What’s in a photo?

Terror

Terror é algo a que nos habituámos nos últimos anos. Sabemos que nenhum lugar é seguro, nenhuma cidade está a salvo. Esta fotografia retrata, de forma teatral, a potencial ameaça que todos enfrentamos nas nossas ruas, aeroportos, teatros, ciclovias. A postura do esqueleto, misto de admiração e terror, parece contrastar com a calma impassível dos muçulmanos que assistem aos movimentos da marioneta com crítica atenção. Os muçulmanos não são todos terroristas, longe disso – sabemos que a maioria do povo muçulmano não subscreve o terrorismo – mas a associação dos elementos nesta imagem parece querer levar-nos a tirar conclusões simplistas, imediatas.

WLT038

No mesmo cenário, momentos antes: uma criança crescida demais aninha-se como pode num carrinho de bebé, escondendo-se atrás de um saco gigante de M&M’s, olhando de forma medrosa, desconfiada até, para o esqueleto. Será este um sinal dos tempos? Assimetrias galopantes entre cidadãos do mesmo país, miséria, quase fome e excessos convivendo lado a lado?

Canon EOS 5D Mark II, Canon EF 70-200 F4 L USM. Leicester Square, London.

 

As fotografias do 9/11, Joel Meyerowitz

03-wtc-2001-09

Joel Meyerowitz realizou mais de 5000 fotografias do Ground Zero, das quais 400 foram publicadas em “Aftermath”, pela Phaidon. Aqui fica o link para algumas:

http://de.phaidon.com/agenda/photography/picture-galleries/2011/september/08/joel-meyerowitzs-world-trade-center-archive/

 

Robert Frank Collection, National Gallery of Art

In October of 1958, French publisher Robert Delpire released Les Américains in Paris. The following year Grove Press published The Americans in New York with an introduction by Jack Kerouac (the book was released in January 1960).

Like Frank’s earlier books, the sequence of 83 pictures in The Americans is non-narrative and nonlinear; instead it uses thematic, formal, conceptual and linguistic devices to link the photographs. Unlike Peru, in which the order of pictures was not firmly established, The Americans displays a deliberate structure, an emphatic narrator, and what Frank called a “distinct and intense order” that amplified and tempered the individual pictures.

Robert-Frank_Funeral1

 

The Next Revolution in Photography Is Coming

It’s time to stop talking about photography. It’s not that photography is dead as many have claimed, but it’s gone.

Just as there’s a time to stop talking about girls and boys and to talk instead about women and men so it is with photography; something has changed so radically that we need to talk about it differently, think of it differently and use it differently. Failure to recognize the huge changes underway is to risk isolating ourselves in an historical backwater of communication, using an interesting but quaint visual language removed from the cultural mainstream.

The moment of photography’s “puberty” was around the time when the technology moved from analog to digital although it wasn’t until the arrival of the Internet-enabled smartphone that we really noticed a different behavior. That’s when adolescence truly set in. It was surprising but it all seemed somewhat natural and although we experienced a few tantrums along the way with arguments about promiscuity, manipulation and some inexplicable new behaviors, the photographic community largely accommodated the changes with some adjustments in workflow.

More: http://time.com/4003527/future-of-photography/

Vision_Research_Phantom_v2511.jpg