can be constructed by an individual or group of people and how identity can be altered through imagery."

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Hokkaido (by Daido Moriyama, 1978)

Hokkaido (by Daido Moriyama, 1978) | Photography Now | Scoop.it

“When I go to the city I have no plans. Way down a street, twist in a corner, in another, in another one… I’m like a dog. I decide my way by the smell.” – Daido Moriyama

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Bad Sex: Rita Lino’s ‘Entartete’

Bad Sex: Rita Lino’s ‘Entartete’ | Photography Now | Scoop.it
Entartete delivers solitary sex and guilt and self-revelation so fierce that sometimes it leaves you gasping. By Eugenie Shinkle, ASX, July 2015 Entartete is German for ‘degenerate’. It’s the title...
Mario Pires's insight:

"The pictures in Entartete are not sexy, but then they aren’t meant to be. They lack the single-track affect of porn – the warm thump of the gaze as it reaches down into the belly. And where pornography deals in airbrushed fictions, Lino’s photographs are raw and real and unconcerned with flattery."

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Politics, power, photography and people

The Bronx Documentary Center (BDC) is running a show. Here’s the message they sent to documentary photographer Chris Arnade explaining his inclusion.

Mario Pires's insight:

"I recognize the photographer’s skill as image makers. But more than that I recognize something they all share in common, an interest in, and respect for the human condition in all its forms and a willingness to engage with it. Theirs is not surreptitious ‘stolen’ work, but direct and engaged, and as a result there’s a lot of it that makes me very very uncomfortable. Which is as it should be."

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Arles 2015: A Lovely Time, But…

Arles 2015: A Lovely Time, But… | Photography Now | Scoop.it

Sure, the exhibitions were great, and from the very first day there was a kind of infectious joy. The whole city seemed to be living and breathing photography. Everyone wanted this first edition led by Sam Stourdzé to be a success, and it was.

Mario Pires's insight:

"But the evening programs were terrible, from the first (Martin Parr) to the last (Curtis). They were all terrible with the possible exception of Jacques Attali’s but that had nothing to do with photography. They were long, boring and filled with endless speeches..."

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Marie-José Jongerius: Edges of the Experiment | Conscientious Photography Magazine

Marie-José Jongerius: Edges of the Experiment | Conscientious Photography Magazine | Photography Now | Scoop.it

A few years ago, I wrote an article for one of this website’s earlier incarnations, lamenting the often overly conservative and thus unimaginative layout and design of most photobooks. How times have changed!

Mario Pires's insight:

"Yet another photobook with pictures of the American West might have been, well, just another one for the pile. How do you make this more interesting? I have no way of knowing whether this is the kind of consideration behind the form behind Edges of the Experiment. "

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11 Ways to Turn Random Thoughts and Scribbled Notes Into a Project

11 Ways to Turn Random Thoughts and Scribbled Notes Into a Project | Photography Now | Scoop.it
I watched a podcast last week with Rich Harrington, Skip Cohen and photographer Don Komarechka. Don was taking about his snowflake project and book Sky Crystals.
Mario Pires's insight:

Organize yourself, or you will never leave the "i should start this stage".

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The Dramatic Imagery of Jessica Lange by Ieva Bluma

The Dramatic Imagery of Jessica Lange by Ieva Bluma | Photography Now | Scoop.it

Jessica Lange is a true Hollywood legend and one of the greatest actresses of our time.  She has won two Oscars, three Emmys, five Golden Globes and multiple other awards.  Perhaps many people are unaware of the fact that she is also a very accomplished and talented photographer.

Mario Pires's insight:

"I find photography a most mysterious process – capturing that moment in time and space, elusive and fleeting, and crystallising it.”

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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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There is no story It’s just a question of shapes and light

There is no story It’s just a question of shapes and light | Photography Now | Scoop.it

Harry Gruyaert’s Moroccan pictures have the tenacious certitude of mystery. Their content is neither sociological nor ethnographical, and even less so exotic or journalistic. All anecdote is banished, and time—the story, what comes before and after the photograph—appears to be suspended.

Mario Pires's insight:

"In Europe and especially France, there’s a humanistic tradition of people like Cartier-Bresson where the most important thing is the people, not so much the environment. I admired it, but I was never linked to it. I was much more interested in all the elements:  the decor and the lighting and all the cars: the details were as important as humans. That’s a different attitude altogether."

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Nathalie St Photos's curator insight, July 30, 3:29 AM

More I discover this photographer, more I like it!

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Hyper-Capitalism and the Pictures of our Time

Hyper-Capitalism and the Pictures of our Time | Photography Now | Scoop.it
More and more, I’m seeing wealth and power — in specific photo stories, and even more so, in the increasingly random presentation of news photos — as not just a recurrent theme, but as connective tissue.
Mario Pires's insight:

"There are no shortage of homeless scenes as you look around the newswire. In this case, though, the melding of one situation into the other, and the visceral work of the color, interconnects the situations and the prospects in a way that is all-too-provocative, especially when you also dial-in how much the street accomodation looks like a hospital bed."

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Reading images. Narrative imageries

Reading images. Narrative imageries | Photography Now | Scoop.it

Examining the interpretative visual logic at work in popular culture, this article proposes to recognize as a heuristic tool the iconographic group formation process, called narrative imageries, on the model of narrative identity by Paul Ricœur.

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Myth Of The Self-Inflicted Wound: A Deeper Look At That Photo Of The Crying Greek Pensioner

Myth Of The Self-Inflicted Wound: A Deeper Look At That Photo Of The Crying Greek Pensioner | Photography Now | Scoop.it
The above photograph starkly signifies the despair and indignation experienced by the Greek people. It depicts a pensioner, who after his fourth failed attempt to withdraw 120 Euros on behalf of his wife, breaks down in tears.
Mario Pires's insight:

"The photograph almost functions like a visual warning to other pensioners in troubled European countries such as Portugal, Italy, Spain, Ireland or even France. The photographs says to those people across Europe, if you dare to vote for a political party that is willing to stand up against the neoliberal ideology of the EU, then you must suffer the consequences."

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Photography and Criticism | Conscientious Photography Magazine

Photography and Criticism | Conscientious Photography Magazine | Photography Now | Scoop.it

Over the past few months, I have spent a lot of time thinking about what I do. To be more precise, I have been thinking a lot about the role of criticism in contemporary photography. What is criticism? What should it do? What do I want it to do? And what does this all mean for my own approach to it?

Mario Pires's insight:

"Good photographs are those that raise questions, that open up new ways of thinking or feeling – not those that confirm something. My main question when approaching a body of work, any body of work really, is: what does this tell me that I don’t already know? Am I learning something? Am I made to confront established ways of thinking or feeling with what is placed in front of me? That’s the toughest challenge for photography, given that the moment you place your camera in front of something it’s all right there."

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No Superhero - Thoughts of a Bohemian

No Superhero - Thoughts of a Bohemian | Photography Now | Scoop.it
A photojournalist that does not intervene is a photojournalist that doesn’t take any picture.
Mario Pires's insight:

"Their role is not of a superhero seeking to rescue every single victim. These are for the all-volunteer policemen, firefighters, military. The photojournalist is a reporter who’s role is to prevent our society from creating more victims, one photograph at a time."

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In Love and War: An Interview with Lynsey Addario

In Love and War: An Interview with Lynsey Addario | Photography Now | Scoop.it

Lynsey Addario shows up at Paul café in London in a pink coat and matching coral lipstick, her large brown eyes prominent and sparkling.

Mario Pires's insight:

"I never set out to be a war photographer; it was never in my sights. It just happened because I came of age after 9/11, and it was only natural that I’d want to document what happened in the world after that. I remember, four to five years into that coverage, suddenly thinking, Shit! I’m almost exclusively covering war."

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What is 21st Century Photography?

What is 21st Century Photography? | Photography Now | Scoop.it
In this newly commissioned essay, Daniel Rubinstein answers one of photography's most complicated questions. In our contemporary image-world of computers and algorithms, what are the key philosophi...
Mario Pires's insight:
"In short, 21st Century Photography is not the representation of the world, but the exploration of the labor practices that shape this world through mass-production, computation, self-replication and pattern recognition."
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Mary E. Martin's curator insight, July 23, 11:26 AM

A very thought provoking piece on the direction of photography today. The fact that everyone has a cell phone with a great still and video camera built in must make some changes to the development of picture taking. Just as we all can be published authors if we choose, it seems that we all can be photographers. What effect does this have? Do we lose the distinction between amateur and professional and is that important? http:maryemartintrilogies.com. 

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On futility and the myopic nature of the photo world.

On futility and the myopic nature of the photo world. | Photography Now | Scoop.it

Before I launch into a full blown rant. Let me make one thing clear. This is not a “photojournalism is dead” or “print is dead” blog post. There have been enough of those and aside from being mostly wrong, they ignore all of our own complicity in all of this.

Mario Pires's insight:

"Here is the disconnect that I think is leaving a lot of us questioning the purpose of all of this. We spend thousands of dollars and years of our lives on projects only to publish an expensive photo book that will probably only be seen by a handful of other photographers, editors and photo geeks etc etc. The incredible myopathy of our industry is staggering when you think about it."

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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
Mary E. Martin's curator insight, July 23, 11:30 AM

The photographer responds to his surroundings and puts himself into the picture http://maryemartintrilogies.com

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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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Vicente Bertomeu's curator insight, July 24, 12:47 PM

Festival Fhotobook de Viena

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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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Vicente Bertomeu's curator insight, July 24, 12:46 PM

Ciencia de la fotografía