White Rose Bar sign from the fourth-floor window of 821 Sixth Avenue (c. 1957–1964). Photograph © W Eugene Smith Archive at the Centre for Creative Photography, University of Arizona/Heirs of W Eugene Smith
mardi 18 mai 2010
W. Eugene Smith
White Rose Bar sign from the fourth-floor window of 821 Sixth Avenue (c. 1957–1964). Photograph © W Eugene Smith Archive at the Centre for Creative Photography, University of Arizona/Heirs of W Eugene Smith
mercredi 21 avril 2010
Matt Black
Ouvriers migrants, Fresno, Californie.
“This photo was taken at about 4:30 in the morning in Fresno, California. The workers, most of them undocumented Oaxacan immigrants, are being transported on a farm labor bus to pick raisin grapes, one of the most grueling of all farm labor jobs. The bus journey through town took almost two hours: some tried to continue sleeping, but they would be awakened each time a new group of workers boarded. The man driving is their boss, a farm labor contractor. He paid them 21 cents per bucket and then deducted six dollars a day for the bus ride and another six dollars for lunch. Some workers would return home with less than 20 dollars after working a twelve hour day.”
Pete Muller
Observateurs électoraux dans un bureau de vote à Juba, Soudan. Photographs from The Guardian Eyewitness series (13 avril 2010).
Dorothy Height - 1912-2010
Dorothy Height aux côtés de Martin Luther King qui s'apprête à prononcer "I have a Dream", 1963.
"If Ms. Height was less well known than her contemporaries in either the civil rights or women’s movement, it was perhaps because she was doubly marginalized, pushed offstage by women’s groups because of her race and by black groups because of her sex. Throughout her career, she responded quietly but firmly, working with a characteristic mix of limitless energy and steely gentility to ally the two movements in the fight for social justice."
Lire l'article complet ici dans The New York Times (20 avril).
samedi 17 avril 2010
Rodney Smith
Pears, Clinton, Connecticut, 1973
"I am fearful of elevators, loneliness, and the evening. It’s not the deep dark weightlessness of late night that perturbs and frightens me, it’s the transition from light (to be able to see) to darkness that troubles and unsettles me. It is within these hours where I become anxious and filled with despair.
This must be one of the reasons I am a photographer. I go out into the world, to breathe its notoriety and humor, to be able to see clearer, to look for understanding and purpose, to open up, and reach exuberantly and unforgivingly for the light.
But as the sun sets, and darkness begins to overwhelm the struggle, my life becomes unsettled.
This is in my pictures. It is my desperate attempt to stamp the world with good humor and grace. It is my attempt to fight fiercely, with “ruthless determination” against banality. To feel the world, to find its purpose, to understand its laws, to expose its beauty and grace, for me, lies within the hours of the day. As I work within the conflicts of the rebellious and uncontrollable light of day, I wait for the repercussions of the night, like a naughty child who waits for his father to return home in the evening."
Son portfolio ici
George LeChat
Gray City. lighted windows, Clay Street, 2008. Voir d'autres photos de George LeChat sur Hiding in Plain Sight
Hellen van Meele
"I am mainly concerned with things such as the lightfall on a white skin, bruises on an arm, hands which disfigure in water, and starting goose-pimples in frosty weather. Only then you see the texture of the skin so beautifully. It is exciting to see what happens when you put a leg over a horizontal bar or when you hang a person's hair in a bush. Besides this I pay a lot of attention to the right position, to the mise-en-scene, to matching clothes as well as their colour, to the gaze and posture of the model. I arrange everything, to the smallest detail, such as the nail polish on their fingers."
D'autres photos ici
dimanche 11 avril 2010
Kyungwoo Chun
"South Korean photographer Kyungwoo Chun has created multiple bodies of work wherein the subjects sit for his camera for minutes, hours or days at a time, depending on the goal of the specific project. In one of his most well-known projects, One Hour Portrait, Chun leaves the exposure time of at least one hour for his subjects, but remains in the room with them, believing that in the longer duration of this photographic event, a certain kind of empathy is arrived at between himself and the photographed subject that will be rendered in the final print of this prolonged encounter. This process of photography is, according to Chun, equal to an exchange of souls. Chun firmly believes that his images can only be created through this dialogue and exchange between himself and the subject." La suite sur Hey Hot Shot
samedi 10 avril 2010
Stefan Heyne
"From my point of view it is essential that photography itself - the making of images, the thinking about images and the viewing of images - is a basic need for the photographer. If you deal intensively with your own images, you quickly realize what is good and what is not going to stand up. A good image has to speak for itself and doesn’t need an explanation. If you still have the feeling that you have to enrich or support your own work with comments or explanations, this is a clear sign that the image does not speak for itself and isn’t ready yet. A good image burns into your mind so that even after you have seen many others, you don’t forget it, and even if you do, you would recognize it again immediately." (via Two Way Lens)
dimanche 4 avril 2010
Anoushka et Ravi Shankar
A l'occasion des 90 ans de Ravi Shankar, le 7 avril, nuit exceptionnelle (de 1h à 7h) sur France Musique. Voir le documentaire sur la master class donnée par Ravi Shankar à la salle Pleyel en 2008. "Entouré de cinq musiciens, le grand maitre du sitar a choisi d'expliquer en musique et en mots la puissance spirituelle de la musique indienne. Moment rare, le public est comme envoûté - Ravi Shankar sourit, parle au public de sa vie entièrement dévouée à la musique. À ses côtés, sa fille, elle aussi grande sitariste, veille jalousement sur son père. Un concert unique en forme de transmission et de legs."
vendredi 2 avril 2010
Jim McHugh
Los Angeles.
Nouvelle exposition de Jim McHugh, Let's Get Lost, à la Timothy Yarger Gallery à Beverly Hills du 27 mai au 30 juin.
jeudi 1 avril 2010
David Prifti
"Using the traditional wet plate collodion process, I am working in collaboration with the sitter as exposures range from 30 seconds to 2 minutes. It is in that collaboration that I find the power of this process, as if the commitment of time required of the sitter is present in the final image." Lire la suite sur Lens Culture
Alexei Vassiliev
"My work then took an altogether paradoxical path: the more blurred the subjects of these portraits, the more they looked as if they were on the verge of dissolving, fading away, or disappearing — that is when their presence really asserted itself."
Lire la suite sur Lens Culture
Hiroh Kikai
He says he waits to see an “aura” around a stranger that signals “take my picture,” and then he approaches his subject to ask permission. The vermillion colored walls on the outside of the temple form the neutral background for each portrait. Kikai holds his Hasselblad in his hands, and engages the stranger in small talk while he makes some exposures. In less than 15 minutes, the portrait session is over, and the person has disappeared into the crowd of tourists again. Kikai makes some notes from their brief conversational exchange, and these notes often become the wry captions that enrich each photo. Lire la suite sur Lens culture. Voir des extraits de son livre Asakusa Portraits ici.
mercredi 31 mars 2010
mardi 30 mars 2010
Bodil Frendberg
"In my own work I combine fact and fiction to create a new reality. My pictorial content is staged photography and I find inspiration for it in everyday life. The objects I am using are either made props or objects that I have found in flea markets and secondhand shops. The people that I use as models in my staged photographic scenes are often people that I have found in everyday situations. Their body language and facial expressions trigger my imagination to combine the real with fiction. I deliberately stage a scene in front of the camera where a photographic fictional reality is being created. I am the director and costume designer. I create a "narrative tableaux" The human body in conjunction with the prop is placed in an open space. The space is often chosen with the light in mind and I am looking for large windows and openings for the light to travel through and within. The space is well researched before setting the scene and when I have found a space, I will visit the space several times to study the light and to prepare the scene. Props will be laid out and chosen with the space and the human body in mind. The light acts as another layer in the photographic narrative. Within the space I move the scene spontaneously along with the movement of the light. Without the light the scene won't come to life. The light gives the scene character. It's like a light play, where the light falls and shapes the space and the human body and the prop is transformed yet again into another layer of meaning. The light shapes the scene and the human body becomes the actor and with the prop and the light the photographic narrative takes on another dimension. I bring these elements together and try to instigate an interaction and choreograph the scene as it unfolds.
By de-contextualizing the object a transformation in the dialogue between the person, place and prop can happen and the scene briefly acquires another life, another meaning and an unpredictable and exciting other reality that I want to coax out from its hiding place behind our everyday expectations. In this world a bird wing, a fan and an ancient sieve can become hats. Black paper cones could appear as if they were sharp rose thorns in a dark fairy tale. Birds, chairs, balloons, hats, decaying plants, a fan, the ordinary take on a new identity as they deceive us for a short while.
Many of these photographs are lith printed, a photographic darkroom process I have worked with a great deal. The characteristics of the lith print is the pink/brown tone. "
La suite et d'autres photos ici
dimanche 28 mars 2010
Jeanlou Sieff
Atahualpa Yupanqui, Paris, 1983.
Te dejamos, Tatay,
Pa que la tierra te abrigue,
Con tu poncho, y tu perro,
Pa que te cuide,
Nosotros seguiremos... seguiremos...
¡Y al final del destino
Nos toparemos...!
Atahualpa Yupanqui, Cerro Bayo, Ed. Siglo XX, Buenos Aires, 1975.
D'autres portraits de Jeanlou Sieff ici
vendredi 26 mars 2010
Elena Ehrenwald
"My main source of inspiration is my own life, my memories of childhood…of a place and time left behind. I am constantly looking for desolate places and in general spaces that exude a melancholic mood.
At first, the images came flowing spontaneously, apparently without relation to one another. They were born from past experiences, fears, dreams and desires. Throughout time, the subject has always been the same: what’s left behind. This is how Nostalgia (once called The Prison of Memory) was compiled." D'autres photos ici
mercredi 24 mars 2010
dimanche 21 mars 2010
samedi 20 mars 2010
vendredi 19 mars 2010
The Heart is a Sleeping Beauty
© Wim Wenders"Once upon a time there was an enchanted hotel...
... built many, many years ago,
at the beginning of the last century
on the corner of 5th Street and Main,
in the heart of downtown Los Angeles.
For a while it was the tallest and most splendid building
in the city.
And it carried the euphemistic name
The Rosslyn Million Dollar Hotel..." Lire la suite ici
jeudi 18 mars 2010
Jan Karski
« Je n’étais pas préparé à ce que j’ai vu, personne n’avait écrit sur une pareille réalité, je n’avais vu aucune pièce, aucun film [...] je savais que des gens mouraient, mais ce n’était pour moi, que des statistiques.
Ce n’était pas l’humanité, on me disait qu’ils étaient des êtres humains, mais ils ne ressemblaient pas à des être humains, ce n’était pas le monde, je n’appartenais pas à cela. C’était une sorte d’enfer, les rues étaient sales, crasseuses, et pleines de gens squelettiques, la puanteur vous suffoquait, il régnait de la tension, de la folie dans ce lieu. Des mères allaitaient leurs bébés dans la rue, alors qu’elles n’avaient pas de seins. Les dépouilles étaient déposées, nues, à même le sol, car les familles n’avaient pas les moyens pour leur payer une sépulture, chaque haillon comptait dans ce lieu, tout s’échangeait, tout se vendait pour survivre, et de ce fait, les dépouilles étaient laissées sur le trottoir, en attendant d’être ramassées par un service spécial. Et, marchant à côté du responsable du Bund, qui avait changé d’allure dans sa façon de se mouvoir, le dos courbé, pour se fondre dans la masse et ne pas se faire remarquer, il m’arrivait de lui demander ce qu’il arrivait à tel ou tel Juif, debout, immobile, les yeux hagards, il me répondait toujours, ils se meurent, souvenez-vous, ils se meurent, dites-leur là bas [...] » (Récit de Jan Karski de sa visite du ghetto de Varsovie, dans un entretien avec Claude Lanzmann)
dimanche 14 mars 2010
Yoshi Shimizu
Chasseurs-cueilleurs ogiek, Kenya.
"In the absence of a witness, nothing exists. Fact can be established only in the presence of a witness. As a photographer, I have the privilege of being an eyewitness to bear testimony of human dramas. Existence of the men, women, and children in these photographs will now become an undeniable fact to you as you are about to be a witness through the power of photography."
Le site de Yoshi ici.
vendredi 12 mars 2010
Russel Lee
Dimanche de Pâques, Chicago, avril 1941. Jeunes filles attendant la procession devant l'église épiscopale. (via shorpy)
jeudi 11 mars 2010
Julia Margaret Cameron
Danziger Projects is pleased to announce its upcoming participation in AIPAD at the Park Avenue Armory. From March 18 - 21, 2010, the gallery will be exhibiting works from a range of artists including: Christopher Bucklow, Julia Margaret Cameron, Adam Fuss, Seydou Keita, Jim Krantz, Annie Leibovitz, Robert Mapplethorpe, Viviane Sassen, Mario Sorrenti, George Tice, and Edward Weston.
For a preview of the works we will be showing, please click here.
mardi 9 mars 2010
vendredi 5 mars 2010
Stephan Vanfleteren
Son site contient une série d'étonnants portraits et plusieurs reportages dont l'un en Colombie, d'où cette photo est tirée. A ne pas manquer.
jeudi 4 mars 2010
Snjezana Josipovic
"Snjezana’s photographs catch your eye within millions of others. They’re quiet and beautiful. You stare at them and don’t ask questions. You don’t want to know if it’s the light or the colors, the landscape or the geometry that does the magic." Lire la suite et une interview de Snjezana Josipovic, jeune et talentueuse photographe croate ici.
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