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Akiko Takizawa Lauréate Prix HSBC 2014

Akiko Takizawa Lauréate Prix HSBC 2014 | Photography Now | Scoop.it

When she speaks about photography, Akiko Takizawa undergoes a transformation.

Mario Pires's insight:

"She speaks about the dead, invokes spirits and communicates with them. She speaks about the absolute necessity in photography of a disconnection between the heart and brain."

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Antoine D'Agata

Antoine D'Agata | Photography Now | Scoop.it

An interview by Alessia Glaviano with Antoine D'Agata.

Mario Pires's insight:

"Antoine is extremely clearheaded, very well-read and endowed with an extra-ordinary honesty and sincerity. To me he is an academic, a man in search of the truth who uses himself, his body and mind violated by drugs and sex, as a means to his search. In D’Agata’s journey, the camera is just a tool – the one which guarantees to produce a result that is the closest to reality – employed to record a piece of experience which could not be depicted otherwise."

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Los Angeles: Flash by Lenny Kravitz

Los Angeles: Flash by Lenny Kravitz | Photography Now | Scoop.it

Imagine if you will that these pictures are six feet across, that the faces in them are life size and staring at you with intense concentration and excitement, longing and maybe love. Most of us, if we are lucky have had one or two people stare at us this way in our lifetime, a lover or a child perhaps. Lenny Kravitz had throngs of people who stared at him like that every day. So Lenny stared back. The result is a book, 

Mario Pires's insight:

Staring back at the audience, one look versus thousands of looks.

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Llámame Marta (Call me Marta)

Llámame Marta (Call me Marta) | Photography Now | Scoop.it
Russian photographer reveals personal and professional life of a Spanish porn actress.
Mario Pires's insight:

"This project covers personal and professional life of a Spanish porn actress, from her first steps in the porn industry when she had just turned 23.

Marta is not a victim of circumstances: she does not have small children to feed and doesn’t come from extreme poverty; her work – being a porn actress – is something she chose freely"

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An A to Z of British Photography. B is for Baby Pictures from the Hyman Collection

An A to Z of British Photography. B is for Baby Pictures from the Hyman Collection | Photography Now | Scoop.it

L’Oeil de la Photographie is pleased to link up with a new educational resource britishphotography.org to provide an A to Z of British Photography. Every two weeks we will present the next letter of the alphabet.  Just launched britishphotography.org gives online access to Claire and James Hyman’s personal collection of British photography as well as providing essays on the subject and links to other websites.

Mario Pires's insight:

"The selection ranges from the prosaic to the fantastic, from the playful to the disturbing, to explore the adult’s view of the baby but also to suggest the extraordinary perception of the baby at newly discovering the strange world that surrounds them. The agendas vary greatly."

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Samantha Geballe: Self Untitled

Samantha Geballe: Self Untitled | Photography Now | Scoop.it
Samantha Geballe has a dilemma.  She is a fearless, talented artist who continues to examine her life, her body, and her journey through self-portraiture.
Mario Pires's insight:

"This is not another fat kid’s story.  There are times when I do assume that role, but it does not define me.  I don’t have the body I have for no reason, but it would be all too easy to extend blame.  What people don’t often see are the functions of obesity.  I hide behind my size, mask vulnerabilities and create walls as a way to protect myself.  Something I have learned and portray in my art is that being vulnerable, and forming connection have created new function and even healing.  I share my body and my story not as a way to seek pity or define myself as a number, but as a venue for a viewer to say “I’ve been there too.”"

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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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Katrien de Blauwer: The Slowly Cinematic Anti-Narrative; Fragmentary Discourse

Katrien de Blauwer: The Slowly Cinematic Anti-Narrative; Fragmentary Discourse | Photography Now | Scoop.it


Katrien de Blauwer’s “I Do not Want To Disappear Into the Night” for Avarie Publishing
 is a foray into the world of collage ruminating over the slowly cinematic. There are fragments of what appear to be film stills, cut and spliced into intelligent formal arrangements suggesting a heavy pathos of surface and emotion. 

Mario Pires's insight:

"Within, we observe…without language ,the back of things, not their insides. Small gasps from our mouths as we try to enunciate a feeling through the language of a peeling paint universe."

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On Media Visuals of the Migrant Tragedy in the Mediterranean

On Media Visuals of the Migrant Tragedy in the Mediterranean | Photography Now | Scoop.it
If you’re not following the story, more than 7,000 migrants have been pulled from the Mediterranean in the past week and several boats have capsized drowning up to 700 people.
Mario Pires's insight:

"The image above comes from this tweet stating: “ANSA showing first images from the scene of the tragedy in the Mediterranean.” Personally, I couldn’t see past the irony, the screenshot showcasing western technology and maritime resources in the illustration of modest rescue attempts, many too late."

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Bonn: Chargesheimer at Feroz Galerie

Bonn: Chargesheimer at Feroz Galerie | Photography Now | Scoop.it

Feroz Galerie presents its new exhibition devoted to german artist Chargesheimer (Cologne 1924-1971). From the beginning of his career, he pursued different artistic interests. While developing an extensive documentation of Cologne’s ruins in the early post-war years, the artist also worked as set designer and devoted himself to creating metal sculptures, surrealist photomontages and experimental works.

Mario Pires's insight:

"Chargesheimer was very critical of social issues. He was also an artist in the broadest sense of the term and his multimedia practice focused on the two main topics of the 20th Century: the human condition and the life in an urban environment."

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The Art of the Personal Project: Slav Zatoka

The Art of the Personal Project: Slav Zatoka | 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:

"Boxing gyms and boxers are one of the most “exploited” subjects in photography and filmmaking. Boxing has been photographed and filmed from all the possible angles: sport, drama, social aspect, form. Who wants to create cliché work and recreate things that have already been shown, photographed? I needed a situation. In the words of Billy Wilder: “An actor entering through the door, you’ve got nothing. But if he enters through the window, you’ve got a situation. I knew I had to at least make an effort to make it worthwhile. Personal projects should have deadlines and budgets just like commercial but I feel like the notions of time and patience are used and explored entirely different when you work on your own, individual project."

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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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