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Anodine | Camille Bonnefoi

Anodine | Camille Bonnefoi | Platine-Palladium | Scoop.it

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Jean-Claude Mougin's insight:

De magnifiques images superlatives.

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Jean-Claude Mougin's comment, February 17, 2014 5:45 PM
De magnifiques images avec une sensibilité toute féminine.
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Philosophes emprisonnés (2) : Parce qu’elle tourne. Giordano Bruno et Galilée face à l’Inquisition romaine

Philosophes emprisonnés (2) : Parce qu’elle tourne. Giordano Bruno et Galilée face à l’Inquisition romaine | Platine-Palladium | Scoop.it
Le combat des philosophes face à l’Inquisition ou le combat vers l’autonomie de la science et les lumières de la raison contre le dogmatisme.
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Le tirage argentique en photographie - Le travail du photographe

Le tirage argentique en photographie - Le travail du photographe | Platine-Palladium | Scoop.it
Le tirage argentique Les photographes sont soucieux des contenus[...]pas de contenus sans contenants[...]Les contenus vivent dans la matière.Stages indiv.

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Hannah Arendt : La tradition et l’âge moderne (billet invité)

Hannah Arendt : La tradition et l’âge moderne (billet invité) | Platine-Palladium | Scoop.it
Cet article initie une série de recensions sur La Crise de la culture d’Hannah Arendt. La lecture de cet ouvrage n’est pas des plus accessibles. La pensée d’Arendt ne fait en effet pas système. Quand on constate comment les systèmes de pensée uniformisée et se voulant une cohérence d’ensemble ont pu dégénérer en totalitarismes de part une lecture réductrice du monde, on ne saurait faire grief à celle qui fut l’une des plus grandes critiques de tous les totalitarismes de ne pas s’être laissée enfermer dans une case philosophique. Si Hannah Arendt entame son ouvrage par une allégorie de la caverne de Platon, ce n’est pas pour rien : rien ne serait plus vain et dangereux que de se laisser cloîtrer au fond d’une caverne avec quelques schémas réducteurs (la lutte des classes, l’inégalité des races, la concurrence « libre et non faussée », l’ « ordre spontané », la main invisible, etc.) en guise de représentations du réel.

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[Une image dialectique est ce en quoi l'Autrefois rencontre le Maintenant, dans un éclair, pour former une constellation] - [(Walter Benjamin)]

[Une image dialectique est ce en quoi l'Autrefois rencontre le Maintenant, dans un éclair, pour former une constellation] - [(Walter Benjamin)] | Platine-Palladium | Scoop.it
Citation complète de Walter Benjamin dans le Livre des Passages : "La marque historique des images n'indique pas seulement qu'elles appartiennent à une époque déterminée, el

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Wreckage Upon Wreckage: Walter Benjamin's Angelus Novus and Max Ernst's The Entire City

Wreckage Upon Wreckage: Walter Benjamin's Angelus Novus and Max Ernst's The Entire City | Platine-Palladium | Scoop.it
In Thesis IV in On the Concept of History, Walter Benjamin quotes from a poem by Gerhard Scholem, Greetings from the Angels, written in response to a Paul Klee painting, Angelus Novus, which was owned by Benjamin and entrusted to Scholem. Benjamin folds Scholem and Klee's angels into a new angel of his own - the angel of history. As the angel of history looks on the 'smashed' wreckage of the past, the image of the angel itself is also fragmented within the text. I am interested in how we can use the specific meanings generated by each to think about the potential of Benjamin's angel. This potential, that is alluded to but cannot be fulfilled by the angel of history, is to be, in Friedrich Schlegel's words, 'a prophet looking backwards'. The historian, according to Schlegel's aphorism, reads time in two directions simultaneously, in a way that is at once regressive and progressive. This speaks to how Michael Löwy describes Benjamin's method in On the Concept of History, as using 'nostalgia for the past as a revolutionary method for the critique of the present'.

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LA SCENA DEL DELITTYO

LA SCENA  DEL DELITTYO | Platine-Palladium | Scoop.it
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Jean-Claude Mougin's curator insight, May 19, 2015 9:04 PM
La scena del delitto – Seminario con Jean Claude Mougin9 maggio 2015

La scena del delitto
seminario con Jean Claude Mougin 
a cura di Simone Casetta
aperto a tutti 13 maggio 2015

Partendo dai lavori di W. Benjamin e di J. Baudrillard, ci si propone di indagare i significati di quella che è stata metaforicamente definita la Scena del delitto. Mostreremo quindi che in questa fase storica la fotografia emergente non ha a che fare con un inizio, bensì con una fine.

Si è imposta nello scorrere della nostra storia una concezione matematica del reale a partire dall’ideale geometrico, già presente nella cultura greca antica, la rappresentazione di un mondo che si vuole come conchiuso e finito, concezione a cui la svolta romana (Heidegger) aggiunge la nozione di Impero, il respingimento dei limiti.

Questo passaggio, al limite tra il mondo e l’im-mondo (Gérard Granel), si realizzerà nel Rinascimento con la matematizzazione del reale come, per esempio, nelle opere di Brunelleschi e negli scritti di Galileo Galilei. La “Città Ideale” di Urbino non è forse la prima scena di un delitto? La Camera Obscura che aveva fornito i parametri per la lettura prospettica, farà poi da modello per tutte le macchine fotografiche.

Descartes sospingerà in seguito la scienza al di là dei suoi stessi orizzonti, con l’invenzione della geometria analitica, la calcolabilità, che non conosce ormai più limiti e si apre sull’infinito, iniziando così quella che è stata definita una “nuova barbarie” da W. Benjamin, fare tavola rasa del passato e quindi “divenire poveri di esperienza”.

Seguendo questa linea di pensiero, lo sviluppo senza limiti della numerificazione del reale, quale emerge nella fotografia digitale, viene ad essere, secondo Baudrillard, il “delitto perfetto” e la storia della fotografia può quindi testimoniare di questa trasformazione da mondo a im-mondo.

Benjamin ci aveva mostrato il declino dell’aura in seguito alla diffusione delle tecniche di riproduzione, quella a venire sarebbe stata a quel punto la fotografia moderna, possiamo identificarla con quella di Atget, in cui ogni fotografia rappresenta una scena del delitto, in quanto non mostra che degli indici, ci mette di fronte alla sparizione della realtà: la questione fotografica diviene politica.

Sparizione della realtà per esaurimento delle scorte, imbarco delle persone alla volta del Cyberspazio: questa fase di esaurimento è quel segno della fine della storia, che Hegel aveva già annunciato attraverso l’immaterialità del lavoro.

Per Alexandre Kojève tutto questo processo storico conduce allo “Stato Universale”, una mondializzazione intesa come economia di mercato che riduce l’uomo alla sua animalità e a non essere più null’altro che una cellula di consumo; l’uomo diventa l’essere «privato di un mondo» e ridotto a vivere nell’istantaneità della risposta agli stimoli, sottomesso a ogni tipo di condizionamento e a tutte le servitù volontarie.

Tuttavia, all’indomani di un viaggio in Giappone, è lo stesso Kojève a scoprire un’alternativa a questa animalità post-storica, in quello che chiamerà snobismo: il rituale stravagante della cerimonia del tè, del teatro “Nô” o dell’arte delle composizioni floreali.
Lo snobismo, come rifiuto di partecipare al tempo della mediocrità, potrà anche applicarsi a quelle forme di resistenza che si oppongono alla smaterializzazione attuale dell’arte, nel caso specifico della fotografia questo succede con la pratica attiva delle tecniche, definite ormai come alternative, ma che non sono altro che l’eredità di quasi due secoli di ricerca tecnica ed espressiva.

Jean-Claude Mougin, filosofo, fotografo autore, nasce nel 1943 e trascorre l’infanzia in campagna.

Il suo tirocinio è presso Lycée Victor Hugo a Besançon e la sua formazione all’Università di Besançon, nel 1961 i primi viaggi in Italia e la scoperta del Quattrocento. Il Maggio del ’68 gli procura qualche guaio con la giustizia militare.

Dal ‘69 è professore di filosofia al liceo Sfax in Tunisia dove fa “apprendistato” della cultura mediterranea e dove inizia ad appassionarsi alla fotografia, nel ‘79 torna in Francia a Charolles, dove conosce Paul Jay, direttore e fondatore del museo di storia della fotografia Nicéphore Niépce di Chalon-sur-Saône. Nel 1980 in occasione di una mostra di Paul Strand vede per la prima volta le sue stampe al platino o al palladio, per lui è una rivelazione e si dedica alla ricerca di questa tecnica, convertendosi al grande formato.
Dal 2003, si dedica totalmente alla fotografia: ha esposto a Tunisi, Parigi, Ginevra, Copenaghen, Phoenix in Arizona, Pechino, Corea e Cina.

Le sue opere sono presenti nelle collezioni del museo Niepce, al Fox Talbot di Lacock Abbey, al Museo dell’Eliseo di Losanna, all’Accademia di Belle Arti di Shenyang.
Ha pubblicato vari testi su Mario Giacomelli e Lorand Gaspar. Ha partecipato all’illustrazione dell’opera di Michel Tournier, ” Des Clefs et des Serrures ” e a quella di Paul Jay ” Les conserves de Nicéphore: essai sur la necessité d’inventer la photographie”, ha pubblicato un libro “Palladium” (vediwww.platine-palladium.com).

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Photography with iron (iii) salt

The process of making photographic images with ferric salts in camera by Arpan Mukherjee.


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STÉNORIGAM - - - - Appareil photo Sténopé à construire soi-mêm Erika Kitamura

STÉNORIGAM - - - -  Appareil photo Sténopé à construire soi-mêm Erika Kitamura | Platine-Palladium | Scoop.it
erika kitamura * graphic design * illustration * paper art

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Japanese Kozo Paper Vs Arches Platine

When you compare the 2 papers you find that Kozo has less tonality and would not be as good as the Arches Platine which made especially for the platinum and ...
Jean-Claude Mougin's insight:

The Arche Platine is not a t his maximum black, and it seems that your negative in undeerexposed. Your Kozo is bad and poor, but it exist so many japanese papers. You can fine better like Arches Platine.

You must try 100% gampi paper particulary, Bicchu Torinoko? the best paper for me in the world, handmade, acidic, fabulous.

 

www.platine-palladium.com

www.platine-palladium.fr

 
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CYANOTYPES/PHOTOGRAM - Ariane peinture et photos

CYANOTYPES/PHOTOGRAM - Ariane peinture et photos | Platine-Palladium | Scoop.it
Tirages cyanotypes sur papier format maximum A4/ folio sans bords Format minimum 6x9cm Les reproductions ci-dessous donnent un aperçu  le plus proche possibledes originaux  mais il est très diffici...

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expo: Wuyue Image Space 798 Bejing 16/08 au 20/10/2014

expo: Wuyue Image Space 798 Bejing 16/08 au 20/10/2014 | Platine-Palladium | Scoop.it
Jean-Claude Mougin's insight:

52 tirages platine-palladium

 

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Témoignage — Pourquoi photographier à l’argentique en 2014 ? | Santadenn Journal

Témoignage — Pourquoi photographier à l’argentique en 2014 ? | Santadenn Journal | Platine-Palladium | Scoop.it

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Le papier salé

Le papier salé | Platine-Palladium | Scoop.it
Dans la grande famille des procédés anciens et plus particulièrement parmi ceux utilisant des sels d'argent, la technique du papier salé est une des plus simples. Mais attention, elle est légèrement plus complexe et plus longue à mettre en oeuvre que le cyanotype ou le procédé Van Dike. Pour le papier salé, vous n'aurez besoin que…

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Alexander Schnell : Lire les Beiträge zur Philosophie de Heidegger

Alexander Schnell : Lire les Beiträge zur Philosophie de Heidegger | Platine-Palladium | Scoop.it

Les Beiträge zur Philosophie (1936-1938) ont été présentées, lors de leur publication en 1989, par l'éditeur F. -W. von Herrmann comme le "second chef-d'oeuvre" de M. Heidegger. Le présent volume rassemble des contributions parmi les plus grands spécialistes des recherches heideggériennes de la France et de l'étranger, qui permet de statuer sur la réception de cet ouvrage aussi fascinant que troublant. Il s'agit, d'une part, de préciser l'objet du texte, d'en exposer la structure, les concepts fondamentaux et son rapport avec Etre et temps (1927), ainsi qu'avec certaines élaborations ultérieures ; d'autre part, des problèmes ciblés, parfois plus techniques, sont abordés, qui permettent d'introduire à ce texte, sans doute le plus difficile de Heidegger, et d'en approfondir la lecture.

 

Schnell est professeur de philosophie théorique et phénoménologie à l'université de Wuppertal. Ses travaux portent en premier lieu sur la philosophie allemande et la phénoménologie.

 

acheter ce livre

en librairieen ligne
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Penn, Irving, notebook [Notebook A1, n.d.] :: Archival Image & Media Collection

Penn, Irving, notebook [Notebook A1, n.d.] :: Archival Image & Media Collection | Platine-Palladium | Scoop.it

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PICTO Benelux: techniques photographiques

PICTO Benelux: techniques photographiques | Platine-Palladium | Scoop.it
Les pages techniques pour les amateurs de procédés anciens au Benelux

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Cyanotype's curator insight, December 6, 2015 6:57 AM

Des docs très intéressants pour se lancer dans les procédés alternatifs !

Et en français !

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Wreckage Upon Wreckage: Walter Benjamin's Angelus Novus and Max Ernst's The Entire City

Wreckage Upon Wreckage: Walter Benjamin's Angelus Novus and Max Ernst's The Entire City | Platine-Palladium | Scoop.it
In Thesis IV in On the Concept of History, Walter Benjamin quotes from a poem by Gerhard Scholem, Greetings from the Angels, written in response to a Paul Klee painting, Angelus Novus, which was owned by Benjamin and entrusted to Scholem. Benjamin folds Scholem and Klee's angels into a new angel of his own - the angel of history. As the angel of history looks on the 'smashed' wreckage of the past, the image of the angel itself is also fragmented within the text. I am interested in how we can use the specific meanings generated by each to think about the potential of Benjamin's angel. This potential, that is alluded to but cannot be fulfilled by the angel of history, is to be, in Friedrich Schlegel's words, 'a prophet looking backwards'. The historian, according to Schlegel's aphorism, reads time in two directions simultaneously, in a way that is at once regressive and progressive. This speaks to how Michael Löwy describes Benjamin's method in On the Concept of History, as using 'nostalgia for the past as a revolutionary method for the critique of the present'.

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Platinum Brushes

Platinum Brushes | Platine-Palladium | Scoop.it
Recently I have been working on platinum printing with Japanese Kozo paper.
I really love the way it looks with the "Where the Ocean Meets the Shore"
series. The delicate look it adds, the feeling that it has survived a
flood. I was doing some research on paper and came across the photographer
Francis Schanberger who prints on a special Japanese paper developed just
for platinum printing. The paper is called Tosa Platinum Paper. I emailed
Francis and he was kind enough to forward me the info as to where to buy
it. The paper is sold by Photo Gallery International located in Tokyo. If
you would like to buy the paper, you have to contact Masayuki Nishimaru to
place an order. He will send you an invoice through PayPal. I placed an
order and received them very quickly (about a week).  I also ordered the
two beautiful brushes below made specifically for Platinum printing. They
are so beautiful I almost don't want to use them.

3 inch and 6 inch Platinum brushes

From Masayuki: Traditional Japanese Style Synthetic Hair Brushes
These brushes are made by traditional Japanese Craftsmen. The synthetic
hair is hand bound with cherry wood and silk thread. The handle contain no
metal so you don't have to worry about contamination or rust ruining your
images. The 3 inch brush is 8,800JPY and the 6 inch brush is 18,000JPY.

I will be trying them out soon and write about how they compare to the
Richenson brushes.

Close up of the 3 inch

Details from the 6 inch brush

Here are the details on the Tosa Platinum Paper:
Specialized as a Platinum Printing Paper, it is mainly made from Tosa Kozo.
It has a smooth surface for coating and does not get too fluffy (fluffy
being Masayuki's description, but if you used this type of paper in the
past, you know it can be easily over brushed and damaged).

They have two types. Tosa Platinum #1: Made of 70% of Tosa-Kozo from Gohoku
in Ino Town and 30% of Gampi fibre.

Tosa Platinum Paper #2 is made of 80% of Tosa-Kozo from Gohoku in Ino Town
and 20% Gampi fibre.

Weight:     26-30g/m2
pH:     6.5-7.5
Paper size:     approximately 60x90cm ( 23.5x35.5 inches)
Price:     Platinum Paper #1 - 1,700JPY and Platinum Paper #2 - 1,600JPY

 

I will be testing the paper and will post the results here soon. Here is a
video of Masayuki making a print using these papers and brushes. For an
8x10 he suggested a drop count of 25 Ferric Oxalate and 25 Metal.

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DJ Red Viking of The Archers interviews Photographer - Dick Arentz

DJ Red Viking of The Archers interviews Photographer - Dick Arentz | Platine-Palladium | Scoop.it
Dick Arentz discusses finding himself with platinum printing, switching from large format view cameras to digital, what his students teach him, contemplative photography and the difference between looking and seeing.

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NEGATIF PALLADIUM DIRECT CHAMBRE 5X7

NEGATIF PALLADIUM DIRECT CHAMBRE 5X7 | Platine-Palladium | Scoop.it
Jean-Claude Mougin's insight:

4h d'exposition, lentille pratique ouverture 3,5

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Benjamin: réception par la distraction

Benjamin: réception par la distraction | Platine-Palladium | Scoop.it
Dans les derniers paragraphes de l'Œuvre d'art à l'époque de sa reproductibilité technique, Walter Benjamin analyse en termes d'attention les mutations de ce qu'il appelle le mode de perception de ...

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Palladium

Palladium | Platine-Palladium | Scoop.it
I have printed with palladium a series of 20 photographs from my pinhole series, mécanisme de l'oubli. I will show them at my  exhibition at the Centre Iris , December 14th.

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