So rather than complain about the introspective nature of photobooks or the endless discussions on the nature of work, we should not follow others but should instead go out into the world and find work that interests and inspires us on its own...
Bernard Perrine, journalist and photographer and Michel Poivert, Art History Professor at the Université Paris I Panthéon-Sorbonne, they analyze the influence of technology, specifically digital technology, on photographic esthetics.
Brassai is one of the few European photographers who have succeeded in giving their thoughts a concrete shape in an oeuvre forming a coherent whole, and who have become known to audiences in the same way as writers have. It is a rare photographer indeed whose prints are engraved in our memories in remembrance of emotions comparable to those felt upon reading a literary work.
The March 11 earthquake and its effects will necessarily loom over any attempt to think about Japan’s 2011. These effects are not going away anytime soon, even if it’s entirely too easy for Tokyoites to forget about what’s happening up North. For their part, photographers have made an effort to show people what’s happening in Tohoku, but I’m not sure that much of the work being produced so far is all that useful to anyone. I think it’s possible that my general disappointment with post-3/11 photographs so far could be linked to a broader turn away from representing people in Japanese photography.
Marc Wilson is creating beautiful, evocative photographs of the structural remnants of Europe’s military defences in his project “The Last Stand.” With several under his belt, Marc is currently raising funds via IndieGoGo in order to reach his goal...
A film to watch in connection with my post On Marrying A Photographer is The Windmill Movie. This great autobiographical documentary about the filmmaker Dick Rogers offers an intimate look into his relationship with the photographer Susan Meiselas.
In the new Adams retrospective book, The Place We Live, there is an essay by Jock Reynolds entitled ‘Taken Together’ on the importance of Kerstin Adams in Robert’s life and work. Reynolds paints a fairly remarkable picture of marital harmony.
In Henan, the sky is grey and the dust paints the landscape brown, says Bonsfills, who works exclusively in colour with sensitivity and compassion, revealing a China where the ageing community speak the Hua dialect; and still drink tea from yellow tins; rubber slippers leave their imprint in the mud of the unpaved streets.
I’m interested in your deconstruct (or re-construct) the new TIME cover in light of its earlier cousin. I’m curious about the anchor text, especially the tone of the language on the new, post-Iowa cover.
More often than not, some of the best observers of places are those not originally from there. Leon Borensztein was born in Poland, settled in Israel and emigrated only later in life to the U.S. in 1977.
Born and bred on the banks of the Yangtze River, Wang Yuanling naturally turned his camera to the people whose lives are shaped by its waters. His images of his home town, Chongqing, tell the story not only of that place, but also of daily life across China.
In memory of Navia, there is a can of quince jelly that would mark his life. That can, which he still retains, has painted a Venetian gondola and letters in mold manufacturer name “Francisco Aguilar Berral, from Puente Genil”, and inside it kept her grandmother Ana family photographs. In the winter evenings, the child Navia looked the portraits of his ancestors and his own with the fascination with the children of that time looked at the pictures…
Jim Wilson covered his first presidential primary in 1976, shooting for The Charlotte Observer. Covering politics over the decades, he has seen tremendous changes - both in the style of the campaigns and the technology used to photograph them.
As 2011 came to an end, I (somewhat foolishly) decided to compile the many ‘best photobooks of 2011′ lists that were popping up all over the internet to see whether there were any books that were consistently getting all the plaudits. I was particularly struck by the almost total absence of books published in Japan from these 52 lists (6 books out of 313!).
“DANCE” is one of those photobooks that attracted my eye immediately, even from a distance. Then when I picked it up, it endeared itself even more, instantly, with the luscious touch of its coarsely textured cover.
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