Showing posts with label Paris. Show all posts
Showing posts with label Paris. Show all posts

2017-08-06

On the web: How We Should... / Sarah Sentilles / The New Yorker

On the web: How We Should Respond to Photographs of Suffering by Sarah Sentilles / The New Yorker

http://www.newyorker.com/books/second-read/how-we-should-respond-to-photographs-of-suffering/amp


How We Should Respond to Photographs of Suffering

Renty, a man taken from the Congo, in Columbia, South Carolina, in 1850.
Renty, a man taken from the Congo, in Columbia, South Carolina, in 1850.
Photograph by J. T. Zealy / Wikimedia Commons



Several years ago, while staring at a photograph of torture on the front page of the newspaper, I began seriously asking myself a question that many people had asked before: What should one do when faced with images of violence?
...
Then I read Ariella Azoulay’s “The Civil Contract of Photography,”...
It’s not empathy she’s after; she wants action. Images can transform the world, she argues, and the only reason they haven’t yet is because we don’t know how to look at them. The problem isn’t images; it’s us.

2017-08-03

Techo-Parade

Les manifestations et autres parades m'attirent. Ce sont des occasions pour essayer de mieux comprendre. La techno-parade quant à elle est un peu particulière car y participent essentiellement des personnes assez jeunes, voire très jeunes, avec une motivation évidement festive. Toutefois, l'ambiance est assez proche de la Gay Pride, et il y a sans doute un important recouvrement entre les participants. Depuis 2015, ces défilés sont naturellement très fortement encadrés par les forces de l'ordre et l'itinéraire est plus limité. Coté photographie, cela rend le suivi plus facile.


Protest marches and other parades attract me. These are opportunities to try to better understand. The techno-parade is a bit special because it mainly involves people who are young, even very young, with a motivation obviously festive. However, the atmosphere is quite close to the Gay Pride, and there is probably an important overlap between the participants. Since 2015, these parades are naturally very strongly supervised by the forces of order and the route is more limited. On the photograph side, this makes following easier.


















2017-07-30

2016 Nuits Debouts

La diversité des participants a été peu soulignée. Elle a toutefois évolué.

Assez extraordinaire dans les premiers temps,  elle a diminué ensuite avec quelques regains.

La première photographie est un assemblage sous forme de panorama de plusieurs vues. L'utilisation en "street photography" de procédés de ce type m'intéresse. Jusqu'à quel point le concept de "street photography" peut il être étiré ?

Incidemment, lors d'une rencontre du Fujifilm tour, j'ai testé le GFX. On m'a indiqué que pour la "street", ce n'était sans doute pas l'idéal. Je pense tout au contraire qu'en relevant le viseur, il aurait l'intérêt de donner au photographe un position assez proche de celle qu'impose les boitiers bi-objectifs. De plus, de la street avec 50Mp, cela serait assez ironique.



The diversity of participants was slightly stressed. However, it has evolved.

Quite extraordinary at first, it then declined with some aftermath.

The first photograph is a blended panorama of multiple views. The use in "street photography" of such processes is interesting. To what extent the concept of "street photography" can be stretched?

Incidentally, at a meeting of the Fujifilm Tour, I tested the GFX. I was told that for the "street", it was probably not ideal. I think on the contrary that the viewfinder would have the interest to give the photographer a close enough position to which on that was imposed TLR  camera. Furthermore,  "street" with 50Mp, that would be quite ironic.

























2017-07-29

On the web: Szilvia & Stela - Street Core Photography

via Street Core Photography

Szilvia & Stela - Street Core Photography

"What to choose?" is many times answered with another question: "Why choose?"
Just a quick look at the MAGNUM Contact Sheets collection will answer the second question. If these masters/monsters of photography were denying themselves already when film was precious, if they would dumb 95% of their work by circling or checking just 3-4 frames out of 24 (36), there must be a reason.
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More on Szilvia and Stela

2016 Manifestations

La loi relative au travail, à la modernisation du dialogue social et à la sécurisation des parcours professionnels a eu au moins un résultat ...