Встреча с легендой.

A-WORLD | Magnum Photos curated by Helmut Lang
(Videoinstallation)



http://www.robertmorat.de/R1_ausstellung.html
http://www.robertmorat.de/R2_ausstellung.html

По сообщению рядом, NOVA_GALLERY:

http://forum.znyata.com/viewtopic.php?p=39426#39426

«…помнится, мой первый опыт общения с фотографией, сделанной пинхол-камерой, был полон стольких новых впечатлений! вот посмотрите фотографии финской фотографессы, чьи снимки и попались мне в руки»:

http://marjapirila.com/pinhole.html

По ссылке появляется большой набор работ в нескольких сериях. Просто прекрасный автор, думающий и последовательный, работы невероятно эффектны в найденных ракурсах, очень живописны в «стенопных» сериях картинах на стенах… замечательно просто.

Еще ссылки:

SPEAKING LIGHT — Marja Pirila & Petri Nuutinen: exhibition and workshop

National Centre of Photography of the Russian Federation
12 October - 29 October 2007 г.

SPEAKING LIGHT - Marja Pirila & Petri Nuutinen: exhibition and workshop.



In summer 2007, the National Centre of Photography is happy to announce a project in collaboration with two Finnish artists - Marja Pirila and Petri Nuutinen. The project will include an exhibition of Marja Pirila’s and Petri Nuutinen’s work in the exhibition hall of the National Centre of Photography, as well as a workshop in pinhole photography conducted by Marja Pirila.

The project consists of two parts :

1/ Speaking Light. Exhibition of Marja Pirila and Petri Nuutinen: 22 June – 16 July, exhibition hall of National Centre of Photography (35 Bolshaya Morskaya, St.Petersburg). Exhibition works every day from 11 to 19, entrance is free.

Sometimes light, a place or an objects calls forth memories and emotions, pushing one towards the unknown, one’s innermost self. Speaking House (Marja Pirila) 2006 is a series of chromogenic colour photographs of rooms in a deserted house that were converted into camera obscuras. In these images, the dilapidated spaces merge with spaces of light. Disintegration and death appear simultaneously as a bare and solemn blending into the light. Mother’s Buckets (Marja Pirila & Petri Nuutinen 2006) is an ensemble of works in which light creates fleeting pictures of the outside world on matte glass in buckets converted into camera obscuras, as if on the frozen surface of water. The works combine an old recollection, the camera obscura phenomenon and an everyday object into a continually changing whole, with its centre located everywhere.

http://www.art-gid.com/events/photo/90/

Pirilä, Marja, Finland / Suomi

INTERIOR/EXTERIOR



“The original thought to create these pictures was born of a nocturnal insight: in a room transformed into a camera obscura I could simultaneously, on the same piece of film, capture a person, his/her room and the scenery streaming from the window. What a comprehensive means to portray the living environment of a human being!

After years of experience of working with pinhole cameras, I began the project with a curious and persevering intent: experiments with several minute exposures, strenuous darkening processes, arrangements and cancellations of appointments, waiting for the right light, framing and focusing attempts in dark spaces. Being dazzled by light. Deep pleasure from the metamorphosis of a room. Wonder about the quivering, enchanting phenomenon.

More often than not, something unexpected happened in camera the obscuras. Intentions transmogrified themselves into something new, the space and the situations lured one into unplanned solutions. In a dark room, during long exposure times, I could only hope that the phenomenon which constantly quivered and took new forms under my very eyes would be captured on film as I had experienced it in the silence of the space.

The photographs began to take form not only as the charting of the living environment of a human being, but also of the landscapes of the mind: reflections of thoughts, dreams, fears and reveries.

I think of photographs as a journey into people - and, simultaneously, into myself. Only the openness and willingness of people to surrender to something new, only their trust, curiosity and patience allowed light the time and the opportunity to be captured on film.”

http://www.backlight.fi/bl02/pirila.htm

Marja Pirilä – Puhuva valo, 9.9.-1.10.2006
Galleria Heino, Uudenmaankatu 16-20, Helsinki


Puhuva talo #10, 2006, 74x92 cm, pigmenttivedos

Выставка современной финской фотографии
c 12 сентября по 12 октября 2003

Государственный центр фотографии МК РФ, FRAME — финский художественный фонд, AV-Arkki - центр по распространению финского медиа-искусства (Хельсинки) представляют выставку современной финской фотографии и видео-арта "Другое зрение".

Представленный проект - результат сотрудничества открытого год назад Государственного центра фотографии, финского фонда FRAME, занимающегося поддержкой проектов в области современного искусства в Финляндии, и архива медийных работ финских художников AV-Arkki.

Выставка современной финской фотографии и видео-арта "Другое зрение" демонстрирует ряд работ широко известных финских фотографов.

Авторов представленных на выставке работ объединяет интерес к оптическим эффектам, воспринимаемым зрением человека. На фотографиях Миклоша Гааля (Miklos Gaal) настоящие машины выглядят как игрушечные, а люди как оловянные куклы; Марья Пирила (Marja Pirila) превращает обычную комнату в камеру обскура; Харри Лариосто (Harri Larjosto) делает видимым сюрреальность различных социальных ситуаций, которые для нас являются самоочевидными и которые, поэтому, мы расцениваем как рациональные; Лииза Лоунила (Liisa Lounila) в видео-работах показывает движение "фиксирующего зрения" в пространстве при остановке времени, а Хели Рекула (Heli Rekula) испытывает зрение на внимание к почти незаметным изменениям в морском пейзаже. Выставка собрала "оптические обманки", которые можно произвести с помощью современной фотографии или видео-арта. Авторы трансформируют формальный прием в художественный и добиваются интересных результатов.

Каждый из пяти художников выражает иную способность смотреть. В их работах важно совсем не то, что они открывают нам новую точку зрения на вещи в мире, а то, что само изображение является другим зрением. Речь идет практически об иной физической способности зрения, возможной только в фотографии или видео-арте.

http://www.museum.ru/N13939

Marja Pirilä 18.1.-9.2. 2003

CAMERA OBSCURA sisätila/ulkotila


Camera obscura/Iris 2002, Tampere
kromogeeninen värivedos
190 x 77, diptyykki
editio 7

http://www.galleriaheino.fi/2002-2004/pirila.htm


http://marjapirila.com/

Camera obscura

«Случайно обнаружила себя на сайте моего кумира по обскурным инсталляциям Марьи Пирили (Marja Pirila)…

В августе 2005г. в ГЦФ Марья демонстрировала свой проект "CAMERA OBSCURA interior/exterior". Я была буквально потрясена увиденным.



Фотографии, сделанные в практически полной темноте.



Через сравнительно небольшой pin свет проникает в hole, а вместе с ним и картинка c улицы переносится в комнату. По стенам колышатся ветки деревьев, по потолку прогуливаются прохожие и ездят машины !!! Весной прошлого года мы сделали свою камеру обскура. Непередаваемые ощущения восторга и неподдельная радость эксперимента, сопровождались громкими визгами каждый раз, когда по потолку проезжала машина! Можно было разглядеть цвет и марку автомобиля».

http://oolelukoe.livejournal.com/40468.html

Ссылка оттуда:

http://marjapirila.com/obscuras/buckets.html



*
Arthur Tress: Fantastická cesta

http://www.phpweb.cz/file.php?type=file ... 1_file.doc

Art Brussels

Galleria Heino at Art Brussels 2007, 20.-23.4.2007
Brussels Expo, Stand 12e - 18

Galleria Heino will present works by the following artists:

Petri Hytönen
Martti Jämsä
Marja Pirilä
Kim Simonsson

PETRI HYTÖNEN


CITY AND FIGHTING SPIRITS, 2005
watercolour on paper
56 x 81 cm

Artist Petri Hytönen has used both traditional brushes and spray painting techniques in his watercolours. His newer works incorporate digital photography - large inkjet printouts - and watercolours. The artist takes his own photographs and processes them with Photoshop on computer to "wipe clear" an empty space, where he paints after making a paper print of the photo.

MARTTI JÄMSÄ



Martti Jämsä's world of photographs consists of small, yet important things. Dominated by a certain sense of inert melancholy, his photographs are often of summer and small boys busy playing. His works aren't portraits however. The figures are usually so detached they seem to depict an idea of some idyllic life. Likewise, in their minimalist sensitivity, Jämsä's nature photos create unique opportunities to contemplate…

MARJA PIRILÄ



In the Speaking House series, I have transformed spaces in a large abandoned house into dark rooms, camera obscuras. Camera Obscura (Latin “dark room”) signifies a dark room where windows are covered. I use black plastic, make a hole in it and place a convex lens in front of the hole. This way, the outside world is reflected upside down in the room, where I then photograph the person living there or just the room. Scientists, artists and philosophers have used the phenomenon for centuries in their work.

KIM SIMONSSON

Kim Simonsson's works are figurative with child and animal motifs. In the child theme, the artist has been influenced by the imagery and visual idiom of Japanese manga cartoons. “Manga is rather violent and even pornish. I have always been intrigued by its visual idiom, the conflict between the innocence and toughness of the figures.” Kim Simonsson's art seems to be contructed of conflicts and crossing of boundaries, to the point of becoming his trademark.


GHOSTDOG, 2006
ceramics, glass, platinum
200 x 55 x 70 cm

http://www.galleriaheino.fi/artbrussels.htm

См. еще:

KORRELAATIOITA — FOTOGRAFIE AUS FINNLAND

Korrelaatioita – Korrelationen – Correlations



Miklos Gaal (Fin), Tiina Itkonen (Fin), Aino Kannisto (Fin), Pertti Kekarainen (Fin), Toni Kitti (Fin), Marja Pirilä (Fin), Jorma Puranen (Fin), Ari Saarto (Fin), Perttu Saksa (Fin)

14.05.2002- 19.06.2002

http://www.fotogalerie-wien.at/english/ ... 1013092882

INTERIOR / EXTERIOR

INTERIOR / EXTERIOR is a project which started in 1996. By using a special of camera obscura technique I can capture into the same image with one long exposure both person, room and the reflection of external landscape. First I just have to transform the room into camera obscura and then photograph there by using normal lens camera and long exposures.

Until now I have been working with this method in Finland, Norway, Italy, Estonia and France.

At the moment Interior/Exterior series has 70 colour prints, the sizes of them are from 35 x 45 cm to 150 x 185 cm.

The project continues and takes new forms.

Usually I also create into the exhibition place a unique camera obscura with many lenses together with Petri Nuutinen to show the fascinating light phenomenon on which these images are based.

In 2002 came out my second photobook CAMERA OBSCURA interior/exterior.



INSIDE A CAMERA OBSCURA - AND IN PERSONAL PLACE

by Janne Seppänen
professor of visual culture University of Art and Design in Helsinki

When Marja Pirilä makes a camera obscura, a darkened room, out of someone´s flat, with the outside world projected upside down on its walls, she is playing with an invention that is thousands of years old. The people in her pictures are situated in their own personal spaces, within four walls.

Windows open from these spaces onto the outside world. The window is the boundary between the private and the public, between the personal and the commonly shared, and - if you like - between psyche and culture.
In them, the external space leaks with irresistibile force into the interior, into the persona, domain.

The window is no longer a peephole, but becomes a two-way portal between inside and outside.

This eats away at consept of human beings for whom their own interiority alone suffices, and who view the world without the world getting to them.

Pirilä´s pictures attest to the fact that the landscape seen from the window is not outside, but within us.

Here, we are at the centre of formation of identity, at the point where the individual´s mental reality meets cultural narratives.

http://marjapirila.com/interior_text.html
http://marjapirila.com/interior_book.html

Выставки:







http://marjapirila.com/interior_exhibitions.html

*

См. также специально:

CAMERA OBSCURA WORKS

s p i r a l
b i r c h e s
c o m b
s n o w c a m e r a s
s e l f p o r t r a i t
t u b e s
s c r e e n s
a l b u m
m o t h e r´s b u c k e t s
e y e s a n d m o u t h



http://marjapirila.com/camera_obscura.html

VERVE Gallery of Photography

MAGGIE TAYLOR
Almost Alice Gallery room

http://www.santafephotogallery.com/?p=a ... MT&g=1&r=1
(пять галерей)

Новые работы:

http://www.santafephotogallery.com/?p=a ... MT&g=2&r=1
(три галереи)

Landscape of Dreams Gallery

http://www.santafephotogallery.com/?p=a ... MT&g=3&r=1
(шесть галерей)

Ранее:

http://forum.znyata.com/viewtopic.php?p=22234#22234

(и следующие записи).

Авторский сайт не обновлялся, так что, видимо, имеет смысл смотреть работы 2008-го на VERVE Gallery, они там и крупнее.

Галерея 3 на сайте maggietaylor.com:


Girl in a bee dress, 2004


Subject to change, 2004

http://www.maggietaylor.com

Встретил сегодня Алену:

http://forum.znyata.com/viewtopic.php?t=3368

Жутко радостно. Она на день заехала в Вильнюс и была в университете (здесь сейчас — приемная кампания, экзамены. У нас с полсотни человек рисовали и проходили дизайнерский тест…).

Немного поговорили о планах. Отсюда она — в Минск, так что неплохо было бы устроить встречу опять…

В дополнение к некоторым недавним запискам:

Pep Ventosa

(Свежая выставка: June 13-September 23, 2008, LUMAS New York).

Автор:

Named one of the “Top 50 Emerging Photographers,” Pep Ventosa is an artist specializing in fragmented photographic works. He has appeared in 7x7 Magazine, the San Francisco Chronicle, Photographer’s Forum Magazine’s Best of Photography Annual, The New York Times bestseller photography book American 24/7, and Art Professor Susan Ruddick Bloom’s teaching book “Digital Collage and Painting” where he is described as a master of the fractured panoramic technique.

His work is in the permanent collection of the Crocker Art Museum and has been jury selected for special exhibitions by the late Robert Rosenblum, curator of 20th Century Art at New York’s Solomon R. Guggenheim Museum; Pritzker Director of the Museum of Contemporary Art, Chicago; and the Royal Photographic Society of Madrid among others.

Born in Vilafranca del Penedès (Barcelona), Spain, Ventosa currently lives in the San Francisco Bay Area.

На авторском сайте — четыре цикла:

Европа:


Carrer del Cremat Gran i Xic, Barcelona

Побережья:


Broadway Tunnel, San Francisco

Панорамы и натюрморты:


San Francisco Skyline

The Eiffel Tower

Pep Ventosa : The Collective Snapshot

Помимо «мозаичных» проектов, еще и отдельный «слоеный», из собственных и чужих фотографий известных мест, обычно снимаемых в отпуске «на память»:


The Golden Gate


Le Moulin Rouge


The Great Sphinx of Giza

*

Слайд-шоу на входной странице сайта:

http://www.pepventosa.com/index.html

Такая вот информация к «мозаичным» снимкам:

San Francisco comes together, piece by piece, when Pep Ventosa assembles a colorful puzzle

Leba Hertz

Pep Ventosa knows how to get pieces of the action. His process incorporates using many photos and piecing them together like a jigsaw puzzle to create vibrant scenes of San Francisco as well as his native Spain.

Fragmentation is the key to Ventosa's original photographic concept.

"My work is about the art of seeing," Ventosa writes in his artist statement. "I try to adapt to photography the fragmented way the eye grasps the appearance of things and the brain reconstructs these sequenced perceptions to give shape and order to an enveloping whole."

Ventosa might use as many as 101 photographs, such as in his work "Cannery," to arrive at the final product.

"By shooting a scene in fragments from different perspectives," he writes, "the result is many different points of view converged into a single image: a reconstructed image, perhaps invented. ... An image real in all of its parts, but not in its whole."

Ventosa, 47, was born in Vilafranca del Penedes, Spain. He and his wife, Jackie Steinman, live in San Francisco. Photography hasn't been Ventosa's sole passion. He also is a musician, playing drums and recording albums, and owned a jazz bar in Barcelona for three years. He has been a music critic and also a director of tourism in Vilafranca. He is currently traveling in Spain, taking more pictures.

"What amazes me about Pep is his extraordinary level of patience," Steinman writes. "For instance, this morning, he went on one of his walking photo safaris through Barcelona and shot more than 1,500 photographs in about five hours. He'll then spend the next few weeks and months working with each shot, puzzling them together and playing with the end creations -- maybe a few dozen new collages will emerge when all is said and done. Some will work out, some won't ...

"He says he can't tell if one will work until all the surprises of re- creating that scene come into play. He likes to say, 'Mica a mica s'ompla la pica,' a Catalan expression. It means 'Little by little the sink fills.' "

http://www.sfgate.com/cgi-bin/article.c ... AMFQQ1.DTL

Jörg Colberg указывает еще на такого автора, как Jason Salavon, работающего в сходной технике. На сайте, впрочем, много других проектов, включая видео. Jason Salavon

City


City (westward) 2008
Digital C-print mounted to Plexiglas
60" x 48". Ed. 7 + 2 APs.

100 Special Moments
(Newlyweds)


100 Special Moments (Newlyweds) 2004
Digital C-print.
42" x 31.5". Ed. 7 + 2 APs.

From a broader series begun in 1997, each of these works utilizes 100 unique commemorative photographs culled from the internet. The final compositions are arrived at using both the mean and the median, splitting the difference between a specific norm and an ideal one.

Every Playboy Centerfold,
The Decades



The 1960s
The 1970s
The 1980s
The 1990s

Every Playboy Centerfold, The Decades (normalized) 2002
Digital C-prints
60" x 29.5" ea. Ed. 5 + 2 APs

From a broader series begun in 1997, the photographs in this suite are the result of mean averaging every Playboy centerfold foldout for the four decades beginning Jan. 1960 through Dec. 1999. This tracks, en masse, the evolution of this form of portraiture.

Jason Salavon

Working around art, information technology, and daily life.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements arranged in diverse visual populations. This often unearths unexpected pattern as the relationship between the part and the whole, the individual and the group, is explored. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. The final compositions are exhibited as art objects, such as photographic prints and video installations, while others exist in a real-time software context.

Born in Indiana, raised in Texas, and based in Chicago, Salavon earned his MFA at The School of the Art Institute of Chicago and his BA from The University of Texas at Austin. His work has been shown in museums and galleries around the world. Reviews of his exhibitions have been included in such publications as Artforum, Art in America, The New York Times, and The Wall Street Journal. Examples of his artwork are included in a number of prominent public and private collections. He has taught at The School of the Art Institute of Chicago and was employed for numerous years as an artist and programmer in the video game industry

Selected Projects

http://salavon.com/work.php

Сводка с фронта поступления: увидел в холле высокую девушку, которая как-то приходила на фотосессию с подачи Ольги П., т.е. из агентства Сергея Н. Чуть поговорили — барышня поступила чуть ли не с лучшим рейтингом в группе. Замечательно.

Несколько ссылок на потом, пересматриваю :

Claudio Edinger

Born in Rio de Janeiro and raised in Sao Paulo, Edinger moved to New York when he was 24 years old. After 30 years of admiring Rio, Edinger released the book “ Rio ,” nominated as one of the best of the year by Photo District News in 2001 and American Photo magazine in 2003.



http://photo.box.sk/about.php3?id=495

http://www.claudioedinger.com/

Nathalie Daoust

Nathalie Daoust was born in Montreal, where she studied photography at the Cégep du Vieux-Montréal and trained in the 3D technique. In her first solo exhibition at the Usine "C" of Montreal, in 1999, she presented a series of photographs taken at the Carlton Arms Hotel in New York, which were published in 2002, in her book entitled “New York Hotel Story”.



http://photo.box.sk/about.php3?id=483

http://www.daoustnathalie.com

Cinthya Soto


Taller de Escultura Hidalgo

In the series "A (des)tiempo", Soto uses her camera to immortalize public and private spaces characterized by a local aesthetic on the verge of disappearance, which stand in stark contrast to the standardized impulse towards a globalized western aesthetic. A horror vacui reigns in each of the images, which the artist accentuates by unifying multiple views of the same scene. They are fragmented views, multiple framings, various angles, which the artist utilizes to reveal interiors of homes, cobblers, iconographic shops, tailors, florists, fruit vendors-all everyday spaces, which are at the risk of disappearing. The artist constructs large "murals" in which color and composition are significant components. These captivating photographic sequences are the result of Soto's meticulous research and study of such spaces.

http://photo.box.sk/about.php3?id=489

Gary Isaacs

К линии «Родченко-Михайлова»… трудно все же подобраться к классикам на уровне увлечения…



http://photo.box.sk/about.php3?id=464





http://www.garyisaacs.com/

Упс…

Ностальгия:

«…Производство любительской фотоаппаратуры в капиталистических странах определяется иными, чем у нас, задачами и иной целью. Аппаратура рассчитана прежде всего на рынок, на извлечение прибылей и самое главное — на потребителя, которому принципиально нет никакого дела ни до фотографии как творчества, ни до устройства фотоаппарата. Камера должна "снимать сама". Фирма, производящая фототовары, создает необходимый и бесперебойный сервис для своего потребителя, заботясь о том, чтобы как можно надежнее ограничить его от "шевеления мозгами", получая за это соответствующую мзду. Неудивительно, что разница между уровнями любительской и профессиональной фотографии в капиталистических странах гораздо большая, чем у нас.

Культивирование у нас только любительских камер с жесткой автоматикой (то есть без возможности отключения автоматики и работы в ручном режиме) — это, возможно, проявление социальной недальновидности. Фотоаппараты с жесткой системой автоматики (а именно такие предлагают нашим любителям) не научат человека фотографически мыслить, в технике фотографии он многого не поймет и в творчестве не продвинется. А ведь мы стремимся к тому, чтобы любительская фотография стала сферой приложения человеческих способностей... »

Полностью весь текст Зенона Позняка из «Советского фото»:

http://forum.znyata.com/viewtopic.php?p=39639#39639

*
"Распоряжение Наркомпроса" о льготах для фотографов-профессионалов от 25 января 1919 г.

«Принимая во внимание, что художественная фотография принад­лежит к изящным искусствам, считаю нужным разъяснить, что на фо­тографов-профессионалов распространяются все льготы, установлен­ные законами и обязательными постановлениями для художников. Во всех сомнительных случаях надлежит обращаться за разъяснениями в состоящий при Комиссариате народного просвещения Комитет фотографии и фототехники, без заключения которого не должны быть принимаемы никакие сомнительные для фотографов меры. В частно­сти, разъясняется, что:

1) Фотографы-художники, хотя бы имеющие свои ателье или студии, пользующиеся помощью своих сотрудников и потому причисляемые к профессионалам, имеют все права, предоставленные соответствен­ными законоположениями прочим художникам, и, в частности, осво­бождаются от личной трудовой повинности.

2) Освобождаются от вселения мастерские фотографов (павильоны, лаборатории — темные и светлые) и в каждой квартире, где помещается фотография, по одной жилой комнате на равных основаниях с мастер­скими художников; освобождается от реквизиции все имущество, состав­ляющее орудие производства, а именно: фотографические аппараты, объективы и др. оптические приборы, фоны, находящиеся в павильо­нах и служащие для съемки, мебель и др. предметы обстановки, лабо­раторная посуда, копировальные рамы, прессы сатинировальные и для наклейки, негативы, ретушивальные станки, всякого рода осветитель­ные приборы и прочее, а равно материалы в необходимом для произ­водства количестве, как-то: пластинки, бумага, картон, химические продукты и прочее.

…

Народный комиссар по просвещению А. В. Луначарский »

http://www.photohistory.ru/1215850713622349.html

На страничке дизайнера Sabine Groten — более полный, чем в других источниках, текст о выставке работ молодых авторов:

The OMC Gallery for Contemporary Art will be presenting from June 15 until August 31, 2008 an exhibition featuring work of it's young artists:

- Take A Chance -

is an invitation to become familiar with and go for the work of upcoming talent. An inspiring chance to start a collection or turn the page to open a new chapter for an existing collection. Florian Beckers (GER), Andrej Glusgold (RUS), Sabine Groten (B), Wolfgang Herbold (GER), Djani Ivancevic (CROA), Brooke Lydecker (USA) and Yoko Mazuki (JPN) representing 6 countries and 3 continents will showcase Photography, Mixed Media and Digital Art.

As diverse their approach to artistically expression might be, all artists do have in common, to have already been included in Museum shows or been represented on International Art Fairs and that their work is mainly photography or digital media based.

Experience Florian Beckers' dealing with "The Vanishing of the Images" or the results of Sabine Groten's Fusion of Design and Photography, or Andrej Glusgold's contemporary "Fairy Tales" and Wolfgang Herbold's "Digital Mapping to Human Nature"... Yoko Mazuki's approach to the "innocence of Insects and Plants" or Brooke Lydecker's latest "Untitled" photographs and Djani Ivancevic's atmospheric dense B&W Photography of his "Melancholic Diary".

http://www.sabinegroten-design.de/ausst ... /?img=1568

На сайте галереи можно посмотреть отдельных авторов:

http://www.omc-llc.com/

Имеет смысл посмотреть две… нет, видимо, все три подборки на сайте Brooke Lydecker'а, интересная девушка:

Myths & Tales, Exotic World, Nostalgia:

http://www.brookelydecker.com/



Загляните также на

The Vanishing Of The Images By Florian Beckers

http://www.designrelated.com/inspiratio ... entry/2204

Сайт автора:



http://www.florian-beckers.com/work_photography_1.php

Не пойму я этих выставок… Тем не менее:

The Center for Fine Art Photography

July 29th, 2008

Congratulations to the 48 artists from seven countries whose photographs were selected for the

2008 International Exhibition of Fine Art Photography

The Center for Fine Art Photography is pleased to announce the juror's selections for the 2008 International Exhibition of Fine Art Photography. The images were selected by juror, Hossein Farmani. Hossein Farmani is the founder of the Lucie Awards, a gallery owner, and photographer.
Hossein’s passion for our art has led to his being instrumental in providing many opportunities for photographers.

Thank you for participating in this call for entries. You will be able to view the images in the Center's online gallery and physical gallery beginning October 3rd, 2008.

Images selected for 2008 International Exhibition of Fine Art Photography:

http://www.c4fap.org/exhibitors/2008Int ... nounce.asp

Выставки-конкурсы, небольшие денежные призы:

Our Environment; the Good, Bad, and the Ugly
Deadline: August 18, 2008

http://www.c4fap.org/cfe/2008environmen ... onment.asp

The Art in Nature
Deadline: September 16, 2008

http://www.c4fap.org/cfe/2008artofnature/nature.asp

Negative Space
Deadline: October 14, 2008

http://www.c4fap.org/cfe/2008negativespace/negative.asp

(Eligibility: The exhibition is open to all domestic and international, professional and amateur, photographers working with digital or traditional photography or combinations of both. The Center for Fine Art Photography invites photographers working in all mediums, styles and schools of thought to participate in its exhibitions. Traditional, contemporary, avant-garde, creative and experimental and mixed techniques are welcome).

http://www.c4fap.org/index.asp

Там же:

Masters of Photography Series


Classic Torso, 1952 © Ruth Bernhard (American, b. 1906)
Details: 13¼" x 10" archival silver gelatin print, printed later.
Dry-mounted 16x20", signed recto, stamped and titled verso of the mount.
Price: $8,000 SOLD


Two Callas, about 1925 © Imogen Cunningham Trust, Imogen Cunningham (American, b. 1888 d. 1976)
Details: 13" x 10" archival silver gelatin estate print, printed March 1998 by Rondal Partridge from the original negative.
Dry-mounted 19½" x 15½ ", estate label on the verso and blind-stamp facsimile signature on the recto of the museum mount.
Price: $1,700


Igor Stravinsky, New York, 1946 © Arnold Newman (American, b. 1918)
Details: 10" x18½" archival silver gelatin print, printed later.
Signed, titled and dated recto in the margin, studio stamp verso.
Price: $5,000 SOLD


American Girl in Florence, 1951 © Ruth Orkin (American, b. 1921 d. 1985)
Details: 9" x 13 ½" archival silver gelatin period print, printed before 1980.
Signed, titled and dated recto in the margin, signed, titled and dated verso.
Price: $6,500 SOLD


Shell, 1927 © Edward Weston (American, b. 1886 d. 1958)
Details: 10" x 8" archival silver gelatin contact estate print, printed ca. 1980 by Cole Weston from the original negative.
Dry mounted 20" x 16", signed (by Cole), titled and stamped with facsimile signature verso of the museum mount.
Price: $3,000

Да, прошло 15-ое…

Photo contests, photography contests at IPA - International Photography Awards

INTERNATIONAL PHOTOGRAPHER OF THE YEAR AWARD
$10,000 cash prize
Sponsored by AtEdge

DISCOVERY OF THE YEAR AWARD
$5,000 cash prize
Sponsored by Pilsner Urquell

DEEPER PERSPECTIVE PHOTOGRAPHER OF THE YEAR AWARD
$5000 cash prize

We are extending the deadline due to a high volume of requests to July 15th. However, there will be a 10% late fee in effect Monday, June 16th for all late submissions.

List of Winners of Competition 07
http://photoawards.com/07/contests/2007winners.asp

2007 Best of Show
http://www.photoawards.com/bos.asp

Past Winners
07 list of winners
06 list of winners
05 list of winners
04 list of winners
03 list of winners

http://photoawards.com/


Submitted by: Gustavo Marx, Belo Horizonte, BR
Photo title: Bruna
Expertise: Professional
Category — Rank: Advertising — Beauty — 1st place


Entry ID: 34220
Submitted by: Amy Arbus, New York, US
Photo title: On the Street
Expertise: Professional
Category — Rank: Book — Fine Art — 2nd place

*
Галерея:

Oleg DOU (Duryagin), Moscow, RU:

http://photoawards.com/07/contests/winn ... d=%2036923

Photography.Book.Now competition

Все забывал дать ссылку:

Grand Prize

$25,000 to finish — or start — any project you want.

http://www.photographybooknow.com/

См. еще на 2point8:

Blurb Photobook Contest

In the “judging a book by its cover” department, I’d be willing to bet that one of these 30 titles will win $20,000 in the Blurb Photobook Contest:

http://2point8.whileseated.org/2008/07/ ... k-contest/

Снова о конце эпохи…

Flickring Out
What will become of photojournalism in an age of bytes and amateurs?
By Alissa Quart

…At photo agencies, or in private conversations with newspaper and magazine photographers and editors, you hear the same end-of-the-world-as-we-know-it dirge that plays in the print world. But these worries don’t tend to go public in speeches about The State of Photography. There are few deathbed panel discussions about the genre, unlike all the discussions about in-depth reporters shuffling to the graveyard. Maybe part of it is that while photojournalism may be harder to practice, there is no shortage of photos—we are deluged by images. I am optimistic about the future of photojournalism, but not of the photojournalism I most admire.

…But is the rise of still-photos-as-films and “citizen photojournalism” only a big nightmare? Or is it also a liberation?

Some would say yes. There are bright spots to the amateur-image revolution. Lots of photos of “my girlfriend’s feet,” true, but bystanders also now often shoot the most crucial events of our day.

…While professional photographers are suffering, news photography and photography of all kinds is flourishing. Citizens around the world can cheaply photograph and distribute images of their own countries and cities, places like Dhaka and Freetown.

…e will have amateur photographers—some lucky people at the right awful place at the right awful time (Nigerians who are at the next explosion of a pipeline, say). And I hope that innately gifted photographers will emerge as well—a Chinese Kratochvil, a Nigerian Gilles Peress.

According to some, the rise of the amateur news image itself is a thing of value. “What distinguishes the icon is not professionalism,” says Robert Hariman, a professor of communications and co-founder of No Caption Needed, a blog about photojournalism as a public art. “The Challenger photo was a screen grab. All the photos at Tiananmen Square were not good photos—they were too far away.”

…There are also some bright spots for the professional photojournalists, though they aren’t the predictable ones. Right now, as its value on the open market of news magazines falls, photojournalism’s prestige, paradoxically, rises: a Dorothea Lange bread line photo from 1932 sold for $720,000 a couple of years ago; a dozen New York City galleries showed Magnum photographers’ work in 2007.

http://www.cjr.org/essay/flickring_out_1.php

Напечататься/опубликоваться:

Make your own book with Blurb

Стоимость книги до 40 страниц (18 на 18 см) — от $12.95. Возможный объем — от 20 до 440 страниц.

Standard Portrait8x10 inches (20x25 centimeters) — $19.95, 41-80 стр. — $24.95 (в твердой обложке — $35.95).

All prices are for 4-color printing and a minimum order of one book. Prices are per book and don’t include shipping.

Books feature four-color printing on 80# coated, semi-matte paper.

Once uploaded and ordered, your book will arrive in approximately
7 to 10 business days.

http://www.blurb.com/

аналогичный бизнес уже приходит и в Беларусь от немецкой компании. в июне был демо-семинар, который большинство фотографов проигнорировало... в основном ориентир на свадебщиков, а по идее можно печатать и свои книжки.

альбом с твердой обложкой форматом А4 и 24 стр. полноцветной печати планируется в районе 10 евро за штуку...

см. больше здесь:
www.pixelspeed.de
www.pixelspeed.by

лично я качеством печати не очень доволен. там те же проблемы с печатью монохромного и черно-белого изображения, как и во всех других полиграфических конторах...