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Photographers --- Photography, Artistic --- Appelt, Dieter, --- Monte Isola (Italy).

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Leblon, Serge --- Fashion photography --- Modefotografie --- Photographie de mode --- Photography [Fashion ] --- Photographers --- Belgium --- Catalogs

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photographers --- photography [process] --- Photography --- artists [visual artists] --- Newton, Helmut --- 761.2 --- 766.2 --- fotografie --- modefotografie --- naaktfotografie --- fotografen, afzonderlijk --- portretfotografie - kinderfotografie, naaktfotografie --- CDL --- 77.071 NEWTON --- artistieke fotografie

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Beta Exercise: The Theory and Practice of Osamu Kanemura is the first bilingual (Japanese-English) book to provide an overview of the theoretical work of Japanese photographer and video artist Osamu Kanemura, a unique voice in the world of contemporary photography. The opening essay “Life Is a Gift” comments on the transformation of human life into an exchangeable commodity and the abstraction it entails. “Essay 01” develops Kanemura’s idea of photographic “technique” in an era when such techniques have become accessible to all, radically undermining the importance of human subjectivity in the process of capturing the photographic image: “We can say that modern technology constitutes photographic technique.” Instead, Kanemura argues, extra-technical elements such as concept and vision will have to compensate for the expression of individuality that technique is no longer able to convey. Taking cues from Kiyoshi Kurosawa and Karlheinz Stockhausen, the essay “Dead-Stick Landing” develops Kanemura’s theory of the moving image as mechanical system, solely governed by an “on-off switch.” “Essay 02” develops these ideas into a consideration of cinematic time and the experience of boredom in cinema as the result of a truthful “loyalty” expressed to machines, and not to stories. The essays are accompanied by an extensive two-part interview with Italian photographer Marco Mazzi, touching upon topics ranging from the technical aspects of his equipment, the concept of non-editing, and the destruction of the frame to the similarity between Mao’s dialectics and the camera, the presence of the human figure as trace, and the politics of photographing Tokyo.

Individual photographers --- Photography --- Photography, Artistic. --- Architectural photography. --- Kanemura, Osamu, --- Photography, Architectural --- Photography of architecture --- Photography of buildings --- Artistic photography --- Photography, Pictorial --- Pictorial photography --- Art --- Aesthetics --- 金村修, --- photography --- media studies --- Osamu Kanemura --- Japan --- aesthetics

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Au milieu des années 1970, alors que le féminisme connaît un élan sans précédent aux États-Unis, les trois photographes américaines Eve Arnold, Abigail Heyman et Susan Meiselas publient des livres d'un genre nouveau. Associant témoignages et images, elles offrent un regard inédit sur la vie des femmes dans le monde du travail et l'existence quotidienne, jusque dans leur intimité. Femmes à l'œuvre, ces trois photographes imposent leur signature et mettent les femmes à l'épreuve de l'image photographique, contournant les clichés pour dessiner des représentations alternatives. In the mid-1970s in the United States as feminism gained huge momentum, three American photographers Eve Arnold, Abigail Heyman and Susan Meiselas published books of a new kind. Combining testimonies and images, they offer very original documentaries of women at work, their daily routines and their private lives. The trio brought their own style and experimented with the book format while showing women in a new light through photography. Their work sidestepped clichés to create alternative representations.This catalogue reveals their unusual approach to their works. The first, Growing Up Female by Abigail Heyman, published in 1974, is a kind of feminist personal diary. The photographer casts a lucid eye at her own life and questions the imprisonment of women in stereotype roles. The second, The Unretouched Woman, published by Eve Arnold in 1976, shows unknown women and celebrities in unexpected moments of their daily lives. The photos were deliberately not retouched or staged and, through them, the photographer offers a heteroclite and nuanced vision of women far from the glamour of glossy magazines. The third, Carnival Strippers, published in the same year by Susan Meiselas, is the fruit of three years of investigation into fairground striptease sideshows in the north-east of the United States. Through the performers’ long testimonies, the book gives a voice to its silent subjects, depicting their work, their dreams and their ambitions.The images provide an original perspective of female bodies, revealing their invisible make-up artistry and the staging involved behind their public appearances. In doing so it reveals a surprising, previously unseen glimpse into their sometimes prosaic, sometimes harsh private lives. It also reveals the social conventions and norms defining the status of women in society, within couples or within the domestic space to reveal working women, striving for independence and freedom.

Photography of women --- Portrait photography --- Women --- fotografie --- documentaire fotografie --- portretfotografie --- vrouwen --- feminisme --- lichamelijkheid --- fotoboeken --- Verenigde Staten --- twintigste eeuw --- Meiselas Susan --- Arnold Eve --- Heyman Abigail --- 77.041 --- Human females --- Wimmin --- Woman --- Womon --- Womyn --- Females --- Human beings --- Femininity --- Arnold, Eve --- Heyman, Abigail --- Meiselas, Susan --- Exhibitions --- Women photographers --- Feminism in art --- 761 --- 760.4 --- 766.6 --- reportagefotografie (documentaire fotografie) --- vrouwelijkheid --- vrouwen in kunst --- Magnum --- 20e eeuw (twintigste eeuw) --- fotografie, geschiedenis --- fotografie als kunst --- persfotografie en fotoreportage --- Féminisme --- Photographie --- 77.038(73) --- Architectuurgeschiedenis ; 1950 - 2000 ; Verenigde Staten --- Fotografie ; de mens, portretten