Silverado 427 Ss Kuwait

NOT WAIT ANOTHER SKY - Francois "Coco" Photo-Reading

Francois "Coco" Laso has just published his book, DO NOT WAIT ANOTHER HEAVEN with photographs taken in Quito on Easter between 1999 and 2008.

A long-term project that is about something so common to Quito in a human desecrated and not folk. Her photos do not make us think or religion, or the theatrical, are reminiscent of the feelings of people in need of faith behind them, the power of the church (LIC)

(...) The shooting today is tenuous and eternal;
not wait another Heaven or Hell
other

(Jorge Luis Borges, El Instante)

"Laso opens a glance problem by asking: "Who we are, visually, during the rituals of Easter?". Your answer will not come from the ethnographic gaze, with its equity interest and empathy. Neither of journalism with his realistic pretensions. "

" lonely experience with the community, the city steeped in rural life, the hidden eroticism of a colonial box, the distance from the common iconography Westernized

"This collection of photographs brings to the fore the inherent conflict visual representation of a practice that is regularly spectacularized intimate with the aim of confirming religiosity as a ghost who haunted the public sphere in the recesses of certain city franciscana. "

" These are photographs that dissect the heaven and hell are to religion in the everyday mundane into an Andean city and bland. "

"Taken out of context ritual book in his life, they become in a broader critique and tell us about both religion and intimacy of forces as the territory it shares with the economy, the city and state."

Texts taken out of penance for X. Andrade (Manglaralto, November 2007)

........... François

Laso. Photographer. He has made several photo exhibitions in Ecuador and abroad and has been shooting photographer Chronicles and While day arrives. Art Director Feature story Offside (Best Films in Donostia San Sebastian Festival), director of the third and fourth EDOC Documentary Film Festival organized by Cinememoria, professor of photography at the Universidad Católica del Ecuador, director of photography for the documentary The Committee Matthew Herrera, Mete Gol Earn Felipe Terán and This damn country Juan Martín Cueva.

Interior Moroccan Scandinavian

Laso Collective Image




photo reads, space devoted to showing photographs of photojournalism and documentary photography begins the last season of the year with a special group of documentary photography "The picture tells" on projects in progress Paula photographers Parrini, Juan Antonio Serrano, Martina León, María Inés Armesto, Armando Salazar and Francois Laso. THIS CAFE


Wednesday 8 October. 20:00 NO COVER

Earthquake Power 400tx Amp

Account Bolivia - Juan Antonio Serrano

A friend told me · Bolivia Bolivia is the latest in hell before you get to heaven ¨. It was at mine last night in La Paz, I said it was true. Bolivia is a country with people super good, with monumental landscapes with an interesting music scene. Unfortunately, in particular racial divisions that occur, impeding the dreams and potential development could have. On both sides, Easterners (white) and Colleen (Indians), claiming that they own and do not want. Meanwhile, in one of the many street demonstrations calling for a solidarity bond minúvalidos.

The image of Evo Morales is full of charisma, generates much sympathy in many Bolivians, but many others hate. While in Bolivia in the referendum could feel personally the changing times that this country goes through. They were special moments, really.


family is so far away I could see. Words such as regionalism, racism, revolution, corruption, Latin America, etc, do that, because in Bolivia, I feel at home. I also felt, at times, it was somewhere that looks like anything but home.

How Much Prise Of A Full Red Lable Whisky?

A century Cartier-light HUGO

MADRID - Reuters

Henri Cartier-Bresson was born on August 22, 1908, 100 years ago with an unusual capacity for observation that overturned on the picture to the point that knowing his work is synonymous with you a part of the graphic history of the twentieth century.

Refer to Cartier-Bresson is, above all, making a pause in his conception of "decisive moment", with which defined the exact moment the photo is taken, ie when " be aligned in his words "the head, eye and heart " to get instant, that it would not be like a millisecond before or after that you clicked.

Always with his Leica in hand photographed China, India, Mexico, until the Second World War, where he thought he had even died, and founded, along with other legends also negative in 1947, the first photo agency , the select club of Magnum.

also portrayed characters of his time as Picasso, Matisse , Marie Curie, Edith Piaf , Fidel Castro and Ernesto Guevara and witnessed important events of the century XX as the English Civil War or the death of Gandhi .

However, if Cartier-Bresson return your camera to take today have serious problems to enforce their view of the decisive moment or would see with complicated legal rules to take some snapshots.

According to some theorists, the magic moment is dead. The proliferation of digital imaging is unstoppable and more in the line of photojournalism that propelled Cartier-Bresson, due to the great democratization of the main tool, the camera.

This, in turn, has led to the decisive moment it is increasingly irrelevant, but despite them the purists, because digital has disabled caution and concentration of the act of photographing.

The "decisive moment" has become a video edited or blast of images taken by professional photographers working with freedom and the advantage given the unlimited capacity of digital systems.

Also, if Cartier-Bresson once lift his head so he would see that their photos can not be taken back to the West, not for lack of obvious or photographers, but by the limitations imposed by the courts.

Perhaps his black and white portraits of people anonymous and can not be captured in the West, except with prior permission of the subject, because social norms have changed and this has led to part of the documentary photography possible only championed today in the Third World .

These two aspects are very slow and silent death of the photographic process of the work ccon which Cartier-Bresson, among others, got a gray frames his shots so far can only dream of the process digital.

Therefore, more than ever should remember to Henri Cartier-Bresson, for the sake of the quality of the photographic act in a society hypervalue image but, in turn, play the "anything goes" and sentencing on the right to the image.

South Actress Affairs

Bresson CIFUENTES

20 years ago in 1988, the Economic Culture Fund, Mexico published the book "Paths of Ecuador " of Hugo Cifuentes (Otavalo, 1923 - Quito, 2000). Key point that marked a shift in the way of documentary photography in Ecuador.

Cifuentes Hugo's work was a different approach to rural areas of Ecuador with a look full of humor and poetic posture against the real. His photo essay "Huañurca", performed with his son, Francisco, was awarded "Casa de las Americas" in 1983.

Here a small sample of his work accompanied by extracts from the text "Memory" Cifuentes Angela Mary, daughter of the photographer and historian.

....................

kiss of life - 1982

"Without ethics there is no aesthetics, thought Dad, for delivery to the art that had an ethical foundation to always seek new forms and content in the paint, drawing, collage and photography. "

the mantle of the Virgin - 1986

hunch - 1986

"Dad thought the image as creative as she raises to see beyond the visible, how absurd or banal everyday moment can turn into something unusual, unprecedented. "

accident dreams - 1985

flat tire - 1985

faun -1986

the son of oblivion - 1986

"I think, however, Dad was able to photograph the hope that it always was: to concrete changes in the art of the country. With his work and his momentum generated dad definitely a new era in photography Ecuador, making a creative discipline. "

Is Osk Green Tea Authentic

meaning and emotion - ideas about documentary photography (Part 1) *

by Armando Salazar Larrea

" is currently
invented to sell newspapers,
only interest is universal "
(Robert Frank)

This February I visited the World Press Photo exhibition at the Cultural Center Metropolitan, each year I return each year and sorry because it seems every time there is less room for other images in the global media than those of explicit violence and suffering.

The picture I liked best was one that showed some hope and excitement at the terrible dictatorship. The image is of a Caucasian woman on a beach in Spain with two new black immigrants landed, they are exhausted and his eyes reflected the fear of what can happen, the look of it is instead of understanding and compassion . The image is simple, she is kneeling next to the youth and offer them all possible that case: company and a blanket. There is tragedy in the image, but is implicit in the fact recorded, you do not wallow in grief and terror so that we can feel the enormous human tragedy on record. This is a documentary image .

picture: "The Beach" Arturo Rodriguez
World Press Photo 2008

is also a journalistic image because it informs us of a fact but mostly it's documentary. "Where is the difference?. Here are some tips:

1. No sensationalism. Key starting point, the photographer records the event without too much explicit drama.
2. Emphasis is hidden feeling , ie the image not only informs but that moves us because it is capable of listening to the emotions of the characters portrayed.
3. is autonomous. image only need a caption that says where its occurrence, but without that explanation, defends its own as a life time filled with emotion.
4. A search meanings and a deep sense about what really matters in life.
5. A shooting temperament, you can feel what is important for the photographer, his being is involved. In Ecuador

el territorio de lo documental ha pasado bastante desapercibido. La idea se ha posicionado un poco en los últimos años con la aparición de los EDOC (Encuentros del Otro Cine), un festival de cine y video documental por donde han pasado cineastas y películas y donde en alguna ocasión se dedicó un capítulo a la fotografía documental. Otro momento importante se dio el año pasado con el Encuentro de Fotografía Documental organizado por el TIF (Taller Independiente de Fotografía) con algunas charlas sobre este oficio.

El desarrollo de nuestra fotografía más bien ha recorrido otros caminos: existe una mirada antropológica y costumbrista cargada de humor y surrealismo en las fotos de Hugo Cifuentes of 70 and 80, then a large group of photographers in the 90's turned his eye to the city: Pepe Aviles, Diego Cifuentes, María Teresa García, Lucía Chiriboga and Paco Salazar did a job that was quite early documentary that takes a turn to the forms and concepts of contemporary art as a movement disarming and entering the new millennium. Part of this move was the photographic exhibition in the bar El Pobre Diablo in the nineties as "three-eyed trio " and " these 3 photos are for you " was a new picture Ecuadorian author sought to differentiate the photographic treatment more general prevailing then.

must understand that not until the late nineties in Ecuador will begin the demarcation of photography competitions for the decade as the Hall PROESA who later became the symbol of freedom in (to engage in photojournalism) all played at the beginning, photography itself was what was valued, not emphatic in their differences. That legacy comes from what was the photo section of the House of Culture in the eighties worked under the concept of photo club, a concept that still exists in areas such as the Center of the Image of the Alliance Française.

At the present time the wave of digitization gives us the feeling of a photo boom: more photos and even cell phones are filled with images, the culture of the pixel space is being taken and taking pictures becomes as common as listening to music. Begins to be a cult apparatus, cablecito, the program, the computer, the model, a novelty. If a problem before the photograph might have been too much concentration on the technical rigors of the profession as exposure, light, or the final copy that were losing sight of its main objective: the creation of meaning today the problem rather is too much focus on novelty. When a digital camera on the table the dining room, no one hesitates to pick it up and shoot a picture, at the time of the film that was unthinkable. If you are looking for quality and not quantity this democratization is it beneficial?, The question is open for this time of change where they are still so nebulous benefits of modernity.

Traces of this wave are the current projects of young photographers as Giovanny Verdezoto and " those who remain," a series of photomontages with one foot in the documentary and the other in the fragmentation of the postmodern. Art photography made under the culture of the pixel, a kind of aestheticized documentary for the elite, where the problem is not in technique or the fact of the photomontage but that the emphasis on formal policy avoids eye.

On the other hand, no doubt, photographic space for further development and vitality in recent years is the photojournalism: Dolores Ochoa, Benjamin Chambers, Ivan Kashinski, Karla Gachet or Jorge Vinueza to are some of the current names rule the roost in this medium. Is the emergence of international photo agencies which positions these photojournalists as bearers of a trade with their own rules. Photojournalism Ecuador has grown in autonomy because publishers are beginning to understand that the image should not only be the registration of a news event, we find more and more images to look as author and you not only shocking images or desencubridoras scandals. The photographers begin to record events when the news is over and is no longer tied to the circumstantial needs. Slowly the picture of the newspaper has created a subnicho for no circumstantial reports are displayed in the Sunday editions of El Comercio and El Universo, here are stories and documentaries that do not depend on the news and focus on issues such as Chota football or a night on the emergence of Hospital Eugenio Espejo.

PHOTO "Blind Woman" Karla Gachet
Publication: PEOPLE IN PICTURES

signs area development are published as " The look and memory - Photographs of Ecuador newspaper" (2006), "Imagined Ecuador" (2006), " People images "(2006)," A day like today in Ecuador "(2007) or" old Years "(2007), books full of photojournalistic and documentary images that have begun to populate the shelves of bookstores where once there were only pictures of volcanoes, the Galapagos and ancient cultures Ecuador.

(continued)

* This article was originally published in the journal CHASQUI 101, May 2008

Inside Image Of Cervix

meaning and emotion - ideas about documentary photography (Part 2)

by Armando Salazar

Larrea (cont)

"what matters is not how a
photographer sees the world, but how it relates to him "
(Antoine D'Agata - MAGNUM photographer)

case apart is the Pablo Corral Vega, Cuenca and high-flying photographer. His work for National Geographic, his book published in 2007 about twenty-five years of occupation and exposure at the Centro Cultural Metropolitano place it as the most important photojournalist of the country. For him the issue is not so much news so as for how to get involved with the person photographed. Clearly states: " Respect is more important than image." His further work today focuses on the tango culture of Buenos Aires, a project that goes well rid of images of a fall in tourism and makes us share lives and feelings in depth.

PHOTO Bar de Roberto "Pablo Corral

This approach is not new, as Sebastiao Salgado said , The Brazilian photographer: "An image is your integration with the person you photographed at the time we started working with it incredibly well and so the picture is just the relationship you have with your subject.." So to Salgado, the speed and haste are prejudicial to the creation of images: "... when you work hastily what you put in your photos is something that you brought with you: your own ideas and concepts . When you take more time to develop a project learn to understand your subject. There comes a time when it is not you who is taking photos. Something special happens between the photographer and the people being photographed. The photographer gives these people realize that you are giving away the pictures "

In his thesis" The contemporary documentary photography in Brazil ", Etelvina Vaz Dos Reis Borges Teresa Salgado said:" Although Salgado is defined as a photojournalist, his work has much that has ceased to belong to the world of photojournalism to join documentary photography. On his way to work, their criteria, their rhythm, the resources used to publicize his work and the way it presents the outcome of their projects, no doubt that Salgado belongs to the new contemporary documentary photography. Salgado's photographs serve as a reflection about our world today, global and yet so unbalanced. His images have no power to change or solve those problems addressed, but inwardly they make us think about our human condition. They make us think more before throwing a plate of food in the garbage, to see so many people hungry. They make us appreciate more the work we have, to see so many workers working in inhumane situations. Make us more united, if not to those that appear in his images, at least to people who are around us, on our streets. To this are your images. To communicate, inform, document, reflect, theorize, argue, withdraw ... "

PHOTO Sebastiao Salgado

From this point, we ask ourselves about the differences between the documentary and news coverage. Juan Antonio Serrano , Cuenca photojournalist says " the difference is in the time you spend on an item the truth are terms that confuse, because for me personally, almost no difference, I think only difference is in the position of one who takes photos .. " Gives a similar view Francois Laso, photographer and cinematographer for him "the difference could be found in etymology of words rather than the images themselves, the one is a document with all its connotations (historical, testimonial, experiential, etc.) and the other is a news . " Paula Parrini, a young photographer thinks "documentary photography goes beyond the fact as news to transmit, transmits the incident as a moment of life, which is not necessarily a news story itself." And Mary Agnes Armesto , who works in the File Blomberg, "photojournalism is responsible for photographing news events, taking as its starting point the agenda of a medium, does not decide what to photograph, decide how to shoot and how many times this is driven by expectations criteria editor and other media.. "

In another analysis, Francisco Mata Rosas , Mexican photographer says: "document is to interpret and communicate, document is to be able to see and report, document is to reflect and share, clarify questions, question by saying, refuse to show, support hiding, deploying combat, understand confronting. "

seems that the time given to work, the idea of \u200b\u200bdocument in the idea of \u200b\u200bnews, exploiting the ambiguity of the photographic act and the deepening of the theme are points of differentiation between these two areas.

But it also can be summed up in attitude. A documentary is attitude an attitude of constant questioning over the visible , search for clues about the functioning of life, want to understand what is between the people and discover ties with the camera and the unseen forces, a act where we created a summary of what that could mean potentially time a valid way to put life in perspective, to allow instant and feel it as essence and not just as continuity and change. It is an office through which it gives meaning to existence.

The documentary also may be searching for accessions, of solidarity, of entering the lives of others and live with them. Photojournalism hard sometimes takes us away from what he shows us his frontal seems to say " this happens to you no " so it does not generate empathy but relief. The documentary does not, what is ultimately trying to see also our life and rethink.

of long-term documentary projects in Ecuador have not been many: The collective TIF (Independent Photo Workshop) managed by Guillermo Echeverría, Geovanny Villegas, Tito and Guarderas Pablo Sanchez has done collective exhibitions, among which stands out waste "common? , work on the everyday life of psychiatric patients from a hospital in Quito. Francois Laso and Mateo Herrera presented a display on the Garcia Moreno prison inmates made over three months work running parallel to the documentary film "The Committee" and one of the most ambitious was surely rockers, deadly as any of Paco Salazar, conducted between 1995 and 2000 in the south of Quito and was contained in large format at the Cultural Center of the PUCE in an attempt to bring the disparate poles of the city.

PHOTO Paco Salazar "Alex"

Ten years of these rockers, now they are going through times of contemporary art, photojournalism is now firmly installed in their territory and now that digitization and photomontage beginning to take the spaces, we ask more strongly than before, what we Ecuadorian photographers?, what worlds we care?, what voices portray, how the pictures?, what is our vision?, now that everyone has a camera is important to rethink the role of photography, otherwise, taking the words of Pepe Aviles, we can fall fatally on the territory of "lightness" and lack of commitment. Faced with this danger, the documentary has a lot to say.

* This article was originally published in the journal CHASQUI 101, May 2008

Cake Designs For 50 Year Old Men

A half century of "The Americans" Miguel Rio Branco

If there were two anthologies photographic moments in the fifties in the U.S. were the exhibition THE FAMILY OF MAN at the MOMA in NY cured by Edward Steichen and the other was a small book called THE AMERICANS which was published in Paris made from a Guggenheim Fellowship. Fifty years after those releases, today few people remember to look "politically correct" THE FAMILY OF MAN and everyone rushes to celebrate the half century of the fundamental work of Swiss Robert Frank. His gaze is as contemporary today as then. (LIC)

................

(Text taken from http://basico3.organizacionnelsongarrido.com/?p=3)

Robert Frank: subjective documentary photography.

When, in 1959, published in USA Robert Frank's book The Americans, American critics reacted bravely against both; book and author. Frank's irreverent attitude, embodied in images seen as poorly framed, poorly lit and was totally confused against the aesthetic dominant in the picture until then. Frank's work did not meet the aesthetic requirements to be considered in photography for personal expression, but also in documentary photography, as its lack of preciousness and its deliberate disregard for the rules that a good photograph must meet, him away entirely on the successful work of his predecessors (such as Ansel Adams and Eugene Smith, to name just two American examples).

What restrained the understanding of those critics was that, in The Americans, Robert Frank opened a new style of documentary photography, documentary photography subjective, which overflowed parameters for analysis and assessment of existing photographic image so far. The project was conducted under the sponsorship of the prestigious Guggenheim fellowship for the first time granted to a non-American. The application Frank explained, it is making "a visual project of such forcefulness that eliminate any explanation" an authentic contemporary document . For two years, 1956 to 1958, Frank, armed with a Leica 35 mm., He traveled around the country. His interest was not the majesty of the landscape that had already attracted photographers like Ansel Adams and Edward Weston, but the daily life of the United States: the cafes, bars a the side of the road, buses, elevators, these sites devoid of epic and epic which consume most of our lives. The product was a book first published in France in 1958 under the title Les Americains. One piece, armed with 83 photographs, where each image is related to the other and is part of a discourse based on sensible intuition of reality.

diligent with sensitivity and ability to describe, Frank redefines the relationship between the way up the photograph and the content is expressed, by the way and get subjetivice own life in a new way of expression. Each Photography is extremely narrative, but their stories are not linear or predictable, they are mirrors that reflect a lot of similar situations, anonymous, intimate, multiple windows of the existing realities and not a single reality authoritatively imposed. The variety of styles and shapes on the book was something innovative for its time. Frank got rid of all formal recommendations and academic demands of the moment of photography. There blurry pictures, but there are also focused, some are casual, but others seem exquisitely arranged, a rigorous compositions are, in other reigns the de-composition, there are dense, full, or wide open spaces and vast empty, chopped contrapicado and the most rigorous frontal . The book becomes unpredictable, one can not guess what will come after each photo.

In the heyday of the American way of life, Robert Frank produced an antipro able to convey the dark side of U.S. reality more banal, more human and more everyday ordinary people, those people at the same time outside and surrounded by an economic boom, household appliances and television sweetened, immersed in the great and crafty show that media and government as a reality imposed on the entire nation. The work is framed chronologically in the '50s, but has the spirit of transgression in the '60s, questioning the values \u200b\u200bof American progress and shows the heterogeneity of a country that insisted on presenting itself as a large homogenous mass. The Americans reveals the deep tensions between the strata of American society: blacks mounted on the back of the bus - remember that it was not until the '60s that blacks got more equal treatment in American society, as the right to enter universities or sit next to whites, for example, the Latino culture played in a forgotten bar in the road transvestites on the edge of the street in a city that refused to see them.

All work has a tinge of sadness, melancholy, loneliness, bitterness, emotions that have so far not found a place in the portrait of a country. However, it may be too - that's how I see it - as a great poem . Not an epic, but the deep and lonely soul special poetry and unobserved. That is the key to The Americans: the people who appear portrayed here is not being observed, therefore, does not act, no makeup, no combs, no smiles. Robert Frank accomplished photographer entered as invisible in the privacy of every human being and to portray it as it is, in the grand scale of its very existence. As he said: "Looking out into trying to look" His way of looking at reality through photography, without pose, away from what is considered art at that time - the rigorous composition, the system areas, the use of large sizes - made him become a pillar of the great subjectivity of photography that would ensue from the '60s.

In the application to the Guggenheim, Frank attempted to define his photographic project by appealing to the definition of poetry by his friend Jack Kerouac, Beat poet: "the discipline of naming things directly, purely, in particular, not abstractions, nor explanations ..." This summed up their thinking and currents that animated him: so-called Beat Generation, poets out of formality, a hotbed of future hippie ideology, depositors weary of centuries of rules and commitments; transgressors rebels. Frank From the time they take slow, that let things happen without intervening, without violence; that melancholy, that I leave, that contempt for the goals set in advance. Indeed, it is Kerouac who performs the prologue of the first American edition of the work in 1959.

For other photographers, it is necessary to trace the route to Weegee, the great reporter of the '30s, a pioneer in photographing openly inconsistencies of American society, with a hard style and ironic. Other influences, such as Bill Brandt with his work on the streets of London (1938), and the portraits on the streets of New York made by Walker Evans in the same year, are performed by Frank with his very personal style. With The Americans Robert Frank opens the door for contemporary photography: the realm of the subjective, the way subordinate to the intimate expression of the photographer.