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A l'origine une prouesse technique, la photographie s'est peu à peu affirmée comme un art et un moyen d'expression avec ses propres codes. A l'heure des smartphones, les photos – multiples et instantanées – sont tellement à la portée de tous qu'on en oublierait presque la révolution que produisit en son temps cette nouvelle manière de copier le réel. De la camera obscura au chlorure d'argent, du trop oublié Niépce au célèbre inventeur du daguerréotype jusqu'au selfie, vous serez incollable sur l'histoire d'un art qui n'a jamais été aussi actuel.
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"Today, online, there is too much visual noise. We live in a world driven by images, but is anyone really looking at them? How does an architect ensure their portfolio is in view of the right audience? Photographs are still as vital to architectural practice as they ever were. Creation and circulation, once in the hands of skilled professionals, is now perceived as being 'free' and within easy reach of all. But where is the clarity? What is the message? By setting up the case for curated image making, decisions around photography can be placed at the centre of architectural practice. Photography for Architects guides the reader through topics such as establishing a visual brand, sharing images online and understanding when to create content in-house and how to commission professionals together with the value that their creative service brings. It explores making books and exhibitions for legacy value, compiling award entries and engaging with trade press. Little understood aspects regarding legal rights and obligations, ethics, copyright and licensing for image use are discussed in clear language, with multiple photographic examples illustrating the various themes throughout. Written by an architectural photographer with over thirty years' experience in commercial practice, this easy-to-read, richly illustrated guide is essential reading for architects and designers alike who are working with images and image makers"
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"Created over a span of twenty-four years and still ongoing, Alessandra Sanguinetti's series The Adventures of Guille and Belinda follows the lives of two cousins as they come of age alongside the realities of rural life in the countryside of Buenos Aires Province. From a young age, Guille and Belinda have been Sanguinetti's collaborators, co-conspirators, and playmates, evoking the unique worlds suspended between dreams and reality that define childhood, adolescence, and eventually adulthood. Here, they reflect with Sanguinetti on the work's making and their changing relationship to it over time in an extended conversation illustrated with previously unseen images from across the years. This discussion is complemented by a conversation between Sanguinetti and curators Clément Chéroux and Pierre Leyrat, unpacking the ways this work engages with and disrupts conversations around documentary photography, artistic collaboration, and the depiction of the lives of girls and women the world over."--
Girls --- Photography, Artistic --- Photography --- Photobooks --- Sanguinetti, Alessandra
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In 1996, a book of photographs by an unknown young British photographer was launched on to the London contemporary art market to immediate popular and critical success. The pictures were taken within the claustrophobic, chaotic interior of a Birmingham council flat where the photographer’s father, Ray, an alcoholic, lived with Liz, his sedentary and occasionally violent mother, and his younger brother Jason. For the public, including cultured, art-loving viewers, the pictures were a shock: more intimate, more personal, more oppressive than the well-meaning photojournalistic study of working-class poverty to which they were accustomed. Some saw them as a betrayal – exposing unsuspecting family members to potential humiliation – but from Richard Billingham’s point of view they made moral judgements and had no social or political purpose. He had taken them as reference images for his painting, and their lives as artworks were as much a result of the interventions of other editors and gallerists as of Billingham’s own intentions. This reader traces the history of a body of work which remains as vital and provocative as on its first release, and whose story tells us much about the workings of art, publishing, and the politics of dissemination. Editor Liz Jobey charts the history in a new essay drawing on interviews with Billingham and all the primary protagonists of the work’s emergence, including Michael Collins, Julian Germain, and Paul Graham. This is followed by an extensive selection of conversations and essays from 1996 to the present day, by writers including Charlotte Cotton, Gordon Burn, Lynn Barber, and Jim Lewis. This book coincides with the release of a new edition of Ray’s a Laugh restoring Billingham’s original vision for the book.
Photography, Artistic --- Photography of families --- Billingham, Richard,
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Photography --- Braeckman, Dirk --- black-and-white photography
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Photography --- Poetry --- Dutch literature
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"Hand-sewn saddle stitch binding. Linda Troeller uses the camera like a tool to activate her own personal shamanistic ritual. A producer of self-portraiture her entire life and now in her seventies, Troeller identifies the moment of making a photograph as one of deep realization, spiritual connection, and even transformation. Each self-image allows her a more complete understanding of her being. Sex. Death. Transcendence. joins together a selection of these self-portraits spanning her life—in black and white and color, with traditional film and iPhone cameras—that mark her existence in time. Troeller uses her own aging body and by doing so challenges our notions of what we deem desirable as a culture. Troeller flips her own image on the viewer along with all of its meaning and power and forces us to take a deeper look within ourselves. Darcey Steinke’s insightful essay contextualizes Troeller’s individualistic approach to photography."
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Photography --- picture postcards --- Hoegaarden
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