วันพุธที่ 18 พฤศจิกายน พ.ศ. 2552

Richard Arran Photography










Time
Being in landscapes like this makes you realise just how much human history is such a small blip of time. These mountains have been slowly evolving over millions of years and will no doubt be here for millions more.

Reflection
I wanted to create the impression that you could almost walk into this photograph so I set the camera up only a few inches off the floor. The most amazing sunset was going on behind me and the colours have been picked up beautifuly in the water. I'm often asked what filter I used to get this colour but I don't use them, this is completly natural.

Awakening
I drove to this location the day before to check it out as I knew from looking at a map that it would be a perfect spot to get a good sunrise. This is 50km off the main road along a gravel track. Quite interesting driving in a camper van!

Elements
I was actually looking round this area in order to take a sunset shot later in the day when I noticed these clouds floating above the lake and I had to get a shot.

Rise
I often spend many hours looking for that perfect place to shoot and this was the case here. After four hours driving round this one lake I settled on this spot to capture the next mornings sunrise. It was worth the wait.

Space
At 6 in the morning in what appears to be the middle of nowhere you don't expect to be disturbed by anything but while I was exposing this shot a Doberman came out of nowhere and started leaping up and down at me. Thankfully it was just daft as opposed to aggresive. Still not what you really need when you have several thousand pounds worth of camera set up on a tripod.
Solitude
Sometimes you see things that just scream 'photo me' and this lone tree is a case in point. It almost appears to be dancing in the water.


เขียนโดย ที่ ไม่มีความคิดเห็น:

Nuri Bilge Ceylan Impressive







Ceylan's films have often been described as high art.[5] He deals with the estrangement of the individual, natural existentialism, monotonous real human lives and fundamental details of life. He uses static shoots and long takes, usually in natural ambiance, as well as menacing silences along his "stream-of-consciousness aesthetics". He is known for filming his protagonist from behind which, in his view leaves the audiences to speculate on the brooding emotions of characters whose faces are obscured. Having started his career as a photographer, Ceylan makes films on an extremely low budget. His casts generally consist of amateur actors, most of which are his family members, including his mother and father. The characters in Ceylan's movies appear to be people from everyday life.





"FOR MY FATHER" Istanbul ExhibitionNuri Bilge Ceylan and his sister Emine Ceylan has held a photo exhibition named as "For my Father" at the Milli Reasürans Gallery in Istanbul from 1st April to 19th April 2008. You can buy the exhibition catalog from the gallery.
- For the "For my Father" article in the catalog by Emine Ceylan, click here for Turkish or for English- For a TV interview of NBC and Emine Ceylan about the exhibition, click here. (in Turkish)






"Turkey Cinemascope" Granada Exhibition Nuri Bilge Ceylan's "Turkey Cinemascope" has been exhibited in Granada (Spain). Granada Exhibition will be part of the Granada Film Festival 'Cines del Sur' in June 2007.






"Turkey Cinemascope" Istanbul Exhibition Nuri Bilge Ceylan's "Turkey Cinemascope" is in Istanbul at the Milli Reasürans Gallery from 3 April to 28 April 2007. Istanbul Exhibition is part of Istanbul International Film Festival.There have been two coctail party for the exhibition with the attandence of the artist. One at the opening on 3rd of April at 18:00 o'clock and another one on 11th of April at 18:00 o'clock, both at the Milli Reasürans Gallery.You can buy the exhibition catalog from the gallery.
- To watch the video of an interview of NBC about his photography, click here. (in Turkish) - To watch a video of the photographs 'Qardasima' made by monetac, , click here.

...
For my Father (2006-2008) (24 photographs)
Turkey Cinemascope (2003-2009) (just 20 of the 100 photographs are shown here)
Early Photographs (1982-1989) (24 photographs)







เขียนโดย ที่ ไม่มีความคิดเห็น:

วันอังคารที่ 17 พฤศจิกายน พ.ศ. 2552

Rob Hornstra (b. 1975) is a Dutch documentary photographer. In 2004 he graduated from the Academy of Arts based in Utrecht, the Netherlands. Previously he studied Social and Legal Services and worked as a probation officer for one year. His photography can best be seen as a combination of these two areas of study. Rob won the Dutch Photo Academy Award with his book ‘Communism & Cowgirls’. He was commissioned by the IPRN European Union to work in Iceland which was published as his second book ‘Roots of the Rúntur’. His work is represented by Flatland Gallery. He is working on two projects currently: the changing face of the former Soviet Union and a documentary about the district where he lives in Utrecht. Rob is also founder of FOTODOK – Space for Documentary Photography.
About the Photograph:

“Andrey (left) is heavily addicted to drugs, HIV positive, suffers open TBC and doesn’t feel his legs after he missed the artery in his groin while injecting drugs. He doesn’t get any help from state health organizations because he is a drug addict. “I am sure I will die soon. But I am not afraid. Nothing will scare me anymore” The woman on the right is an employee of the cement factory in a small suburb of the East Siberian industrial city Angarsk. The inhabitants of Cement Town once lived to the rhythm of the factory bell. There was work, the children went to school and a social services system took care of basic needs. The factory played a central role in this. In the 90s, however, everything fell apart. Rival clans fought relentlessly for control of the cement factory. The most difficult years were 1996-1998. The factory was plundered and bankrupt.”
เขียนโดย ที่ ไม่มีความคิดเห็น:

วันจันทร์ที่ 16 พฤศจิกายน พ.ศ. 2552

Faces of Freedom photo exhibit














This post was originally published on May 11, 2009. Since then, the length of the exhibition has been extended. Faces of Freedom will be on display in the Danny Kaye Visitor’s Center, located in the lobby of UNICEF House in New York City, from September 23 to October 31.
The U.S. Fund for UNICEF and RugMark Foundation USA are cosponsoring Faces of Freedom, a photography exhibit touring North America throughout 2009. This collection of photographs, taken by acclaimed documentary photographer U. Roberto Romano, depicts illegal child labor in South Asia’s handmade rug industry and RugMark’s innovative efforts to eradicate it.

The U.S. Fund for UNICEF and RugMark Foundation USA are cosponsoring Faces of Freedom, a photography exhibit touring North America throughout 2009. This collection of photographs, taken by acclaimed documentary photographer U. Roberto Romano, depicts illegal child labor in South Asia’s handmade rug industry and RugMark’s innovative efforts to eradicate it.
Visit facesoffreedom.rugmark.org for the complete exhibition calendar and a preview of the photos.
Every day, 25,000 children die from preventable causes, simply because they don’t have access to clean water, immunizations, proper nutrition, or protection from exploitation and during emergencies. The lifesaving work of UNICEF and likeminded organizations such as RugMark are bringing us closer and closer to the day when the number of children dying from preventable causes is finally zero.

Faces of Freedom will be on public display in the San Francisco Design Center from May 13 to June 13, as well as the Danny Kaye Visitor’s Center, located in the lobby of UNICEF House in New York City, from September 23 to October 31. Visit facesoffreedom.rugmark.org for the complete exhibition calendar and a preview of the photos.
เขียนโดย ที่ ไม่มีความคิดเห็น:

Access to Life

















Access To Life / RwandaGilles Peress
Despite its troubled recent history, Rwanda’s rapid effort to combat AIDS has made free lifelong treatment available to 44,000 people—up from 4,000 people who had started treatment just five years ago. Rwanda stands out as one of the success stories in Africa, and is a model for how health care can reach all communities. Yet AIDS remains a serious health problem in a country rebuilding from war and genocide.
Play Video (large screen 915x514) Play Video (small screen 616x346)

http://www.theglobalfund.org/html/accesstolife/en/exhibition/
http://www.theglobalfund.org/html/accesstolife/en/
http://www.theglobalfund.org/html/accesstolife/en/stories/
http://www.guardian.co.uk/world/aids
http://www.guardian.co.uk/society/international-aid-and-development

Living With legacy
Photo exhibition at Dalhousie documents the HIV/AIDS pandemic in Rwanda.
Posted by Sue Carter Flinn on Wed, Feb 18, 2009 at 5:58 PM

Photo by Peter Bregg

If you’re going to take in one photography show this year, go see Living With, a series of 50 black-and-white photos that focuses its lens on people living with the HIV/AIDS pandemic in Rwanda. The show is on display until next Tuesday, in the foyer of Dalhousie’s Charles Tupper building (9am-5pm, weekends 10am-4pm).Haligonian Shelley Robinson spent a year-and-a-half running the Rwanda Initiative, “a project that brings Canadian journalists to Rwanda to teach at the National University there. A lot of places need help with journalism but the difference with Rwanda was that the media had helped fuel the 1994 genocide, talk radio even directed death squads on where to find people. So journalists were implicated, fled or were killed. Basically the profession was decimated and it gives the government the excuse to be extra stingy with press freedom.”

In December 2007, Robinson and the Rwanda Initiative brought seven photojournalists to the country from PhotoSensitive, a well-known collective of Canadian photographers that focus on social documentary of issues such as cancer and homelessness. Partnered with local photographers and journalism students, the seven photographers sought to tell different stories, “including HIV orphans, village life, prostitution, women who were raped and then infected with HIV as a weapon of war during the genocide and circumcision (they say this reduces the risk of transmission by 60% and so many boys and men are only just doing it now),” writes Robinson.
Through the exchange, Rwandan photojournalists received professional training, and by touring the exhibition through Canada, hopefully we’ll gain a little insight too.

http://www.photosensitive.com/cc/
http://www.thecoast.ca/ArtAttack/archives/2009/02/18/living_with_legacy
เขียนโดย ที่ ไม่มีความคิดเห็น:
The images that I make consist of often unlogical combinations of materials, patterns, colours, forms, with my head as the only constant factor. Each element is consciously chosen so as to affect a pre-determined transformation. By playing with the value of the each material and by using them for a purpose that was not originally intended for them, I construct within the image, in a very small way, a different perspective on the world.













In most cases it is my head that is the carrier of these transformations and combinations. The expressionless, and almost universal face, allows the viewer to project himself onto the work. Because the works have really existed and have not been digitally manipulated, each image contains a short history of a performance.

Repetition is a theme I find very interesting as you can use it for different ends. By for example using the same head and facial expression, the person slowly becomes of secondary importance to the form. The elements that remain constant lose their value and the elements that change, become the subject of the work. In this way I create a shift in the hierarchy of values.
The commonplace notion of the ‘aesthetic’ image is that which is free of unsatisfactory characteristics and general human imperfections. This in my opinion is the most superficial form of beauty. In my work I attempt to create a different form of aesthetic.

The unusual and unimpressive materials, traces of glue and other imperfections that exist in the production of the work are what form the aesthetic value in my image. This revaluation of these normally insignificant elements only occurs because they now exist in a new context that distances them from their original circumstances and associations.During this process I became more and more aware that all objects, materials, events are assigned a commonly held value, but that this valuation could just as easily be different. It was those elements that nobody had an opinion about that then became most interesting to me. Because they seem to contain little meaning to people, they are malleable and can easily have their perceptions about them altered.My work amounts to small researches into the valuations we assign to the things around us and the associations they engender in this way. Although these underlying reasons are not immediately apparent in the work, a very specific unsettling reaction is invoked in the viewer.
Although the cause of this reaction is a mere piece of grey carpet, it is logical that people react to it in this way as the viewer is essentially forced to review his commonly-held notions about this material. The image succeeds in shifting the viewer’s perception, be it in a very small way and about an unimportant subject.
เขียนโดย ที่ ไม่มีความคิดเห็น:

วันอาทิตย์ที่ 15 พฤศจิกายน พ.ศ. 2552

















“The 20th century was the century of the image (...).To tell Henri Cartier-Bresson’s story and to unravel his work is essentially to tell the story of a look.

Throughout the 20th century, this roaming, lucid eye has captured the fascination of Africa in the 1920's, crossed the tragic fortunes of Spanish republicans, accompanied the liberation of Paris, caught a weary Gandhi just hours before his assassination, and witnessed the victory of the communists in China.

Henri Cartier-Bresson was also Jean Renoir's assistant on three major films, an artist who sees himself an artisan but who nevertheless established Magnum, the most prestigious of all photo agencies, and who immortalised his major contemporaries : Mauriac in a state of mystical levitation, Giacometti, Sartre, Faulkner or Camus, and as many more all taken at the decisive moment, all portraits for eternity."

Henri Cartier-Bresson, l’œil du siècle by Pierre AssoulineFolio / Gallimard
For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously.
In order to “give a meaning” to the world, one has to feel involved in what one frames through the viewfinder. This attitude requires concentration, discipline of mind, sensitivity, and a sense of geometry. It is by economy of means that one arrives at simplicity of expression. To take a photograph is to hold one’s breath when all faculties converge in a face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy.

To take a photograph means to recognize – simultaneously and within a fraction of a second– both the fact itself and the rigorous organisation of visually perceived forms that give it meaning. It is putting one’s head, one’s eye, and one’s heart on the same axis.







http://www.npg.si.edu/exh/cb/quote2.htm

เขียนโดย ที่ ไม่มีความคิดเห็น:
สมัครสมาชิก: บทความ (Atom)