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Color or not color ? Steve McCurry répond | Serge Bouvet, photographe

Color or not color ? Steve McCurry répond | Serge Bouvet, photographe | PHOTOGRAPHERS | Scoop.it

Sur la couleur et noir et blanc, chacun à son avis sur la question. Steve McCurry que j’ai rencontré à trois reprises à Paris, m’en a touché deux mots. A juste titre, pour accompagner le sujet en beauté, je vous propose de télécharger 4 préréglages Kodachrome offerts !® que j’ai conçus pour mes travaux de photographie en noir et blanc. 


Dans le monde de la photographie, le nom de Steve McCurry est synonyme de regard . Ses nombreux portraits saisissants font de lui l’un des meilleurs portraitistes au monde. Une référence historique incontournable pour qui veut s’intéresser à l’histoire de la photographie. A mes yeux, au même titre que Raghubir Singh et de William Eggleston, Steve McCurry a donné ces lettres de noblesse à la photographie couleur.


Le 13 décembre 2015, lors des Master Class qui avaient eu lieu à Paris, Steve McCurry m’a appris qu’il avait un point commun avec Raghubir Singh : Cartier Bresson. Chacun ont en effet présenté humblement leurs photos au maître français. A Steve McCurry, il lui conseille la voie noble du noir et blanc. L’élève s’émancipera du conseil de son mentor. A Raghubir Singh qui avait pris le taureau par les cornes en venant directement dans son appartement proche du Louvre pour lui remettre son ouvrage en couleur, il n’émet pas même une critique à son endroit. Cartier Bresson feuilletera à peine son livre. Dédain blessant pour Raghubir Singh. Le maître avait le regard soupçonneux et l’avis d’un inquisiteur à l’égard de la couleur. On ne touche pas au noir et blanc ! (...)

 

 

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Red State | Photographer: Christopher Anderson

Red State | Photographer: Christopher Anderson | PHOTOGRAPHERS | Scoop.it

Magnum is probably the most famous photo agency in the world. Even if you haven't heard of it, chances are you're familiar with its images, be they Robert Capa's coverage of the Spanish Civil War, Steve McCurry's Afghan Girl or Martin Parr's very British holiday-scapes. Unlike most agencies, Magnum's members are selected by the other photographers in the agency, which, given they're the greatest photo agency in the world, means that becoming a member is a pretty grueling process. As part of an ongoing partnership with Magnum, we will be profiling some of their photographers over the coming weeks.

First up is Christopher Anderson, who became a Magnum nominee in 2005 and was a full member by 2010. His early work on Haitian immigrants' illegal journey to America—during which he and they sank in the Caribbean Sea in a handmade wooden boat named Believe in God—won him the Robert Capa Gold Medal. And last year, we produced an episode of Picture Perfect about him.

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Congo (Belge) | Photographer: Carl de Keyzer

Congo (Belge) | Photographer: Carl de Keyzer | PHOTOGRAPHERS | Scoop.it

As a member of Magnum for almost 20 years, Belgian photographer Carl de Keyzer has published several books, shooting projects across the globe in Europe, Russia, Asia, and the U.S. His strength lies in his ability to consistently capture pointed, expressive moments within daily life. For the photographs in Congo, he took five trips over two years to document the life of a post-colonial nation. “I decided to use a 1954 tourist guide for the Congo – at that time still a Belgian colony. Visiting all kinds of colonial backgrounds – mines, factories, schools, monasteries, churches, prisons. In fact it’s more a project about Belgium itself. A small European country (80 times smaller) being arrogant enough to export their own surrealism to the heart of Africa.”

 

The photographs were made into a series of two books in 2009 and 2010,Congo (Belge) and Congo Belge en images. The first book consisted of his contemporary photographs (tour guide) and the second included a selection of remastered glass negatives of the birth of the colony (1890 – 1920). Each photograph implies a story or carries a message—all focus on the people in the situation, all cross the line between straightforward photojournalism and a richer, more artful documentary style. “I tend to engage in long-term projects. I prefer to stay in a country for a longish period in order to get a better feeling of what is going on there. I prefer complex images because they reflect the complexity of life itself. There is a conflict between the utilitarian aspect of certain images taken for a precise purpose and photographs expressing a more personal viewpoint. I am always somewhere in the middle. Can you really grasp a situation through a picture? Yes, perhaps. You try, even if you stay a stranger looking in from the outside. What you are aiming at is photographs showing situations that have repercussions on people’s lives. That is why I am a photographer.”

Photo report's insight:

Link info:
The portfolio is on Projects : 2009 Congo (Belge)

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Dorothy R. Cook 's curator insight, June 24, 2015 6:44 AM

I KNOW YOU ARE LOOKING BUT CAN YOU REALLY SEE THE WAY OF LIFE NOW OR NOT?