Why you are the future of photography. Street life ...
Jon Rafman's Google Street View, Via Valassa, Rho, Lombardy, Italy. Photograph: Jon Rafman Their manifesto begins: "Now, we're a series of editors. We all recycle, clip and cut, remix and upload. We can make images do anything. From Here On is the title of this manifesto-cum-group show unveiled at last week's Arles photography festival. The manifesto was created by five people: Clément Chéroux, a historian of photography and a curator at the Pompidou Centre; Martin Parr, photographer, collector and all round dynamo; Eric Kessels, founder of the KesselsKramer communications agency; Joan Fontcuberta, an art photographer; and Joachim Schmid, an artist who works with found photographs.
The internet and the cheap digital camera, they say, are radically altering how we see the world, and what we do with what we see. Feline photographer ... Among the slapdash, the crudely innovative and the downright nihilist, there are some interesting artists. Ilustríssima - Por que morrem tantos fotógrafos de guerra? - 12/02. Sergio Larrain obituary. Although he was photographically active for scarcely more than a decade and was the author of just four books (all of them now collectors' items), the stature and reputation of the Chilean photographer Sergio Larrain, who has died aged 80, continued to grow after he withdrew from the vibrant European world of street photography to live in a meditational retreat.
Born into a professional family in Santiago (his father was an architect), he began by studying music. At the age of 18, he went to the US and studied forestry at the University of California, Berkeley, before transferring to Ann Arbor, Michigan, in 1954. He also travelled through Europe and the Middle East, taking a camera. When he returned home, he began freelancing for the Brazilian magazine O Cruzeiro with a heart-searing series on street children living on the banks of the Rio Mapuche. The Museum of Modern Art in New York acquired two images for its collection in 1956. Larrain was endlessly experimental. "Pietà islamique" : sous le voile, la révolte. LE MONDE | • Mis à jour le | Par Claire Talon Comme toujours quand la référence religieuse ou picturale est appuyée, le photoreportage suscite la polémique. Symboliser le "printemps arabe" par une pietà en voile intégral serrant dans ses bras un "Christ" yéménite au torse dénudé ne pouvait échapper à la règle.
The meaning of 9/11's most controversial photo. Thomas Hoepker chose not to publish this photograph in a book about 9/11.
Photograph: Thomas Hoepker/Magnum In the photograph Thomas Hoepker took on 11 September 2001, a group of New Yorkers sit chatting in the sun in a park in Brooklyn. Behind them, across brilliant blue water, in an azure sky, a terrible cloud of smoke and dust rises above lower Manhattan from the place where two towers were struck by hijacked airliners this same morning and have collapsed, killing, by fire, smoke, falling or jumping or crushing and tearing and fragmentation in the buildings' final fall, nearly 3,000 people. Ten years on, this is becoming one of the iconic photographs of 9/11, yet its history is strange and tortuous. Hoepker, a senior figure in the renowned Magnum photographers' co-operative, chose not to publish it in 2001 and to exclude it from a book of Magnum pictures of that horribly unequalled day.
Rich's view of the picture was instantly disputed. Gisèle Freund et ses "victimes" LE MONDE | • Mis à jour le | Par Claire Guillot "Photographiez-moi comme je suis exactement à ce moment.
Je me fiche d'être laid. Je veux être laid. "
The shot that nearly killed me: War photographers – a special report. Adam Ferguson, Afghanistan, 2009 I was one of the first on the scene.
The Afghan security forces normally shut down a suicide bombing like this pretty quickly. I was able to get to the epicentre of the explosion. It was carnage, there were bodies, flames were coming out of the buildings. I remember feeling very scared because there was still popping and hissing and small explosions, and the building was collapsing. This woman was escorted out of the building and round this devastated street corner. As a photographer, you feel helpless. When I won a World Press award for this photograph, I felt sad. Alvaro Ybarra Zavala, Congo, November 2008 The situation was very tense – people were drunk and aggressive. When I got to the hotel, I showed the other photographers.
I really hate this shot. Lynsey Addario, Libya, March 2011 I had been in Libya for just over two weeks, shooting the insurgency. The first three days were very violent – I was punched in the face several times, groped nonstop. "Photographs 1961-1967", de Dennis Hopper : les années 1960 vues par Dennis Hopper. Depuis les débuts du cinéma, les allers-retours entre image fixe et animée ont été nombreux : William Klein, Henri Cartier-Bresson, Wim Wenders, Abbas Kiarostami ont alternativement traduit la réalité comme un flux ou un instant figé.
Dennis Hopper, réalisateur de l'inoubliable Easy Rider, est surtout resté célèbre pour sa filmographie, pour ses performances d'acteur et accessoirement pour sa vie tumultueuse. Mais celui qui fut sculpteur, performeur et collectionneur d'art était aussi un très bon photographe. Un an après sa mort, les éditions Taschen ont eu la bonne idée de rééditer l'ouvrage imposant qui réunit ses images. Susan Sontag. Winner of the National Book Critics' Circle Award for Criticism (1977) "Susan Sontag has written a book of great importance and originality. . . .
All future discussion or analysis of the role of photography in the affluent mass-media societies is now bound to begin with her book. " —John Berger.