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Scoop.it!
To understand the role of photography today, we have to understand why we take pictures. We automatically tend to associate picture-taking as an addition to our memory function since a lot of our natural visual activity is geared towards storing information for later use. However, with the advent of digital and especially mobile photography, we have largely expanded the role of images in our lives and with new emerging cognitive technologies, might even push its boundaries further. 
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From the series "she dances on Jackson" © Vanessa Winship
Mario Pires's insight:
"I often have multiple threads going at any one time and eventually the strongest ones win through. I begin to focus more on a specific thread or threads. But I don't just work with dramatic images, I like to work with images that make sense in sequence as much as images that work alone. "
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Back in 2013, Lomography resurrected the 19th century Petzval lens for Canon and Nikon DSLRs, creating a modern 85mm version of the classic portrait lens.
Kara Woodward's curator insight,
June 3, 2015 5:35 PM
these are actually pretty good......made by zenit I think
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“All Our Suns” is a new project by NYC telecommunications grad student Michelle Chandra that visualizes the snapping of sunset and sunrise photos around the world using Instagram data.
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Les expos photos : il y a celles qui alignent sagement les images à la queue leu-leu sur les murs. Et il y a celles qui semblent vouloir à toute force échapper à cette forme classique de présentation.
Mario Pires's insight:
"Pour que les artistes soient amenés à montrer la photo autrement, il a fallu que celle-ci change de statut et soit traitée non plus comme un tableau photographique à contempler, mais comme un élément ou une matière qui pouvait se plier à de nouvelles formes artistiques. Le passage du médium par l’art conceptuel et ses démarches n’y a pas été étranger : la photo s’échappe hors de son cadre, devient flexible et ne connaît plus de limites."
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Yesterday, May 25th 2015, the american photographer Mary Ellen Mark passed away at the age of 75. "She was all about the work. I had discussed the possibility of doing a workshop for our 9th festival last year with Mary Ellen. She wanted to teach for us but was unable to make it work in her busy schedule for 2014.
Mario Pires's insight:
"Last year in October I met with her at her studio offices in Manhattan. She told me then she had some health issues, without being too specific. She did tell me that she had been at the hospital earlier that day for a transfusion yet she was all about teaching the workshop. I asked pointedly if she felt she would be up for it six months down the road and she assured me she would. She said – “It’s important for me.” "
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When I had first looked at Moriyama’s Okinawa it was to photograph the cover of the book on the ICP copy-stand. The clear, black and white contrast on the cover led me to quickly flip through the book before deeply looking into it.
Mario Pires's insight:
"After comparing Moriyama’s two books I realized that the closeness I had felt with one of them was contrasted by the wonder I had for the other. The original appeal of Moriyama’s black and white balanced style led me to enjoy his two books for their balance to me. I was able to romanticize one part of the world with Okinawa, and then appreciate my home with ’71 NY."
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Billy & Hells is the pseudonym for the creative duo comprised of Berlin based photographers Anke Linz and Andreas Oettinger. The photographers met in the mid-1980s and shortly after, began collaborating creatively. Since 1995, the two have worked together under the name Billy & Hells.
Mario Pires's insight:
"Billy & Hells’ photographs exist in a world of in-betweens. Their deceptively simple, straightforward portraits convey a certain complexity. The archetypal characters depicted in their photographs—mothers, soldiers, cowboys, nurses, and teachers— possess an underlying sense of mystery, hinting at the duality of the sitter as well as the fictional world they inhabit."
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Last week we took readers on a visit into the archives of the Rencontres d’Arles. Accessible to all, the Arles Multimedia Library, or Médiathèque, features an unexpected audiovisual patrimony for researchers and photography lovers.
Mario Pires's insight:
"It should be seen as an online reference library related to the experience of the festival but not entirely. We also hope to give people content , create collections about photographers or subjects addressed during the festival. There are interviews, transcriptions of conferences and debates, over 50 hours of videos, documentaries, recordings from the Théatre Antique, hundreds of hours of sound, mostly from conferences."
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I wonder if you’ve seen any of the “Maya girls” taken by AP photographer, Daniel Ochoa de Olza?
Mario Pires's insight:
"If perfectly nice in their display of youth, layer and pattern, what’s more illustrative is the way fresh blooms channel the allure of more exquisite flowers already planted in our cultural DNA."
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From
cphmag
A few weeks ago, I listened as a photographer described his work. It had something to do with the financial markets and how they operated, specifically how there was an ever accelerating trend towards financial transactions to be done by computers, while, at the same time, the equally accelerating trend towards embracing neoliberal policies was essentially gutting the kind of society large parts of us (those who are older than, say, 30) have been taking for granted.
Mario Pires's insight:
"Given how much power over the human imagination photographs have been having, there is something totemistic about them. We laugh or dismiss what we call “primitive” attempts by seemingly less sophisticated cultures to deal with our cosmos, with life and death. Yet when we encounter photographs, we essentially embrace the same primitivism, staring at a piece of paper or a pattern temporarily formed on a computer screen as if we were faced with what is depicted therein. It’s remarkable."
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From
medium
A May 2nd report on France 2 lit the fuse to the powder keg: Instagram may be the enemy of the professional photographer. On one hand, you have the true photographer, covered in costly equipment, and on the other, the amateur, equipped only with a smartphone (Instagram is only accessible with a mobile phone app) that allows you to cut out the professional.
Mario Pires's insight:
Instagram is a excellent model for a image distribution and licensing network.
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After we published the post about Tim Tadder’s Dia de los Muertos series going viral, many people reached out wondering what inspired him to create the project. So, I asked him. Here is what he had to say.
Mario Pires's insight:
"On Halloween as the ghouls and goblins paraded through the neighborhoods the concept materialized, and Las Muertas was born. For the next month we studied the traditions of the Mexican holiday Dia De Los Muertos, and found that out scorched earth would be the perfect setting to depict the visiting of past spirits. Its eerie charred beauty matched perfectly with the designs of the traditional Dia De Los Muertos dress. during our production research we found LA based sculpture artist Krisztianna that made the most incredible Dia De Los Muertos art pieces. I new she was the perfect person to elevate this project and I needed her help."
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From
medium
Photographers, naturally, want an audience for their work. This want often manifests itself in the desire to publish. However, publishing is a challenging world to navigate. I won’t be the one to say traditional publishing is anachronous, or even evil incarnate, as some have suggested.
Mario Pires's insight:
"Chris Leskovsek possess a unique photographic signature. It’s not without roots (one can quickly see the influence of Moriyama, for example) but it is still unique enough that we don’t merely feel like we are looking at “copies”. The photographs in this collection are part of the Japanese school, but they are also fresh and serve well to disrupt and enrapture."
Kara Woodward's curator insight,
June 2, 2015 12:36 PM
I've been following Chris Leskovsek for a while now. He is a Ricoh GR shooter and has a very compelling style. I think I will be getting this book.....
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Ad agency brand strategist Derrick Lin has developed a creative way to vent about all the little annoyances of his office job.
Mario Pires's insight:
"While trying not to let the stress get the best of me, I decided to turn the mundane and often annoying little moments in my agency life into inspirations for something whimsical and magical."
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“I’ve had photographs taken for portraits because I very much prefer working from the photographs than from them.”
Mario Pires's insight:
"It’s true to say I couldn’t attempt to do a portrait from photographs of somebody I didn’t know. But, if I both know them and have photographs of them, I find it easier to work than actually having their presence in the room. I think that, if I have the presence of the image there, I am not able to drift so freely as I am able to through the photographic image. "
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Hyman is a unique figure in the British photography scene–a dealer, collector, and former academic, he has a finger in many pies. As such, he is perfectly placed to discuss a broad spectrum of issues that concern British photography and the photo world in general.
Mario Pires's insight:
"People consume photography in this country; they just don’t collect it. I think that’s to do with the history. In France, photography was the key art form in Surrealism; in America, Californians like Weston and Adams perfected prints that were beautifully mounted, signed and editioned. But in England, photographers like Bert Hardy andGrace Robertson showed their work in magazines."
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In a world in which photographs are primarily taken with digital image sensors, there are a growing number of photographers who are newly interested in film formats of the past.
Mario Pires's insight:
"Not all explanations can be laid within technical comparisons though. Many will argue that shooting analog is a more personal and enjoyable experience – that decision, is completely up to you."
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After photographing a number of US cities at night through the open door of a helicopter, photographer Vincent Laforet has taken his Air project across the pond to shoot aerial shots of European cities.
Mario Pires's insight:
“I find them simply mesmerizing. And this was the biggest surprise and discovery of this particular city. The LACK of a rectilinear grid can be just as beautiful as perfectly linear streets.”
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“Taking pictures is like tiptoeing into the kitchen late at night and stealing Oreo cookies.” – Diane Arbus
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En 1988, Kodak scandait « Press the button, we do the rest ». Jean-Luc de Laguarigue s’interroge sur cette définition répandue de la photographie comme simple acte de prise de vue et cherche à comprendre « le reste », la mémoire photographique au-delà de la capture de l’image. Ses questionnements donnent lieu à …The Rest, une étude photographique réalisée sans appareil photo.
Mario Pires's insight:
"Les images de Jean-Luc de Laguarigue déplacent le regard photographique de la prise de vue au développement et créent un instant T à retardement. Car l’essence de la photographie n’est rien d’autre qu’une configuration créative du hasard, du temps et du regard, qu’elle est lieu à la prise de vue ou après."
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What are the key features of the media economy in 2015? And how do those features effect the work of visual storytellers?
Mario Pires's insight:
"People are consuming more media, and doing it principally through screens of various sizes connected to the internet. Other platforms like print will persist, but in new and more limited ways. This is the media infrastructure producers need to know and work with."
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Caetano Grippo – « Les Fantômes » Quand un photographe en a marre de regarder la télé, il regarde ses voisins. Caetano Grippo, vidéaste brésilien, va clairement dans ce sens. Scènes de vie quotidienne et mystères digitalisés : bienvenue dans Les Fantômes.
Mario Pires's insight:
"Ces personnes sur mes images, c’est comme si elles n’existaient plus. De toutes façons, pour moi, à partir du moment où on capture une image, ce n’est plus la réalité."
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A quoi servent les images? À illustrer des discours. Telle pourrait être en résumé l’impression que l’on retire des travaux appuyés sur les formes visuelles dans la période récente. Ayant à peu prè...
Mario Pires's insight:
"Avec le triomphe de la société de consommation et des médias de masse, l’après-guerre voit en effet le renforcement de dynamiques qui n’avaient jusque-là été prises en compte que dans les domaines de la publicité ou de la propagande. Le caractère de plus en plus massif de ces ensembles complexes les dote à l’évidence d’une emprise considérable sur l’imaginaire. Notre lecture des images dans l’espace social dépend en majeure partie du filtre imposé par ces répertoires."
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Charged with sexualized iconography of women, drug use and stereotypical characterizations of Appalachians, her work employs the tropes of the documentary tradition to reimagine and subvert the established form and intent of the genre.
Mario Pires's insight:
"When discussing As it was Give(n) to me, I find it necessary to acknowledge the level of consideration and research that has gone into the production of each image. The depth of Kranitz’s work offers a glimpse into the obsessive relationship between the artist and her process. She decisively shuns the fast-paced production model utilized by journalists for that of the long-form documentarians."
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"As cognitive computer science evolves and automated extraction of information from images become more common, we will probably see other types of reasons why we take pictures. "