วันอังคารที่ 24 พฤศจิกายน พ.ศ. 2552

Loneliness inspiration Thesis by Tanapat Wiwatmongkonchai

แรงบันดาลสำหรับส้ม เป็นงานศิลปนิพนธ์ ปี 2552 ของนศ.ประยุกต์ศิลป์ ม.ราชภัฏธนบุรี เรื่อง เหงา ลองคุยกับ Pat เจ้าตัวดูครับ
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วันจันทร์ที่ 23 พฤศจิกายน พ.ศ. 2552

Ponoramic photography













Panoramic photography is the usual choice of photogs who want to give their pictures a wider frame. However, there are several ways to define panoramic photography. The methods used to create panoramas range from the simple piecing together of overlapping prints to wide-angle cameras to sophisticated computerized 360-degree virtual reality (VR) photos, and everywhere in between.












Special cameras make panoramic shots simpler for the photographer than methods like segmented panoramic or full rotation panoramic photography. Fred Yake uses a variety of cameras to produce his stunning panoramic shots all around the world. These wide-angle photos appear to have been produced with the use of a fixed-lens or wide-field camera. This type of camera allows the photographer to take advantage of a wide frame, capturing more of the subject without the difficulties of taking multiple shots.

Photographs like these by London photographer Will Pearson are a great example of the unique perspective that can be gained with the use of fisheye lenses and some special software. These images turn mundane landscape photographs into absolutely amazing one-of-a-kind works of art.













http://weburbanist.com/2008/10/02/5-epic-panoramic-and-360-degree-photographers-and-photos/
http://www.willpearson.co.uk/

http://www.webdesignerdepot.com/2009/06/50-dazzling-examples-of-polar-panorama-photography/

http://www.dirkpaessler.com/blog/index.php/photographers-tools/2006/09/06/tutorial-create-your-own-planets/


LOOKING AT ARIF ASCI'S ISTANBUL PANORAMAS

A city is a long walk through moments of pause and movement. In the work of Arif Asci, the city becomes a photograph in which movement is transformed into pause, and pause into the pregnancy of motion. In this stillness, the photograph toys with the movie camera, revealing surfaces of action and projection throughout the activities of everyday life. Whereas in a film, images lie side by side, in this film of the city, curtains of fabric, of fog, of smoke, of a reflective window-pane, of water, of walls are layered one past the other as we walk through them. Asci captures surfaces as curtains which, although often set up in order to divide the public from the private, like a woman's veil, instead reveal through the shadowplay of the everyday. Just like the first public showings of films in Turkish coffee houses, projected onto the screens of traditional Karagoz shadow plays, these screenings of shadows point to the boundary between the physicality of photography and film and its revelation of hidden narrative worlds. Shadows become performers who project private experiences in public. In the process of this projection, everyday activities - shopping at the market, riding a boat, playing by the shore, drinking tea - become part of the epic of human experience.

Like shadows themselves, weaving through the interstices of the city, street-vendors, children and animals unselfconsciously perform the loneliness in the crowd which has characterized the modern city since Baudelaire wandered through Paris in the mid-nineteenth century. But in contrast to the commercial images glimpsed on billboards and busses which aspire to a Western identity, this is no Paris with its regular boulevards for the see-and-be-seen promenade, nor do we wish it to become one. Asci instead reveals a city which outgrows any attempts at planning, in which concrete cracks and crowds make unlikely daily homes for themselves without any intention of making an impression, without any consciousness of the impression they make on the camera. The city surrounded by water becomes a city with the solidity of water.


Since the nineteenth century, this complex waterfront of multiple shores - of Europe and Asia against the Sea of Marmara, the Black Sea, the straight which joins them, called the Bosporus, and the riverine port which joins it, known as the Golden Horn - has offered photographers a long series of panoramas through which to create the image of the exotic city, minarets pointing delicately to the sky. This panorama, however, is the view from outside. Like a veil, it points to what is hidden without showing it; it shows only to promise revelation without actually granting entry to the city. These photographs by Asci use the elongated format of the panorama to turn this common view of the city inside-out. Walking within its streets, meeting its inhabitants, caught in the web of their movements, we no longer exoticize the city as an impenetrable castle surrounded by a moat, but instead, along with the photographer, we respect its mystery, a never-ending series of curtains, unknowable as the most intimate belove.

Dr. Wendy M.K. ShawAssociate Professor,Faculty of Communications,Bahcesehir University, IstanbulCuratorial Associate,Istanbul Museum of Modern Art

http://www.arifasci.com/gallery_panorama.html
http://www.arifasci.com/istanbulcolour_gallery.html
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วันอาทิตย์ที่ 22 พฤศจิกายน พ.ศ. 2552

Mirror Reflection of Woman Outdoors


Name: jessica harp, Current StudentSchool: The Art Institute of PhiladelphiaArea of study: PhotographyMedia: PhotographArt Institutes class: -->Created on: 06/17/2009Tags: The Art Institutes

Subject of this work: About this work:
Our photography students have talent and focus on composition. They take a shot at a great and exciting future in photography, bring the world around them into clearer view, and develop an interview-ready portfolio.

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วันศุกร์ที่ 20 พฤศจิกายน พ.ศ. 2552

Eugene Atget


Atget's work is unique on two levels. He was the maker of a great visual catalogue of the fruits of French culture, as it survived in and near Paris in the first quarter of this century. He was in addition a photographer of such authority and originality that his work remains a bench mark against which much of the most sophisticated contemporary photography measures itself. Other photographers had been concerned with describing specific facts (documentation), or with exploiting their indivisual sensibilities (self-expression).
Atget enconpassed and transcended both approaches when he set himself the task of understanding and interpreting in visual terms a complex, ancient, and living tradition.
...
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วันพฤหัสบดีที่ 19 พฤศจิกายน พ.ศ. 2552

On the Streets by Cary Conover














Cary Conover’s experimental DSLR-created movie of animated still photographs is a byproduct of his work with time lapse photography. Using an EOS 10D and a 4×5 Super Graphic to rephotograph his black and white photographs, the first thematically related group of pictures he reached for were these images of people living on the streets of the Lower East Side of Manhattan.

This experimental DSLR-created movie of animated still photographs is a byproduct of my work with time lapse photography. Using an EOS 10D and a 4×5 Super Graphic to rephotograph my black and white photographs, the first thematically related group of pictures I reached for were these images of people living on the streets of the Lower East Side of Manhattan. Some are homeless, some sleep in shelters. Some exhibit advanced stages of AIDS, some are mentally ill. An overall sense of destitution pervades most of these people’s lives. I’m told the situation has improved dramatically over the past few decades, yet there continues to be widespread heroin and alcohol abuse. Bowery’s booming real estate market and entertainment scene are slowly pushing these folks out of the neighborhood. A towering museum was just completed on Bowery, the New Museum of Contemporary Art. Hanging from the front of the museum, a large rainbow-colored sign that reads “Hell, Yes!” hovers in stark contrast to the daily queue of men a few doors down outside the Bowery Mission waiting to be let in for a free meal.


Vivian Maier 1926-2009
John Maloof has created a website in dedication to the photographer Vivian Maier, a street photographer from the 1950-70’s.
Maloof discovered her work at an auction in Chicago where Maier lived for 50 years.
Her discovered work included over 40,000 mostly medium format negatives. Maier died April 21, 2009.
See more of Maier’s work at vivianmaier.blogspot.com.
Vivian's life in obscurity
Some have suggested that I add more information on the story of Vivian's work and such. Here is what I know.

I acquired Vivian's negatives while at a furniture and antique auction. From what I know, the auction house acquired her belongings from her storage locker that was sold off due to delinquent payments. I didn't know what 'street photography' was when I purchased them.
It took me days to look through all of her work. It inspired me to pick up photography myself. Little by little, as I progressed as a photographer, I would revisit Vivian's negatives and I would "see" more in her work. I bought her same camera and took to the same streets soon to realize how difficult it was to make images of her caliber. I discovered the eye she had for photography through my own practice. Needless to say, I am attached to her work.
After some researching, I have only little information about Vivian. Central Camera (110 yr old camera shop in Chicago) has encountered Vivian from time to time when she would purchase film while out on the Chicago streets. From what they knew of her, they say she was a very "keep your distance from me" type of person but was also outspoken. She loved foreign films and didn't care much for American films.

Some of her photos have pictures of children and often times it was near a beach. I later found out she was a nanny for a family on the North Side whose children these most likely were. One of her obituary's state she lived in Oak Park, a close Chicago suburb but, I later found she lived in the Rogers Park neighborhood, in Chicago.

Out of the 30-40,000 negatives I have in the collection, about 10-15,000 negatives were still in rolls, undeveloped from the 1960's-1970's. I have been successfully developing these rolls. I still have about 600 rolls yet to develop. I must say, it's very exciting for me. Most of her negatives that were developed in sleeves have the date and location penciled in French (she had poor penmanship).
I found her name written with pencil on a photo-lab envelope. I decided to 'Google' her about a year after I purchased these only to find her obituary placed the day before my search. She passed only a couple of days before my inquiry on her.

I wanted to meet her in person well before I found her obituary but, the auction house had stated she was ill, so I didn't want to bother her. So many questions would have been answered if I had.

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วันพุธที่ 18 พฤศจิกายน พ.ศ. 2552

Philip Jones Griffiths

















Philip's iconic work on the Vietnam War, an unprecedented work, published in 1971 under the title 'Vietnam Inc.' is arguably the most articulate and compelling anti-war statement made by any photojournalist ever. Indeed it led Noam Chomsky to comment that: "If anybody in Washington had read that book, we wouldn't have had these wars in Iraq or Afghanistan".

Indeed, it was Philip's passion for peace that led to greatness in his later work. In 2005 he published "Viet Nam at Peace" a 25 year study exploring the long term consequences of the war. The first Westerner to travel by road from Hanoi to Ho Chi Minh City after the war, and later the Ho Chi Minh trail, he amassed an unparalleled photographic record of the post-war transformation of this country.
Thoroughly industrious and tenacious to the end, Philip had just completed a new book of his less known studies of British life in the 1950s, 60s and 70s, entitled 'Recollections', and in the last few weeks before his death, Philip became thoroughly engaged in compiling his life's work documenting Cambodia.









Philip enriched all our lives with his courage, his empathy, his passion, his wit and his wisdom; and for many he gave to photojournalism its moral soul. He died as he wanted so passionately that we should live - in peace. In his last days he was together with his loving family and friends at his side.

He leaves behind his loving family, Fanny Ferrato, Katherine Holden, Donna Ferrato and Heather Holden.







Griffiths' assignments, often self-engineered, took him to more than 120 countries. He continued to work for major publications such as Life and Geo on stories such as Buddhism in Cambodia, droughts in India, poverty in Texas, the re-greening of Vietnam, and the legacy of the Gulf War in Kuwait. His continued revisiting of Vietnam, examining the legacy of the war, lead to his two further books ‘Agent Orange’ and ‘Vietnam at Peace’.

Griffiths' work reflects on the unequal relationship between technology and humanity, summed up in his book Dark Odyssey. Human foolishness always attracted Griffiths' eye, but, faithful to the ethics of the Magnum founders, he believed in human dignity and in the capacity for improvement

Philip Jones Griffiths died at home in West London on 19th March 2008

This woman was tagged with the designation VNC (Vietnamese civilian). The wounded were normally tagged VCS (Vietcong suspect) while the dead were posthumously elevated to the rank of VCC (Vietcong confirmed).

Ten-year old South Vietnamese soldier described as a ?little tigerÓ for killing two ?Vietcong women cadreÓ ? his mother and teacher, it was rumoured.

Since ancient times, the shield has presented a challenge ? how to see the enemy without sacrificing protection. The latest version used in Northern Ireland is made of easily scratched Plexiglas.
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