fake photos, historical evidence
Tuesday, July 28, 2009
Free 4 Wheel Drive Go Kart Blueprints Online
reproduce here a text by Susan Sontag on the relationship between photography, the trick and history. With the digitization of our time and the infinite possibility of creating images on facts that have not even been in front of a camera, these reflections on the " staging" of images that seem like true just now that the idea of "real " seems to dissolve. There was a time where the notion of being deceived was a notion further, now anything can be simulated without anyone worry or even bother finding out. If the TV we confronted the alleged truthfulness making the picture lost the power of deception, scanning led to the immobility and fearlessness. Today in any picture loses its value when we know how it was done and the trick and simulation as an essential part of our day to day, stop and think about the veracity of the image seems appropriate. (LIC)
... .............
fake photos, historical evidence
Susan Sontag
discover that the photographs which appear to record intimate climax, especially of love and death are built especially dismayed us. The significance of Death of a Republican soldier is that it is a real moment, captured by chance, lose all value if the soldier collapses is that he was acting before the camera layer.
Robert Doisneau never explicitly stated that the picture for Life of a young couple kissing on a sidewalk near the Hotel de Ville Paris in 1950 had the category name. However, the revelation, more than 40 years later that the photo had been staged with a woman and a man hired for the day to be snogging with Doisneau caused many spasms of disgust among those who had a vision lovely romantic love and romantic Paris.
We want the photographer a spy in the house of love and death and that the portraits are not aware of the camera, they are to "guard." No complex definition of what is or may be the photograph never dim the pleasure in store for a photo of an unexpected event that captures the middle of the action alert photographer.
true only if we take for the resulting photographs that the photographer is in the vicinity, with the shutter open, just at the right time, you may consider a few images of victory . Take action to drive a flag on a hill as the battle comes to an end. The famous photograph of lifting the American flag on Iwo Jima February 23, 1945 proves to be a "reconstruction" of an Associated Press photographer Joe Rosenthal of the morning ceremony of lifting the flag that followed the capture of Mount Suribachi, rebuilt That same day, but later with a larger flag.
The story of another image of victory, also iconic, that the Soviet war photographer Yevgeny Khaldei took Russian soldiers hoisting the red flag over the Reichstag, Berlin is still burning while the May 2, 1945, is the feat was organized before the camera.
The case of an optimistic picture, widespread, made in London in 1940 during the blitz is more complex because the photographer, and therefore the circumstances of their realization, are unknown. The picture shows, through a wall missing from the library without a roof and completely ruined mansion of Holland, three men standing on the rubble, more or less far apart in front of two walls of shelves miraculously intact. You look at the books, another hooked a finger in the back of one who is about to remove the shelf, another, book in hand, read: the elegant composition of the painting must have been addressed. It is pleasant to imagine that the picture is not the invention from scratch by a photographer lurking in Kensington after an air strike, which had led to three individuals to play three curious undaunted when he discovered the library of the great Jacobean mansion and given severed, but rather that the three men had been seen to satisfy their appetites at the mansion destroyed bookish and photo-graph had done little more than space them differently in order to achieve a more poignant picture. In any case, the picture retains the charm and authenticity of the time that celebrates an ideal and disappeared from national fortitude and coolness. Over time, many fake photos become historical evidence, though of a kind impure, like almost all historical evidence .
Only after the Vietnam War is almost absolute certainty that none of the best known pictures are a trick. And this is inseparable from the moral authority of those images. The photograph of 1972, which signs the horror of war in Vietnam by Huynh Cong Ut made, about children who are screaming in pain down the road from a village just bathed in American napalm, belongs to the realm of photographs that is not may pose.
The same is true of the best known on most of the wars since then. That from the Vietnam War has there been so few photographs faked war means that photographers have complied with the highest standards of journalistic integrity. This is partly perhaps because television became the defining medium for distributing images war in Vietnam and because the brave lone photographer with his Leica or Nikon in hand, operating without a good view of the time , was then to tolerate the proximity and compete with television equipment, bear witness to the war and almost never a solo effort. In its technical possibilities to fix or manipulate electronic images are greater than ever, almost limitless. But the practice of inventing dramatic news pictures, to mount to the camera, seems on track to become a lost art.
Saturday, June 20, 2009
Damask And Tiffany Blue Wedding
look outside, looking in: reflections from the camera.
"is not pry into private but to be part of it"
(Henri Cartier Bresson)
"what important is not how a photographer sees the world,
important thing is their intimate relationship with him "(Antoine D'Agata)
The two phrases written above belong to two photojournalists from the Magnum agency, the one, Cartier Bresson, promoter of the famous "decisive moment" photograph was posed to find an image to synthesize what that moment of life was in essence, raised and a way to shoot from the cultured intellectual and computer in the world looking to find meanings in shooting. This idea, which shook the foundations of the profession of photojournalism was taken years later by the direct cinema documentary filmmakers like Albert Maysles that documentary called this attitude of "fly on the wall"; be in place and not be both. Cartier Bresson relates to the world by being part of the stage and from there try to feel the life is plotted against the lens, is part of it but not involved.
The other quote is by someone known at all (unless one is a fixed user of the website of Magnum): Antoine D'Agata . French as well but that belongs to a radically different world. His images speak of prostitutes, sexual extremism and other indoor areas, not in vain disciple of Nan Goldin and Larry Clark (the one who made that sensational long on youth and AIDS that called "Kids"). D'Agata not believe in it not being and being, for him the photographer is a direct participant in the creation of the image so it away is not important, what matters is being part of what happens in front of the camera and, if happens is marginal, dangerous, gritty, even better.
These two positions seem to want to force to decide where we place ourselves, in the territory of which notes and comments or in the territory of which observes and participates. This apparent requirement to be defined within one of the poles of the documentary craft, it becomes a straitjacket when you're looking for the location of its own view. While Cartier Bresson photographed in the fifties and D'Agata the two thousand, both now seem like two very decisive and totalizing looks like others that also marked his own territory immovable:
• The camera as an instrument of denunciation and hence political, that is the eyes of photographers like Eugene Smith or filmmakers like Joris Ivens who came to the big issues with a clear intention to change the world.
• The camera as a witness to the marginalization and the other portrayal instrument but never of oneself, is a demagogic look with deep awareness of class (it is assumed that as a subject that is), there is Sebastiao Salgado or any Latin American documentary to see the countryside from a paternalistic view where the exotic, the marginal and the funny thing boss.
• The look of melancholy lyric that attempts to transform its formal project in a social project as do Chris Marker or Juan Carlos Rulfo ( Del Olvido to I do not remember) where the film is assumed from the poetry and not from reality.
• The camera-mirror, the documentary as an extension of the daily intimate personal introspection and subjectivity that are not accountable to anyone. Here are many contemporary filmmakers tired of compulsory to change the world, preferring to start with themselves.
All these territories of the documentary are always built from a concept or idea concisely: the documentary as a translator, and recovery, such as reflexive or as a privileged witness.
But there is another dynamic in the documentary, a dynamic of being a resident of an intermediate space. A clear example is the work of Robert Frank, photographer and filmmaker art (art of feeling, not form) which in 1955 became a non-stereotypical project called THE AMERICANS , a document that took a year for photo tour by the U.S. on a different documentary idea that leads us to the world of intimacy but, therefore, lose sight of the respect and the structures of society, is a type of image you try to understand and comment and raises once we see the world always ask how we're watching. Between, or artistic or media and that is halfway between the eyes of Cartier Bresson and D'Agata A ntoine , an image that is not clearly identified or the art or with the press nor the news, is an area where the form is completed to see what life gives the documentary on a search and a constant struggle between what is and what we believe it is. This type of image documentary not always in the news, not always reflect intimate, not always aesthetically, not always document, part of a need for contact with life, human beings and spaces. This need to bump it everyday and not catch it, read the life and not think about it unilaterally, to seek and do not know, to try and it might not achieve by being at a non-place, limbo of live in a life time full of intensity, of chance and uncertainty is a documentary style where there's no room for the pose, the filatiquerÃa artistic or aesthetic cult, is the territory of the doubt and not that of an assumed superiority over that recorded creative.
Photo: Robert Frank - THE AMERICANS (1956)
The question in all its forms is the driving force behind this way of working: The question of whether this is the correct camera position, whether or not it bother or how it is being perceived. The question to understand what life really is happening in front of us , how conflicts are resolved and what is at stake. Sometimes temporary certainty appears that we found something, that something of course, nothing lasts and continues the ongoing struggle against impossible where almost always late or just not be reached. At the end of the documentary process and only when the image has persisted or the issue has been found is when some of the doubt is dispelled and displayed glimpses of a look, an idea captured by a camera, a self that looks at another. Pause necessary, mount to go again in search of a dynamic documentary look out when we're seeing is what is inside and inside, there is, above all, are not sure.
* This text was originally published in the 2009 catalog of the Eighth International Documentary Film Festival, EDOC
by Armando Salazar Larrea
"is not pry into private but to be part of it"
(Henri Cartier Bresson)
"what important is not how a photographer sees the world,
important thing is their intimate relationship with him "(Antoine D'Agata)
The two phrases written above belong to two photojournalists from the Magnum agency, the one, Cartier Bresson, promoter of the famous "decisive moment" photograph was posed to find an image to synthesize what that moment of life was in essence, raised and a way to shoot from the cultured intellectual and computer in the world looking to find meanings in shooting. This idea, which shook the foundations of the profession of photojournalism was taken years later by the direct cinema documentary filmmakers like Albert Maysles that documentary called this attitude of "fly on the wall"; be in place and not be both. Cartier Bresson relates to the world by being part of the stage and from there try to feel the life is plotted against the lens, is part of it but not involved.
The other quote is by someone known at all (unless one is a fixed user of the website of Magnum): Antoine D'Agata . French as well but that belongs to a radically different world. His images speak of prostitutes, sexual extremism and other indoor areas, not in vain disciple of Nan Goldin and Larry Clark (the one who made that sensational long on youth and AIDS that called "Kids"). D'Agata not believe in it not being and being, for him the photographer is a direct participant in the creation of the image so it away is not important, what matters is being part of what happens in front of the camera and, if happens is marginal, dangerous, gritty, even better.
These two positions seem to want to force to decide where we place ourselves, in the territory of which notes and comments or in the territory of which observes and participates. This apparent requirement to be defined within one of the poles of the documentary craft, it becomes a straitjacket when you're looking for the location of its own view. While Cartier Bresson photographed in the fifties and D'Agata the two thousand, both now seem like two very decisive and totalizing looks like others that also marked his own territory immovable:
• The camera as an instrument of denunciation and hence political, that is the eyes of photographers like Eugene Smith or filmmakers like Joris Ivens who came to the big issues with a clear intention to change the world.
• The camera as a witness to the marginalization and the other portrayal instrument but never of oneself, is a demagogic look with deep awareness of class (it is assumed that as a subject that is), there is Sebastiao Salgado or any Latin American documentary to see the countryside from a paternalistic view where the exotic, the marginal and the funny thing boss.
• The look of melancholy lyric that attempts to transform its formal project in a social project as do Chris Marker or Juan Carlos Rulfo ( Del Olvido to I do not remember) where the film is assumed from the poetry and not from reality.
• The camera-mirror, the documentary as an extension of the daily intimate personal introspection and subjectivity that are not accountable to anyone. Here are many contemporary filmmakers tired of compulsory to change the world, preferring to start with themselves.
All these territories of the documentary are always built from a concept or idea concisely: the documentary as a translator, and recovery, such as reflexive or as a privileged witness.
But there is another dynamic in the documentary, a dynamic of being a resident of an intermediate space. A clear example is the work of Robert Frank, photographer and filmmaker art (art of feeling, not form) which in 1955 became a non-stereotypical project called THE AMERICANS , a document that took a year for photo tour by the U.S. on a different documentary idea that leads us to the world of intimacy but, therefore, lose sight of the respect and the structures of society, is a type of image you try to understand and comment and raises once we see the world always ask how we're watching. Between, or artistic or media and that is halfway between the eyes of Cartier Bresson and D'Agata A ntoine , an image that is not clearly identified or the art or with the press nor the news, is an area where the form is completed to see what life gives the documentary on a search and a constant struggle between what is and what we believe it is. This type of image documentary not always in the news, not always reflect intimate, not always aesthetically, not always document, part of a need for contact with life, human beings and spaces. This need to bump it everyday and not catch it, read the life and not think about it unilaterally, to seek and do not know, to try and it might not achieve by being at a non-place, limbo of live in a life time full of intensity, of chance and uncertainty is a documentary style where there's no room for the pose, the filatiquerÃa artistic or aesthetic cult, is the territory of the doubt and not that of an assumed superiority over that recorded creative.
Photo: Robert Frank - THE AMERICANS (1956) The question in all its forms is the driving force behind this way of working: The question of whether this is the correct camera position, whether or not it bother or how it is being perceived. The question to understand what life really is happening in front of us , how conflicts are resolved and what is at stake. Sometimes temporary certainty appears that we found something, that something of course, nothing lasts and continues the ongoing struggle against impossible where almost always late or just not be reached. At the end of the documentary process and only when the image has persisted or the issue has been found is when some of the doubt is dispelled and displayed glimpses of a look, an idea captured by a camera, a self that looks at another. Pause necessary, mount to go again in search of a dynamic documentary look out when we're seeing is what is inside and inside, there is, above all, are not sure.
* This text was originally published in the 2009 catalog of the Eighth International Documentary Film Festival, EDOC
Wednesday, March 11, 2009
Elementary Graduation Welcome Address
Diane Arbus - a contemporary look
..........
transvestite in his birthday party, NY, 1969
Mexican dwarf in his hotel room in New York, 1970
man sitting with bra and stockings, NYC, 1967
young patriot with a flag, NYC, 1967
child with a toy grenade in Central Park, NYC, 1962
young man and his pregnant wife in the Park "Washington Square" NYC
, 1965
identical twins, Roselle, NJ, 1967
young man with curlers in her home on the street" West 20th, NYC, 1966
Diane Arbus (NY, 1923-1971) remains significant. He looked at the fact that the photographer made it clear is primarily an interpreter and that reality is not an indisputable fact. His firm settled way of seeing the need to communicate identities and close with a strong political and critical, created a body of photographs that do not opt \u200b\u200bfor the truth but rather through the territory of the revelations and searches.
images that fill us with more questions than answers. (LIC)
images that fill us with more questions than answers. (LIC)
..........
"Nothing ever is the same as saying it was.
only recognize what I've never seen"
only recognize what I've never seen"
transvestite in his birthday party, NY, 1969 
Mexican dwarf in his hotel room in New York, 1970 
man sitting with bra and stockings, NYC, 1967 "I think if scrutinize the reality of a very close, if somehow, we really approached it, it becomes fantastic. It really is totally fantastic to see you well and it shows very clearly in a photograph. There's something ironic in the world and has to do with the fact that what you intend never comes out the way they tried to "
young patriot with a flag, NYC, 1967 
child with a toy grenade in Central Park, NYC, 1962 "I remember long ago when I started shooting I thought there were many people horrible in the world and it would be terribly hard to photograph them all so if photographing some kind of general human being, everyone would recognize. Something like what they call the common man or something. It was Lisette Model, my teacher, I finally said that the more specific you are, the more general will "
young man and his pregnant wife in the Park "Washington Square" NYC , 1965
"Some photos are tentative forays without your knowing it. They become methods. It is important to make bad photos, serve to one recognizes what is different and what has not been done before. I do recognize something you have not seen in a way that you will recognize when you see it again "
identical twins, Roselle, NJ, 1967 "The Chinese say that one goes from boredom to fascination easily and I think that's true. I have never chosen a subject for what it means for me or what I think of him. One has only to choose a subject, which it believes will only work if enough "
young man with curlers in her home on the street" West 20th, NYC, 1966 "One thing I encountered at the outset is that one does not put in a picture that's out or vice versa, what comes out is what goes down. I've never taken a picture I wanted to do, always better or worse "
Texts and captions taken from: Diane Arbus: An Aperture Monograph
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