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Scoop.it!
A photojournalist that does not intervene is a photojournalist that doesn’t take any picture. 
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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."
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."
Mary E. Martin's curator insight,
July 23, 2015 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.
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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“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
ISLAM REDA's comment,
June 26, 2015 8:33 AM
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Mary E. Martin's curator insight,
July 23, 2015 11:30 AM
The photographer responds to his surroundings and puts himself into the picture http://maryemartintrilogies.com
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."
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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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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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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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."
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.
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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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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From
cphmag
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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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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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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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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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.
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."
Scoop.it!
A Conversation with Pieter Hugo - Xenophobia, Self-Censorship and the Commodity of ‘Blackness’ | ASX
“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. "
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."
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 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."
Bernard Rentier's curator insight,
June 14, 2015 3:02 AM
Docteur honoris causa de l'ULg 2010 https://www.ulg.ac.be/cms/c_1213285/fr/portrait-de-william-klein
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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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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.
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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"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."