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Posts Tagged "photography"

lauramcphee: “Only to taste the warmth, the light, the wind…” c1939 (Olive Cotton) “Only to taste the warmth, the light, the wind’ appears to have been the only print Cotton made of this image. It was found in the late 1990s and has been shown only once, in an exhibition at the Art Gallery of New South Wales in 2000, where it was used as the catalogue cover.  The title comes from the 1895 poem O summer sun by Laurence Binyon:           O summer sun, O moving trees!          O cheerful human noise, O busy glittering street!          What hour shall Fate in all the future find,          Or what delights, ever to equal these:          Only to taste the warmth, the light, the wind,          Only to be alive, and feel that life is sweet? Art Gallery of New South Wales Photography Collection Handbook, 2007

lauramcphee:

“Only to taste the warmth, the light, the wind…” c1939 (Olive Cotton)

“Only to taste the warmth, the light, the wind’ appears to have been the only print Cotton made of this image. It was found in the late 1990s and has been shown only once, in an exhibition at the Art Gallery of New South Wales in 2000, where it was used as the catalogue cover. 

The title comes from the 1895 poem O summer sun by Laurence Binyon:

          O summer sun, O moving trees!
          O cheerful human noise, O busy glittering street!
          What hour shall Fate in all the future find,
          Or what delights, ever to equal these:
          Only to taste the warmth, the light, the wind,
          Only to be alive, and feel that life is sweet?

(via mudwerks)

 Source: artgallery.nsw.gov.au

pxrxllxls:

Flor Garduño, Depressa se habituam à nossa ausência aqueles que diziam que nos amavam; La mujer. Juchitan, Oaxaca, Mexico, 1987

Her work concentrates around recording the region in which she is involved emotionally and culturally, that is to say, the countries of South America, her native Mexico, Guatemala, Honduras, Ecuador, Bolivia.

Her project significantly named “Testigos del Tiempo” (Witnesses of Time) was realized in the years 1983-1991. It is documentary photographic recording of the life of people living beyond great cities, devoted to their daily rhythm and customs. Her pictures contain a wealth of the sense of form. Garduño photographed life, religious celebrations and social events. All this was done while maintaining certain distance and with great emphasis put on regularity of composition and balanced framing. It is equally true when she is photographing true world of poor people from provincial regions and when her pictures present landscape, architecture, wealth of tropical nature. All this was realized using very sophisticated, sparing means with lighting and composition playing primary role.

The photographs of Flor Garduño will have their permanent place in rich tradition of humanistic photography which presently, in the times of rapid development of technical civilization, acquires exceptional importance through depth of its content and nobleness of form.

Marek Grygiel, Foto Tapeta

(via art-is-the-word)
Source: pxrxllxls
theparisreview: “In 1951, Vivian moved to New York at twenty-five-years-old and worked in a sweat shop for a while until she would become a nanny for the next forty years on and off. When she had days off, she would walk the streets of Chicago or New York, most often using her Rollieflex camera, photographing everyone and everything from the well-dressed shoppers to homeless people and even her own reflection.” Messy Nessy Chic highlights the photography of Vivian Maier, whose work was unseen until bought at a Chicago auction by real estate agent and historical hobbyist John Maloof. Check out more of her photography here and watch the trailer for the upcoming documentary film, Finding Vivian Maier.

theparisreview:

“In 1951, Vivian moved to New York at twenty-five-years-old and worked in a sweat shop for a while until she would become a nanny for the next forty years on and off. When she had days off, she would walk the streets of Chicago or New York, most often using her Rollieflex camera, photographing everyone and everything from the well-dressed shoppers to homeless people and even her own reflection.”

Messy Nessy Chic highlights the photography of Vivian Maier, whose work was unseen until bought at a Chicago auction by real estate agent and historical hobbyist John Maloof. Check out more of her photography here and watch the trailer for the upcoming documentary film, Finding Vivian Maier.

 Source: theparisreview
What is a photograph in this “age of photo manipulation”? As long as photography has existed, so too has photo manipulation.The two are irrevocably entwined and anyone who suggests otherwise is ignorant of the history of Photography…http://www.d-log.info/timeline/index.html As long as genuine products have existed, so too have fraudulent products.  I prefer real pictures, actual pictures.  Not fake fantasies designed to trick the eye. Then you, Sir, are easily duped.  Because you can have both. http://en.wikipedia.org/wiki/Roger_Fenton In 1855, Roger Fenton produced what is generally considered the first ever “lying photograph.”  He was photographing the Crimean War, and decided to move a bunch of cannonballs around to make it look like the actual battle occurred in a more scenic place than it actually did. Is it a real photo?  Absolutely.  Is it designed to trick?  Absolutely. The idea that any “unmanipulated” photo is truthful has been wrong since just a few short years after photography came into existence. Have you ever seen any of Arbus’ contact sheets?  She purposely selected the images where her subjects looked the weirdest and most awkward.  A lot of the ‘weirdos’ she photographed weren’t even that weird, including the boy with the hand grenade. She purposely lied to the viewer by misrepresenting the subject, and she didn’t even need to alter her photographs to do it. When you photograph someone, do you use the images where they look the best, or the ones where they look the same as they do in everyday life?  If you use the images where they look the best, then YOU are lying to the viewer too - those people don’t really look that good! If everybody lies when they take photos, including you, what’s the sense in creating some arbitrary line in the sand that denotes what amount of lying is okay?

What is a photograph in this “age of photo manipulation”?

As long as photography has existed, so too has photo manipulation.
The two are irrevocably entwined and anyone who suggests otherwise is ignorant of the history of Photography…

http://www.d-log.info/timeline/index.html

As long as genuine products have existed, so too have fraudulent products.  I prefer real pictures, actual pictures.  Not fake fantasies designed to trick the eye.

Then you, Sir, are easily duped.  Because you can have both.

http://en.wikipedia.org/wiki/Roger_Fenton

In 1855, Roger Fenton produced what is generally considered the first ever “lying photograph.”  He was photographing the Crimean War, and decided to move a bunch of cannonballs around to make it look like the actual battle occurred in a more scenic place than it actually did.

Is it a real photo?  Absolutely.  Is it designed to trick?  Absolutely.

The idea that any “unmanipulated” photo is truthful has been wrong since just a few short years after photography came into existence.

Have you ever seen any of Arbus’ contact sheets?  She purposely selected the images where her subjects looked the weirdest and most awkward.  A lot of the ‘weirdos’ she photographed weren’t even that weird, including the boy with the hand grenade.

She purposely lied to the viewer by misrepresenting the subject, and she didn’t even need to alter her photographs to do it.

When you photograph someone, do you use the images where they look the best, or the ones where they look the same as they do in everyday life?  If you use the images where they look the best, then YOU are lying to the viewer too - those people don’t really look that good!

If everybody lies when they take photos, including you, what’s the sense in creating some arbitrary line in the sand that denotes what amount of lying is okay?