ENGLISH EDITION #05 | 01 2014
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A FOTOGRAFIA ARTE
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LETTER TO READERS
It has long been seen as only as a tool for many practical purposes - from police identification to journalistic information -, but now it’s been admired in galleries and museums for its own aesthetic merits. In its 170 years of life, it’s spreaded throughout the world, gathering people and ideas, to become what it is today: an universal work in every way. From the daguerreotype to digital image and more recently reaching the hands of all through their mobile phones, photography daily creates new passionate fans of its essence: the simple record. And why not to tell, the registration of art. Some scholars will say that for photography become an art, it must have a unique language, that it must pass an emotion, a repulsa or outrage to the viewer to create, thereby, an interaction that transcends the look, and goes into the subconscious of each one.
But who has the right to choose what is art or what is not in photography, within a market that still crawls towards the rest of the art world? How can we classify a photo be better or worse? The simple fact of the author has become a photographer just a few months ago, can take off the merit of the creation of some work, even keeping the uniformity in results? Must he be mature or must he have spent 20 or 30 years in the photography field to, only then, be considered a creator of good works? Nowadays, with the learning process literally at your fingertips and the end of the distance and boundaries among different peoples, knowledge arises in front of those who want to learn and evolve, at the time and place they want. Therefore, 20 or 30 years of learning were dramatically reduced thus giving the possibility of knowledge and recognition for different beliefs, cultures and classes. That’s what BLACK & WHITE IN COLOR came up for, to help building this bridge that unites knowledge with those who want to know. We came to show the “art of the photographers” and the “photography of the artists”. Good reading. Marcello Barbusci
Happy New Year We started the year very pleased with the results we had in 2013. Many approaches, new names emerging doing photography as art and many others resuming the pleasure of photographing which is, undoubtedly, the world’s most universal language of plastic representation. H o w e v e r, i t s c u l t u r a l a n d a r t i s t i c legitimacy is very recent.
Um novo espaรงo. Uma nova loja.
Graphic designer and owner of Original Design. Awarded at the London International Advertising Awards and in expositions of design and photography.
Self-taught photografpher and with an idiosyncratic personality, he’s currently dedicated to street Photography and Graphic Design and he’s passionate about artistic expression, philosophy, and things that challenge our way to see the world.
Mineiro Belo Horizonte, Cristiano Xavier has been an active photographer in advertising, industrial, food and finart since 2002 . For original works he’s developed a large research to work on night photography for over 14 years, using as tools of capturing various digital cameras, 35mm film and large format 4x5.
Entrepreneur in the areas of video production and interactivity. For over 20 years, he’s been using the latest and most innovative technologies in digital communication, video production and interactive multimedia.
Over thirty years working as a photographer in several areas, he is a journalist and has a law degree with specializations in Copyright and Environmental Law. He teaches Photography and Histor y of Law. Founder and editor of Tribuna Animal-NGO, currently dedicated to photograph animals and nature.
Sociologist and Master in Communication and Semiotics at PUC - SP. He’s implemented Casa ad Imagem, a museum focused on the image and photography where he’s curator. He’s also a critic and editor of books on photographic area.
IT Professional since 1999, he’s passionate about photography since forever. Soon he will definitely switch the keyboards for the lenses because life should be lived in full. He’s our international collaborator directly from Portugal.
Carioca by mistake, Paulistano by the heart, 39 years old, he began shooting with film in his childhood and never stopped. Since 2011 he’s managed the site Queimando o Filme, dedicated to analogue photography and he teaches courses about the topic throughout Brazil. As a photographer, he avoids any label but the amateur.
Photographer and student at the Academy of Art University in San Francisco, California, with specialisation in Fine Art and Prints. International collaborator directly from the United States.
Paulo Kassab Jr.
Founding partner of Gallery LUME, he’s graduated in Social Communication at ESPM and MA degree in Cultural and Arts Management in Paris.
Self-taught photographer, professional since He’s an IT Director and passionate 1969. He loves photography, the about photography. International representation of the captured image collaborator directly from Switzerland. and the passion to visualize it printed. Speaker, consultant for training and orientation to set up studios, rooms for treatment and assembly of exhibits, he also works as a photo editor with the publishers.
He’s a luthier, musician and an admirer of good art, but just art which does not create doubts about being that.
ESSAY MARCO ANTONIO
EL CALAFATE EARLY ALL
LAS VEGAS ENDLESS ANTITHESIS
THE PHOTOGRAPHIC COLLECTIVE AND COPYRIGHT
by Tragic Errors of Hamlet
THE FUTURE OF FILM PHOTOGRAPHY IS IN A SHAKESPEARE PLAY...
THE LIGHT OF ART
MARCO MARIA ZANIN PADUA TO THE WORLD
FELIPE BERTARELLI URBAN INVENTORY
FROM DOCUMENTARY TO ART
THE SAVAGE AND THE PHOTOGRAPHER
#MyArtHas SMALL AND WITH BEAUTIFUL IMAGES
LIFE AND DEATH OF THE FLESH AND SOUL
WHAT MAKES A GOOD STREETPHOTO?
GALLERY OF READER
GALLERY OF READER Carlos Alberto Guedes
Andrês Miranda Ramírez
Milton Pinho Majella
FOTO CRISTIANO MASCARO - DESIGN GRÁFICO PAULO MORETTO
MUSEU DA CIDADE DE SÃO PAULO CASA DA IMAGEM
FOTOGRAFIAS DE CRISTIANO MASCARO EDU MARIN FELIPE BERTARELLI
DE 18 DE JANEIRO A 16 DE ABRIL DE 2014 DE TERÇA A DOMINGO | DAS 09H ÀS 17H RUA ROBERTO SIMONSEN, 136-B SÃO PAULO SP (METRÔ SÉ) T (11)3106 5122 WWW.MUSEUDACIDADE.SP.GOV.BR
Erico Mabellini email@example.com
The various photographic collective in Brazil have very distinct jobs, but in most cases the results tend t o b e m o r e f o c u s e d o n t h e artistic and/or original work, therefore,an intellectual work. It’s in this regard that I would like to raise some questions based on Copyright Law in force in our country (Brazil). - A photographic work created in a collective way is a co-authorship work? If so understood, then it is a work created together by two or more authors. - In this case, is a collaborator a co-author? No. It’s a co-author who, with their effective participation added with their collaboration, a real intellectual creation to the the work. The mere help in non-creative tasks does not constitute intellectual creation. A collaborator is the one that only helps the author in the production of an intellectual work, by reviewing it, updating it, as well as inspecting it, advising its edition or its presentation by theater, photography, cinematography, sound broadcasting or audiovisual. So don’t mistake with the concept of co-author. A collaborator is not a co-author of an intellectual work. - What is collective work ? Collective work is which results from joining works or parts of works that keep their individuality, since this set, under of the selection and coordination carried out by the initiative and direction of a person or entity, must have an autonomous and organic character.
From that concept of collective work, two elements set out in art.#7 of the Copyright Law (9.610/98) are drawn up. The criterion for selection and orgathenization and individuality of the unique contributions before the autonomy of the set. We then understand, from the questions and answers above, that c o l l e c t i v e i n t e l l e c t u a l w o r k isn’t a new figure in the legal world. However, it’s understood that in the case of photographic collectives, a new importance to the acts of producing and creating is granted. The affection among the participants and the sharing of experience are key to the final work outcome. Another feature is that collective doesn’t include only photographers, but also professionals in other fields, such as design, imaging, journalism and visual arts. The participation of each member is valued and discussions occur throughout all production process, always in search of a collective identity. While photo agencies value the individual creation, the collective prefers group creation and collective intelligence. “The authorship in photography is also a result of some negotiations and constructions, but it’s usually determined by the camera operator, by the one who puts the eye in the viewer and finger on the trigger. But how to think this way in a world with so many connections and a process that includes so many steps and external links? Is it possible to summarize the authorship to just one actor?”, Asks Eduardo Queiroga in his dissertation, presented for obtaining a Master’s degree in Communication. Pre and post production of digital images, made by individuals other than the author of the click, also make room for such questions.
THE PHOTOGRAPHIC COLLECTIVE AND COPYRIGHT
well known issue in the art world, but recent in photography. In recent times a new group appears in the photographic universe: the collective of photographers. These groups could be, at a moment, mistaken with agencies or photographers’ cooperatives, but it may be closer to a l a n g u a g e e x p e r i m e n t a t i o n l a b o r a t o r y, o r a g ro u p o f s t u d i e s a n d r e s e a r c h .
Conflicts related to Property Rights of works made by photographic collective will not be too difficult to solve. But what about conflicts related to Copyright Law? In cinema, they already have solved the problem of credit, because usually, at the end of the work we have the credits of all of those who participated in its creation, in a lesser or greater degree. But what about photography? There is no room for so many credits.
The issue is broad and new. Let â€™s wait the happenings and let the lawyers act as the social demand requires.
Sources: http://migre.me/h7AJC http://migre.me/h7AKb http://migre.me/h7AKv
Maxi Cohen LADIES ROOMS AROUND THE WORLD 23/01/2014 A partir das 19h
THE LIGHT OF ART BY BETO ANDRADE
THE LIGHT OF ART
Beto Andrade firstname.lastname@example.org
As my grandfather used to say, “there’s nothing in the world that exists without a purpose”. Well, that struck me so much that I spent years trying to find out the purpose of my profession, wondering “what is my contribution to the world as a graphic designer?”. At the beginning I thought it was just helping businesses to grow and to increase job creation and circulation of money, which theoretically speaking, would help to solve the issue of poverty and income distribution. But, still unsatisfied, I tried to be more comprehensive and I set the mission in a more generic way: “bringing the industry and service closer to the society, so the society could be adequately supplied for all its needs”. So, I’ve got less risk of frustrating myself and I’ve got a fundamental with a proposal, say, more evolutionary. In this exercise of assigning purposes, I started thinking about photography, a passion since college days and which is closely linked to art in a generic way. What then could be the mission of art in the world today, and photography spe cifically? What social benefit does the observer have by consuming information from a copyright work; what happens in his mind on that moment? Well, I’ve prepared an unusual combination but to me it sounds decisively relevant and that can be, at least, an object to a new study. In the last issue of B&W In Color, I wrote about the origin of language and its influence especially in some segments of photography. One of the factors that led me to this topic, was the fever that photography became to people of all professions and cultures, rich and poor, young, adults and even children. I thought that something there was different, surprising. One of the conclusions I reached was that human beings have a certain obsession to assign meaning to things, mainly because of our extremely powerful brain anatomy, which is favor of that. Ok, it’s a logical conclusion but I believe
there may be other factors that motivate men to establish sophisticated language; how vital this is in the times we live in; how large are the social benefits we can assign different meanings to the same information. First of all, it is important to mention, this is not a pessimistic or essentially critical view, but it seeks to be analytical and realistic, as the basis of this article. I invite you to observe the behavior of the vast majority of people, whatever their culture, especially after the industrial revolution and in great urban centers. Let’s elect a character who will act as the protagonist in this short story. How about “Jaime” from that TV ad of Jo Soares? Okay, Jaime wakes up early, within approximately one hour he takes a bath, gets dressed and has a quick coffee before facing a chaotic traffic to not to be late for his daily divine office, with the goal of being valuable enough to garantee a paycheck or, who knows, to get a promotion. Jaime works 8 to 10 hours a day, facing challenges, seeking solutions, sending and receiving dozens of emails; he discusses peculiarities in meetings so everyone can leave there going i n t h e s a m e direction; he gets some yells, but also some compliments that compensate the exhausting routine. Six o’clock and mission accomplished! Earlier in the evening Jaime faces once again the chaotic traffic and arrives home exhausted, showing a shy smile and eyes a bit low, but trying to bring home good energy while his family eagerly await him for dinner and TV. He sits at the table on his usual spot and aims the eyes on the spaghetti a la bolognese, which comes ready to consume, a very important practicity because his wife also works 8-10 hours a day to pay all costs and to be beautiful and fashionable.
n order to not lose the habit, here again my eternal craze for investigating the origin of things and the cause of events.
After a lovely pasta dish, two cups of soda and a sweet, that also comes ready to eat... TV! With eyes now focused on TV and the remote in hand, they watch shows and soaps; some with romantic stories, some others violent. He gets tensed seeing dishonest and futile people, or yet, those that bring messages of faith to say there is “salvation”; he finally relaxes his shoulders.
I call this “cycle of perception of consumption”, or emotional consumption, where we move collectively to do the same thing, everybody’s believing in the same result, in endless cycles, a very much improved view of the behavior of contemporary man, built by american activist Anne Leonard, author of the “Story Of The Stuff Project”, who toured the world for 10 years to investigate where is the root of global problems, such as global warming, environmental degradation; the exponential increase of diseases, such as cancer; the production system from mineral extraction to disposal; and especially, the mechanism that governments and giant corporations use to make more and more profit and the control to keep that cycle of consumption. But underneath this innocent look of mere consumption, or even the apparent benefit of generating jobs and unbridled happiness, there are some glitches, which we must bring to light, to complete the argument of this article.
Then it comes the ads to tell him that the world is wonderful and perfect, that happiness is just meters from home but they also alert how Jaime, his wife and children are ugly, outdated in fashion and technology; how they are unprotected, how they eat poorly and how they are at the risk - everytime! - of making wrong decisions. And there they go shopping, the whole family, motivated again by tensed shoulders. Fantastic phones, fashion shoes, aesthetic sessions and lots of food that claim to be healthy and that will show all the reasons to make he and his family incredibly happy. And it doesn’t hurt to go check the dream condo in the neighborhood where the most interesting people in town live. There! Jaime is saved! Wait! Not yet! Someone has to pay for all this - a lot of money. What does he do?
Then he goes back to work, even more motivated and, again, 8 to 10 hours devoted to his office, to ensure the salary, hoping for that promotion, which will help him to pay his credit card and to buy the new updated (and expensive!) smartphones, fashionable shoes, cosmetics w i t h n e w fe a t u re s a n d promises; he will buy meat from that new brand that is “supercool”, all that because advertising is still telling him that even with his massive effort to make all those purchases, he’s still ugly, outdated and unprotected.
That ad that Jaime saw when he came home from his exhaustive daily mission, it was right when it said eat poorly. But it certainly did not explain it. Yes, the world eats poorly and also lives very badly, and some situations explain why this scenario. The work in semi-slavery is something very common, unfortunately. The documentary “The Corporation”, a canadian production directed by Mark Achbar and Jennifer Abbot, from a publication of Joel Bakan, show documents proving clandestine activities of garment producers that work for big brands, and are protected by thugs and by the local police in Honduras and in the Dominican Republic. Adults and children over 13 years old have to work, most of the time in 36-hour shifts, earning around 0.3% of the product on retail . Yes, the shoes or the shirt you’re wearing right now are probably sponsoring life at misery level for millions of people. Large companies control food worldwide, i.e., they control life. Chemicals from fertilizers, and processes of production of genetically modified foods, contaminate people, soil, flora, fauna and the atmosphere worldwide, causing diseases such as cancer and various anomalies as it’s shown in the documentary “The World According to Monsanto”, besides, they generate imbalance in the ecosystem, mainly by deforestation and poorly planned reforestation.
One of these companies, the largest in the segment, has patented seeds of transgenic foods and severely punishes people who use those seeds for their own survival, as normally happens in Africa. Patented food, hunger control. We don’t see that on television or on the packaging in supermarkets, but companies are deciding who eats and who doesn’t.
“How terrible this season, where idiots driving blind.”
Fruits and vegetables are available over the year, an use that biodynamic agriculture strongly opposes to. Tomatoes, for example, are ripened with ethylene gas, which the documentary “Food Inc.” calls “the imaginary tomato”. Something far from what nature took billions of years to create and nourish us. Today it’s been produced more meat and milk than the animal itself can support, thanks to toxic substances injected in the animals. 50% of the grain produced in the world, is used to feed livestock, which feeds, in their time, only a portion of the world population. This index rises up to 95% in the amazonian agriculture. It takes 13,000 liters of water to produce one pound of meat. A colossal imbalance that causes h u n g e r a n d p o v e r t y to around 2 billion people, mostly in Africa, India and China. 80% of mineral wealth is consumed by only 20% of the population, and by the end of the century, all the planet’s resources will be gone with the mining at current rates, and there is no way to that be easily understood by the most of the world’s population.
s e felicidade incontida por possuir incríveis produtos, Scene from the documentary “Home”
Another interesting fact occurs in the region of Las Vegas, one of the biggest consumers of water in the world. Like Palm Springs that’s supplied by the Colorado River, one of those rivers that no longer reaches the sea. But what does it matters? People need to fill the casinos, to create jobs and circulate the money. A promise of better distribution of income, a tough argument to fight against. Borneo, the fourth largest island in the world, was one of the largest reservoirs of biodiversity on the planet, and in 20 years, it had almost all of its native forest destroyed for the production of palm oil. A situation strongly contested by Greenpeace and the NGO Save Our Borneo. The oil is used to produce food, cosmetics, detergents and fuels considered alternative. Scene from the documentary“Home” - Jordão River
The Jordan River, located in the Holy Land, between Israel and Jordan, is now almost a creek and no longer finds the sea - its water was for supermarkets worldwide in boxes of fruits and vegetables. One in 10 rivers across the planet doesn’t reach the oceans in some months.
Because of the drought of the Jordan River, the Dead Sea’s level has lowered more than 1 meter per year.
The Arctic has lost 40% of the volume of its ice cap in the last 40 years, and it could disappear by 2030. Rivers are borning and scratching the Greenland ice sheet, which, if melts, it will increase the sea level by more than 5 meters. There are no industries in Greenland, which shows that climate has no boundaries
Mankind has never lived in an environment like this and certainly will not know, in the near future, how to coexist with it. In 50 years, Earth has changed more radically than it has in all the generations before us. We created a model and we made it to be essential to our way of life, although we don’t know where this model will lead us. That’s because of the lack of clear and objective information, the same hidden on some Internet cracks and in the notes of scientists in the drawers of their offices. However, we are creating an unknown environment, with phenomena that we can’t control. At this time, the world is focused on major sporting events that will yield millions or billions of dollars (but just for a small portion of the population), and world leaders are saying how Nelson Mandela has inspired them to be better people. And believe me, millions of people are touched by some of them...
Scene from the documentary “Home” - Bornéu
Siberia, like other regions of the world, has such a cold climate that keeps the soil constantly frozen, a phenomenon known as permafrost, which comes from “permanent” and “frost”. Permafrost keeps underneath the surface a huge reserve of methane, a gas 30 times more potent and harmful than carbon dioxide.
Researchers at the University of Alaska warn that if the release of methane, because of the melting, won’t be interrupted, climate changes will have catastrophic consequences and it’ll be impossible to predict its damage.
Well, it’s all very worrying, but still anxious to stay beautiful, updated and protected, and to pay for it all. And for that, we’ll work 8-10 hours a day and we’ll come home almost dead just to repeat the cycle of consumption. And to get some useful knowledge, we need to find somewhere the discernment and motivation to tweak Youtube, Wikipedia and other reliable sources to find information that’s almost inaccessible to the vast majority of the world population, because in the mass media, popular showa and advertising we found nothing that differentiates from our comfortable routine. But, can’t we really find relevant information in our day-by-day, somehow? To point that I would like to get.
Scene from the documentary “Home” - Sibéria
What is the reaction of an individual who, for example, reads in a packaging that the food contained in it’ll takes 3 minutes to get ready in some amazing and magical way, or find a stereo that costs $5,00 or sees the UN speaks about the need of aid to nations whose populations living on one level below poverty? You can say, despite of natural phenomena, which we have no control, the ones responsible for public administrations around the world are working to solve global issues, and we must wait because that won’t happen overnight.
But what art has to do with it? Well, before I suggest an answer I’ll quote a thought of Ernest Fisher, an austrian poet, writer, philosopher, journalist and Minister of Education in his country in 1945. “The function of art is not to go through open doors, but to open closed ones”. He said: “In a decaying society, art, if true, must also reflect this decay. And unless it wishes to betray its social roll, art must show the world as a changeable thing”. I don’t know if I agree that art must reflect social decay because to me it sounds somewhat imperative, but certainly it will help it to change if it acts that way, at least with a subtle critical spirit. I can’t help but quote Rudolf Steiner, an austrian who, in 1883, was responsible for editing the scientific writings of Goethe in the Deutsche Nationalliteratur Collection. Eventually, he became a student of the concepts of the scientist.
Photo: Marcello Barbusci
The difference between these two situations is within the information we receive everyday, and how we interpret them. Is the difference on education or on the ability to translate information without going to the Internet and libraries?
Based on this work he created “Anthroposophy”, a science essentially focused on the quality of the relationships between humans and the nature. From that, it was born the Wal do r f pedag o g y ; anth ro p o s o p h i c a rc h i te c t u re and medicine; biodynamic agriculture and Euritimia. All those activities respect the natural processes of their respective crafts, all kinds of relationships and all the interference in society.
Or you might think that everything has a cause and effect, a natural logic. Everything is intimately connected, all living beings, all our actions, and we are inclined to get informed so we can suppose we know the origin of these phenomena.
I want to analyze something interesting here, so we can come back to questions about the role of art in today’s world. If you put an individual before some original works, full of symbolism and meanings that go far beyond the object itself, he’s “obliged” to interpret them, at least involuntarily. The human brain, when confronted with an object, naturally tries to identify it - as a matter of survival -, in order to defend life against any threat, or even to interact with it and to be benefited from this experience.
When our brain sees an object that at first glance does not make any sense in a given context, it remains working on this point until the identification is completed.
Human creativity is revealed from associations and innovative combinations of plans, models, feelings, experiences and facts. To encourage our mind to perform these associations through art, is to provide opportunities and motivate individuals to seek new experiences, to test hypotheses, and especially to establish new forms of dialogue, especially with symbolic elements and with people from other backgrounds, types of experiences and culture. Thereforehe, the tendency is that the mind better trainedwill work the same way in other daily situations, because this mechanism is natural and does not depend on predetermined concepts and information, and it’ll make it go far from a status that is called “functional illiteracy” - a person who, even having good intellectual level, has little ability to interpret elaborately modified objects, or its context.
Notice that when we see an intriguing image, we can think about it for hours, days or even weeks until we can formulate a satisfactory hypothesis about that.
That’s why I believe that art has a key role. In the cycle where Jaime is immersed, his mind is motivated to soak information in a passive and inert way, without questioning his behavior and not processing this information.
By visiting an art exhibition, we can assume that it’s an extremely modifier mental exercise compared to the usual pattern of thinking.
Or even question himself if this environment is degrading to him and for the people in his micro universe. Here, totalitarian information is overwhelming.
Exhibition “6 Billion Others” - MASP, São Paulo 2011 - Photo: Roberto de Andrade
The obsessive need to fit socially, the passion for brands and the relentless pursuit of solving nonexistent problems are contained in the collective thought. Equally, art brings the individual to himself, so he can work things out, to find inside himself relevant solutions and relevant views of objects, people and events, opening his mind to real and vital issues of his existence.
Art seems to have a much more precious foundation of what we know( but what do we know?), and many more mysteries about its relationship to the human mind than you think. But what do we know? Yes, dear photographer, your work is not just create enchantment with beautiful pictures, receive compliments or put a certificate of honorable mention on the wall of your studio. Your performance makes a great sense for the balance of relationships at all levels, for a better world in every way, although that is intriguing and difficult to imagine and to associate. And we, professionals and amateurs of photography, we have an admirable habit of sharing ideas, moments and concepts, just for the pleasure of doing it through the simple registration of light, and all that comes from our own history, our personality of our individual and unique vision of the world.
Photo Liz Krause
And that’s all the system doesn’t want: a guy to get out of this blind cycle. The system does not want him to worry about the release of methane from Siberian soil or to question why the healthy food feeds only a part of the world’s population, assuring him that mishaps are needed for the growth towards a prosperous future.
Photo Liz Krause
So nothing is quiet lost, au contraire! Photographers, artists, organizations worldwide and even some governments are contradicting egocentric actions of most nations, such as Lesotho, located in the middle of South Africa, one of the world’s poorest countries that, proportionally,invests more in education than any other; as Qatar, Middle East, which has opened itself to the largest universities in the world, offering great resources of culture, education, research and innovation; as Bangladesh, Asia, where a man has founded a bank that gives loans exclusively to poor people changing the lives of millions in the last 30 years and so on...
Perhaps this is a factor that justifies the intense presence of art in the first phase of Waldorf education (children up to 7 years), a i m i n g t o g i v e t h e m a u t o n o m y , confidence and power of conscious decision, creating more balanced adults.
I hope this article be related not only to the current art world, in its mission, but also bring a positive message to you and to all the people you want to share this experience, and that your art works more intensively with a nobler and truly productive purpose.
Thank you and I wish you all a new year with new cycles, success and many new features!
Sources:: Documentary “Home, http://www.goodplanet.org/?lang=en “The Corporation”, http://hellocoolworld.com/ “Modern Servitude”, http://delaservitudemoderne.org/ “Food Inc.”, http://www.takepart.com/foodinc “The Story Of Stuff Project”, http://storyofstuff.org/ BBC, Wikipédia e outras fontes.
Get to know and contribute to organizations labeled with the links above.
MARCO MARIA ZANIN PADUA TO THE WORLD BY MARCELLO BARBUSCI
PADUA TO THE WORLD
Chat arranged, coffee scheduled and the scenery of Pateo of the College prepared for a good conversation. Marcello Barbusci email@example.com
In the following lines, some of this spontaneous conversation that got its start here in São Paulo and ended up in Italy, in the Veneto region.
What is your graduation, Marco?
I’ve always liked to learn. I am a curious explorer of the human universe. I strongly believe in that sayng: “gnothi seauton”, (get to know thyself), to understand how we function, what moves us, what are the mechanisms of the world around us. After the college, I decided to study literature and philosophy, because I wanted to know the spaces and the nuances of the human soul, to understand how that was related to the historical moment which I was living. Then I took another graduation, in political science, to deepen how we build and manage our society, how thoughts are crystallized into rules, actions, habits. I think life and knowledge are indivisible; they are interdependent concepts. Culture allows us to fully participate with what exists there, and helps us to make our choices wisely. How has artistic photography (fineart) reached you?
Other two interdependent concepts, for me, are life and art. I did not want to continue my research and communicate the results within the university, or through other traditional means. Often, our culture is c r y s t a l l i z e d i n ro l e s , c a t e g o r i e s a n d media in which the content, with its life and energy, gets messy. S o I p i c k e d a r t ; and that is a full experience, capable of vibrating deep strings in the human being. The same artistic research forces us to an experience, a deep involvement with life, like meditation. Photography has always been that for me: a way to empathize with reality, a way to create a bridge between the inner and the outer world of men. This theme of empathy, in being part of something larger, is central to my research.
n conversations with friends is where usually great ideas and good opportunities come up. And that was how this article came about. In a chat with a good friend, George Landmann, I could know that Marco Zanin, a young italian photographer, was in Brazil by the invitation of FAAP and for my happiness, he was staying in the center of Sao Paulo, my preferred scenario for coffee, chats and good photos.
My humanities and my artistic research go along and strengthen each other. I think an art project based on a philosophical thought or on a strong psychological theory, is much stronger than a project based only on a good intuition. It can reach deeper levels, move more energy; it can insert in a bigger space of research and action. You’ve showed me your camera and said that it has been produced by chinese artisans. Why did you have your camera specially made for you rather than using something already established in the market?
I started shooting in analog, with 35mm negatives. After that I switched to digital cameras and I tried several of them, but I never felt that they had the energy, the answers that I wanted. I came back to large analog format, and realized that was what I was seeking: slow and meditative photography. My first camera in large format was a Sinar 4x5, but it was too heavy to carry around and I didn’t like the building materials. I googled it and found a group of chinese great craftsmen producing large format cameras with several materials and sizes; then I sent the details to build mine. This is made of wood and carbon; lightweight, strong and beautiful too. I like the intimate and direct relationship with the material world. I like to feel the energy of things, the connection with the nature. This is craftsmanship: the wisdom and labor of men in connection with the right raw material. I also like to research, to find things that are closer to my sensibility and way of expression. With this camera I have that relationship, that trust. Where do you sell your work?
Now I’m in a gallery in Rome - Galleria Spazio Nuovo. They loved my work of rural cathedrals and they are working very well, participating in fairs around the world etc. I also have direct relationships with some collectors.
Now that I have more completed works, I’ll contact other galleries. I would like to be in another gallery in Italy, too, perhaps in Turin, and two or three abroad. I also have contacts with some galleries in São Paulo and when I return in April, we’ll see what happens.
What are your current projects?
I had to leave São Paulo and return to Italy because there begins the winter, which is the season when I go out to shoot. Here in Italy I have a big project about rural heritage of my region, Veneto. The project is divided into three chapters: the humble and old houses of the peasants; the magnificent houses that the Venetians built on the countryside in the fifteenth century; and contrast with the buildings and factories of today’s civilization. A very important project for me, because it speaks of my roots, and because it has a great social value: talks about the importance of returning to earth, the harmonic relationship with nature, and the value and the beauty in the way we build our society. Also, in the coming months, I have three solo exhibitions, one in Milan, one in Foundation Benetton Treviso and in the gallery in Rome, where I will also present the work I made during the Artistic Residency in FAAP, São Paulo. How do you fund your projects?
One of these three chapters of the work about Veneto is called “Le Ville Venete contemporary nel”, and for the funding I will launch a campaign of Crowd Funding. The Crowd Funding is a new and very interesting solution that works through Internet, where anyone who believes in the project can contribute, from €5 to €1000 or even more. The most interesting thing is that each contribution will be rewarded with items or services related with the design; for example, I’ll put some photos, which may be polaroids or tests of the artist in fine art, guided tours of the venetian houses, workshops etc. Another beautiful thing is the relationship that is created between the artist and those who believe in his project. If someone wants to help me to accomplish the project and win one of the (wonderful) rewards, the link is here: http://igg.me/at/levillevenetenelcontemporaneo/
What are your future projects?
I’m a active creative phase and I have many ideas. It was only in the last week of the residence in São Paulo that I really understood what I was doing. The final idea, the project that I’d researched through all those months came from my soul. So I’ll go back to Sampa in April 2014, for a six-month staying. But I don’t want to say anything about this project; it is still maturing. But it’s a strong idea, related to Sao Paulo and the postmodern humanity, that will change the way I d o p h o t o g r a p h y. I will out together a project where art, philosophy, psychology and anthropology, as I intend to leave a very strong mark in our imagination. I have started the research, involving some great teachers at the University of Padova. Now I’m studying some texts by Saskia Sassen and Lewis Mumford about the postmodern city. I’m very excited! What would you like to say to young professionals who are looking for the fineart market?
In this answer I know I’ll be a bit radical, but I’ll tell you that: think, search, work hard, have a lot of self-criticism, show the work to competent people before presenting to the market. We live in the era of pluralism, relativism and democracy, which is great, but also we take the risk of putting anything in our society, and thus, to lose the highest, useful and deep referrals . Art should not be a decoration, but a sacred thing; images contribute to build our collective imagination, to open visions that create our world. Who wants to approach the art has, before all, this great responsibility .
So never stop studying with sincerity and humility. Always confront yourself with the biggest; having confidence in your capabilities, but also having the humility to recognize your limits - this is the important. Then, to enter the market there are several ways: trade shows, magazines, exhibitions; you have to get to know galleries. A lot of work and a lot of luck too!
Learn a little more work on Marco Maria Zanin:
André Corrêa firstname.lastname@example.org
This sentence - “We few, we happy few. We band of brothers!” - is an e x c e r p t from the theater play Henry V, by William Shakespeare, and it comes to my mind whenever I see new signs of change in the film photography market, or analog, as it’s better known. That’s because (as well as other brazilian and foreign photographers such as Erik Kim, Ted Forbes, and others who don’t come to my mind right now), my theory that film photography will never die. Yes, it will no longer be a thing of many, and it’ll become a thing of a few: amateurs, hobbyists, artists. A few, but few and happy. A band of brothers. Affectation? Exaggeration? Well, it could be... for some people. To others, it’s a battle, a daily struggle - a struggle of a few - for a passion. An old passion or a recent passion, but still a passion. What rational reasons would lead a person to shoot with film these days? I don’t know many of them, because all the people I know who will do that, will do it due to anything but rational reasons. They seek “the pleasure of photography with film”, whatever that means. Th e r itu al s, the wait, the un predic t abilit y, the tex tu re, the fellowsh ip o f. . . t h e band o f bro ther s t h at un ite aro un d that ho bby. The band of brothers who argue, debate, learn, quarrel heatedly in those “old” internet forums or in these “modern” groups on Facebook or Twitter. Those Lomography fans, purists with some SLR and a Hasselblad in hand. It doesn’t matter. We are a few but we are few and happy. Whether you like it or not we are a group, a small gang, a band of brothers. “But what companies to buy from? And which manufacturers? Kodak’s going bankrupt, and Fuji’s shutting down the production!”. That’s the point: we don’t need Kodak, my brothers, and we don’t need Fuji.
We need film and cameras. Film that will attend us in our creative goals; cameras that will help us to register the images we see. If Kodak will no longer make film, others will take up the sword and they will make it. Maybe not 1,000,000,000 rolls of film per month, but 1,000. It will do the trick. Is it enough for us? So be a thousand, not a billion! We are few, anyway. Cameras? The old ones will last until your grandchildren have grandchildren. That be it the russian Zenit, the japanese Olympus; g e r m a n , a m e r i c a n . Cameras produced in the last century to last long, do exactly that: last long. Lenses? They’ll last even longer. Are there not many? We don’t need many. We are few. Few and happy. Let’s go to garage sales, little shops, flea market, to e-Bay. Let’s be united on Facebook, in forums and once there we can exchange, sell, buy. New cameras? Made out of plastic? Yes, why not? As a hobby, as a joke, as a passion, cameras have gained the name “lomo” thanks to coincidences and follies of some college guys from Vienna, who, believing in those few, that band of brothers, decided to create the first company of that new era of film photography. Hipster? Fancy? Fashion? It may be, but it was Lomography, the first to say t h a t a n a l o g p h o t o g r a p h y , a s a h o b b y , is for everyone. An d t h a n k s to it, o ther m anu f ac tu re r s of “toy cameras” (toycameras indeed, proudly!) have been growing and gaining positions in the field. Due to that, more people purchase their first film cameras, discovering new ways to play with photography. An d b e c au s e o f that, m o re f il m i s p ro d uce d by tho s e w ho s to o d their gro un d. We few, few but happy, band of brothers, we have a wonderful world around us. We don’t need new cameras each semester, hundreds of different types of film from major manufacturers. What we need, each one of us, is one or two cameras, a handful of film, a reliable laboratory... and each other, from that “band of brothers”, from that Shakespeare’s play.
THE FUTURE OF FILM PHOTOGRAPHY IS IN A SHAKESPEARE PLAY...
We few, we happy few. We band of brothers!”
The strength of analog photography, as a hobby, is in those groups, websites, blogs, and encounters. Not at Kodak, at Fuji, nor Nikon or Canon... not even at Lomography. It’s within yourself. It’s within myself. It is this desire to go shooting, one film at a time, just to see what happens. In this play by Shakespeare, King Henry V of England goes to war against France and, in that battle, which takes place exactly on St. Crispin’s day, he goes to the final battle against the enemy’s army... let’s say... ten times outnumbered by France soldiers. So, to motivate his men, he makes the (famous) St. Crispin’s Day speech. In that speech he says what I say here, shamelessly copying it: we don’t need many. We need a few, united by one goal: to shoot with film. United as we are, even disagreeing, we will win this battle which is more in our minds and in our fears than in the real world.
“If we are mark’d to die, we are enow To do our country loss; and if to live, The fewer men, the greater share of honour. God’s will! I pray thee, wish not one man more. By Jove, I am not covetous for gold, Nor care I who doth feed upon my cost; It yearns me not if men my garments wear; Such outward things dwell not in my desires. But if it be a sin to covet honour, I am the most offending soul alive.” Henrique V, Shakespeare I feel honored to be part of this crazy gang, band of brothers. I feel happy to be part of this group which, against the tide, decides to shoot with film every day, for the simple pleasure of doing so. #prontofalei
Paqueta Island Rio de Janeiro PRODUCED BY MARCO ARAUJO
He’s carioca and has lived in the city of Rio de Janeiro since forever. Married, two granddaughters, 61 years old, he’s a civil engineer by academic degree but a dental products trader as a profession. He began photographing at age 17 but never professionally. At that time, he used to photograph theater plays with Ilford 400, “pulled” to ASA 1600 and then sell the photos to the actors themselves. With this, he could make some money for personal expenses and also help in the renewal of the stocks of photographic paper, film and chemicals. As he was living of allowance given by parents, this money was a great help. He’s found, since the beggining, a predilection for B&W and today is this the only way he produces his work. He had solo exhibitions of his work at the Chamber of Veradores of São João da Barra, north of the state of Rio de Janeiro in July 2012 and f4 Gallery, in the City of Porto, in Portugal, in September 2012. For 2013, he will have an exhibition in December, in the events area at Monument to Estacio de Sa, in Flamengo, from December 8th, 2013 to January 5th, 2014.
He’s participated in some contests outside Brazil. He was preselected in the contest of French Photo magazine in 2012 - among the 7000 selected photos of 30,000 photos sent. He was also preselected in “Street Photography Contrest 2012” with two photos and received an honorable mention in the contest at the “Latin American Center for Photography 2012”. Paqueta Island - Rio de Janeiro. A small island located in the innermost region of Guanab ara B ay, i n R i o d e Janeiro City, is a bucolic island and a great getaway for leisure time and reflection. I consider a great photo lab in the open, and near to the city center of Rio de Janeiro. It’s just 50 minutes by ferry from Praça Maua. I have done several photos on my trips to Paqueta and I want, with this essay, show a bit of quietness and peace I find there.
Conheça a verdadeira
magia das cores. Com a nossa impressão colorida você vai
encantar e chamar a atenção do seu cliente.
DESIGN • BANNERS • FOLDER • CARTÕES DE VISITA IMPRESSÃO COLORIDA • MATERIAL DE TREINAMENTO CATÁLOGO • COMUNICAÇÃO • MALA DIRETA • CÓPIAS
AlphaGraphics Brasil www.alphagraphics.com.br Cidades Atendidas: BA: Salvador | CE: Fortaleza | DF: Brasília | ES: Vitória | GO: Goiânia | PI: Teresina | RJ: Rio de Janeiro | SP: Capital, Barueri, Guarulhos, Jundiaí, Ribeirão Preto e São José dos Campos
Is photography considered art? Since its inception to the present day, photography has changed greatly, as well as it has modified its utilities. However, even with the increase of connoisseurs of this media, the issue of photographic art, already widespread, remains unanswered.
Paulo Kassab Jr. email@example.com
Invention and prejudice Invented in 1830, photography had flourished at the same time of socialism and psychoanalysis. Although back then some do not consider it as art, like Baudelaire, or even better, Roland Barthers, who had qualified it as magic, all kinds of arts had to redefine themselves from their inception. For painting, photography was born as a rival, later to be an orientation and after that, a liberation (what was the worth of painting a situation or an object, if photography would do it much more accurately). With the printed image, art no longer had the obligation to portray reality and grew strong in experimentalism .
an abstract way of expression, signed by its author, the photographer, whose objectivity is equivalent to any artistic work. It is true that today everyone, or almost everyone, already took pictures. Anyone can easily press the shutter button of a camera or cell phone, much easier than extracting something great from a piano, or paint a canvas. However, the click or painting doesn’t create art or an artist. One thing is certain: the artist offers to his art all his life, and there is no solution, because without that he would never find himself and this sets a bit his work, the launching of his anxieties. Ar t is s har ing, s har ing o f fe e l i n g s suppressed or exalted. The most beautiful works have to do with the unspeakable and the concern with the absolute mystery, and this is independent of painting, photography or video . What would be art and how it can unglue itself from the invisible? Could we, creators of art, name it?
In this period, photography stays attached to the documentary, but promptly begins to gain other forms of representation. Is photography art? Photography symbolizes a new era in relation to image. It evokes the fullness or levelling of a world where everything is in its place and the moment is kept, creating an aura of immortality. The photographic image isn’t a representation or imitation, is an impression, a trace of reality. This mystery, or magic, had made photography be considered “the truth” for years. If something had been photographed, then it was was real. However, with the agitation of the 20s and the great relation of image with surrealism, much thanks to the experiments of Man Ray, photography reaches new heights. It remains a mechanical way to maintain a graphical representation of moments, objects or people, but it’s also
Man Ray, Ingres’ Violin, 1924
FROM DOCUMENTARY TO ART
n this second article for the “BLACK & WHITE IN COLOR” magazine, I’ve decided to do a very brief summary of the history of photography, to get to a controversial subject even in these days:
THE SAVAGE AND THE PHOTOGRAPHER
Tiago Henrique firstname.lastname@example.org
hrough photography we learn how to see ourselves. We’ve lived with photography since we were born. We photograph. Today, much more than in the entire history of photography. We are photographers. But the history of photography and, consequently, of the photographer, could be reviewed as a struggle between two different imperatives: beautification, which originates in the fine arts and truthfulness, which not only corresponds to a notion of truth outside the values, which is a legacy of science, but is also an uplifting ideal of truthfulness, adapted from literary models from the nineteenth century and (then) the new profession of independent journalism. Close observers felt that there was some nudity about the fact that photography broadcasted it, although the photographer had no intention of walking lurking. The fact is that the photographer, as the pre-romantic novelist and the reporter, should expose hypocrisy and combat ignorance. Free from the difficult decisions that rested onto the painters’ shoulders, like what image was worth contemplating or not, photographers made the vision a kind of design, thanks to the camera speed, as if the our sight, eager and sincere, was able to reconcile demands of truth with the need of finding the beautiful world. The photographer was considered a shrewd but impartial observer: a writer, not a poet. The first ones spoke as if the camera were a copier machine... Instead of merely recording reality, photography became the rule for the way things appear to us, transforming our notions of reality and realism.
Anyway, photography has inaugurated a new model of activity: no photographer shooted the same thing in the same way. This independence allows each person to show their unique sensitivity - the “photographic vision”. The photographers have gone for their cultural, social and scientific safaris, looking for striking images that shape our world.
One of the things that always fascinated me in photography, is that its operators always works alone. Although they have large teams of workers and producers the solutions to the problems, lighting or anything else, is achieved in a unique way. But how to define the behavior of a photographer? How does he think and act? I can’t justify the importance of the answers... it might not have any, but I read on the blog of Marcello Barbusci, the founder of B&W, a very interesting text about a term derived from the french verb “flâner”. This word means, among other meanings, “walk” and even “tramp”, “ bum “, “lazy”. I found it so interesting that I decided to took it and put on another idea that I have about the constitution of the photographer. The full text: “Basically, a flâneur is a person who walks in the city in order to experience it through his senses. Throughout history, many people have tried to theorize the meaning of flâneur, including the poet Charles Baudelaire, who saw that the key role of the flâneur was like to understand the process of modernity, urbanism and cosmopolitanism through the city flow. Artistically speaking, there are several architectural and photographic schools calling themselves flâneur, as they prioritize the participation of those affected by the design and progress of the city”. The perception of the flâneur seems to appear on what is transitory in the city, but he doesn’t whine about that transience, he feeds himself of it; he creates a kind of a shelter in the womb of chaotic urbanity (chaotic for the citizens, not for political managers of a new social order, of course), and he narrates the attractions of the city, in a sort of recognition of the erotic appeal of things and people in the context of modern disagreements.
The flâneur attends, initially, to a bourgeois individual need to overlap the aristocracy and to become an instrument of the masses, due to the prominence of the them, inaugurated by the city observer”. M y q ue s t to un derst an d wh at dr ives a photographer, finds a meaning not only on the flâneur, but in another term of French origin: “bricolage”, which the meaning refers to the execution of some work without consulting a professional, a bricoleur. In essence, if the photographer is a flâneur in the way he acts, he’s a bricoleur in the way he thinks. When I read La Pensée Sauvage (The Savege Mind), from Claud Lévi-Straussan, an immediate relationship with photography, or better, with the photographer, came to my mind. This anthropologist, creator of the structural method, had studied the so-called primitive people, contesting racism and the notion of primitive, and he compared ethnographies conducted in all continents. Perhaps his main contribution is a demonstrable fact that the savages were not primitive.
Says Lévi-Strauss about the bricoleur: “( ... ) His instrumental universe is closed, and his game rule is always arranged with “half limits”. A finite set of utensils and materials quite mixed, because the set composition is not related to the current project, or with any particular one, but is the contingent result of all the opportunities that present themselves ( ... )”. Going to the streets, an organized universe which, to exist, does not depend on the photographer, who will collect, or fit, what he needs to build his work and he makes photography a negotiation between the need for a thought and an availability of the world (in this case, an aesthetic necessity, not exactly usefull). And the photographer observes all things, buildings, people, shapes, light... as a bricoleur would still collect them. I’m not just talking about the street photographer or the “Hunter Photographer” (as Flusser would say), I believe that a fashion an advertising photographer, has to fit the type model/product and to collect from “nature” what he needs to accomplish his work. The photographer doesn’t deny the nature as it offers itself to our senses, just as the savage mind is capable of.
“( ... ) Is that there are two modes of scientific thought, both can function; not in different stages of the human spirit development, but there are two strategic levels at which nature allows us to address the scientific thought - one is roughly adjusted to the perception and to the imagination, and the other is dislocated”. While we translate the world into concepts, the savage notes forms, movements, colors, flavors, and from that, he builds categories that organize what is around him. This is not a greater or lesser way of doing science, it’s just different. Therein it arises a fundamental metaphor constructed by Lévi-Strauss: while our scientists operate as engineers, the savage operates as a bricoleur.
LAS VEGAS ENDLESS ANTITHESIS BY LEONARDO SOUSA
LAS VEGAS ENDLESS ANTITHESIS
Leonardo Souza email@example.com
This contrast really caught my attention. Las Vegas is very different from what we see, moreover Vegas is what we can’t see... a true distortion, a contrast to the reality.
My view was the rush of the city; people walking in a hurry not knowing where they are going or what they will find. Las Vegas is the city of dreams and nightmares and that world is not “real” - an antithesis endless. The Matrix! Everything into nothing and nothing inside everything. It’s like that old saying: “There are people who are so poor, so poor, that the only thing they have is money.”
“The best we have is not our capacity to see, but to feel. We are not what we see, but what we feel. We are not the eyes, we are the mind. People believe what they see but they are totally wrong... Sadness, loneliness, anguish - how to photograph lust?” Duane Michals
Vegas is a city where everything is allowed inside the United States, where everything is forbidden. You can gamble, drink and smoke in almost everywhere, even on the streets after 02:00am and you do not need to come home - you will always find something interesting to do. Families, shops and restaurants will mix among the the casinos, shows, magicians, strippers, turning Vegas into a surreal and contradictory city. As well as the possibility of making it big and go home rich or, otherwise, bankrupt. And being the city of lights, the light at the end of the tunnel is the hope of the people finding what they were seeking there. Large buildings rise in the middle of nowhere, in the desert. Planes come and go at all times, leaving trails across the sky. You can be in New York at Times Square; in Rome, Italy; in a boat in the flooded streets of Venice; maybe Paris; inside a pyramid in Egypt; or simply open some door and the darkness of night is taken by a beautiful blue sky with perfect clouds. You can still drive a few miles and go to the Mojave Desert, surrounded by pale sand or yet be amazed with the enormity and beauty of the Grand Canyon.
Below are some sentences from Duane Michals, whose I am an admirer:
My gratitude for all the affection. For more photos and info, please log on to: www.leonardosousa.com
Duane Michals - photo: Michael Somoroff
did not want a technically perfect essay, with focused and vivid images. I felt like doing something different, like double exposure, blurred effects, some movements, nothing conventional and yet simple and sophisticated, like the view of a tourist walking aimlessly. But always focused on a coherent and consistent result.
Gratitude to all the affection. Photos and info: www.leonardosousa.com
FELIPE BERTARELLI URBAN INVENTORY BY HENRIQUE SIQUEIRA
Felipe, what have motivated you to have a bachelor’s degree in photography at Senac? Have you ever had contac t with photography?
Henrique Siqueira firstname.lastname@example.org
Photography has always interested me, I took free courses of photography and black and white lab at Senac . When I saw the bachelor’s curriculum, many subjects aroused my interest, especially the technical side of photography, the possibility of deepening the knowledge of black and white lab, learning about the color lab and alternative photographic printing processes Some albums and books from researchers and scientists of the nineteenth century show the desire to construct some kind of taxonomy of the world. Your production refers to an attempt to organize the cities in series, in which the subject is recorded with a certain amount of obsession. You are producing a kind of urban inventory? Yes. One of the characteristics of my work is the recording, organization and grouping of images of objects and places, building an urban typology. One of the unintended consequences of this process is to record places and objects that no longer exist or are completely transformed.
What are your interests in photography? Thinking about the production and circulation of the photo itself, what is your authorial perspective and what are your future plans? I am interested in the photographic process as a whole, from the creative to the technical part, the capturing methods combined with various methods of material processing (film development, blowup). When the capture process is digital the dynamic is a little bit different, but the principles used are the same. Are you intended to continue using film for the next series? In the occasions which that is the most suitable technique to perform the idea, yes, no doubt. The analogue photography has a singular timing, less immediate, that requires greater dedication on every step of the process. On the other hand, with digital photography, the capture produces an instant result and the processing is condensed in digital image treatment, which is based on the knowledge also applied in the lab. I think that digital photography and film photography have distinct advantages and qualities, but they are complementary. In some projects I choose a hybrid process that combines film photography and printing the scanned negative.
Could you give us some names of photographers who somehow arouse your attention and produce questions about your job? My work of urban photography speaks to Henry Fox Talbot, Bernt and Hilla Becher, the School of Düsseldorf, mainly Candida Hoffer and Andreas Gursky. Joel -Peter Witkin, Nobuyoshi Araki, Richard Avedon and Helmut Newton affect my production of portraits. Jan Saudek and Gregory Crewdson are my references in color works. Felipe Bertarelli
FELIPE BERTARELLI URBAN INVENTORY
enrique Siqueira is a photography critic and curator of Casa da Imagem, an unit of the City of São Paulo Museum, that takes care of photography and image.
Photo: Felipe Bertarelli
Photo: Felipe Bertarelli
LIFE AND DEATH OF THE FLESH AND SOUL BY PEPE MÉLEGA
Pepe Mélega email@example.com
So I am very happy to see the work of my friend Ana Druzian, which has much to do with my belief of being prepared to make an essay with more quality. Regards! Pepe Mélega
Since my trip to Salta in Argentina in 2009, I have photographed “animitas”. But was in Chile in 2010 - where that word is used exclusively in that country and is the diminutive of “soul” (body) -, something touched me and my interest was aroused, so I started to make records of those people’s traditions .
I noticed, even with a foreign look, that tradition, folklore and popular belief represent an expression of religion and a cult of memory, immortalizing the spot where, usually, individuals died (some tragically). In my research, I found that some animitas have become so popular that they’ve become sanctified landmarks. With their simple architecture, and at the same time varied, which consists of adornments and belongings of the dead, they are located on roads, in the towns, in the middle of the desert, everywhere. The fact of someone has lost their lives or someone that has been found dead is enough. In my photographic expeditions to Chile (5 trips, the first in 2010 and the last in 2011), I had the privilege of meeting many animitas. Some at unusual places, other abandoned to their fate; some very well cared and with personal belongings and gifts, left by family members who, in their way, would celebrate the memory of their loved one.
When I gathered the images, I began to think about what were the motivations of the Chilean people t o b u i l d t h e a n i mitas. Would it be a way to overcome the pain of a loss? Some kind of belief? A recollection that would preserve the memory of a loved one? The search for those answers represented a real challenge and it aroused my interest even more so. After many trips to Chile, specifically to the Atacama Desert, that dry and quiet landscape, the sculptures made by the wind in the fields and all the solitude of the animitas, made my eyes see, more closely, the motivations and, above all, the representation of them to chilean people.
Ana Druzian - photo Pepe Mélega
LIFE AND DEATH OF THE FLESH AND SOUL
always believed that it’s very important to have a goal when we go out to shoot. It’s not always a solo flight or a strolling through the streets seeking images. When we plan a trip where there is the goal of shooting, it’s very important indeed to know what we will find in our way and to be ready to shoot, supported by what we researched before and with that, to consolidate our captures that tell stories .
I saw a strong link between this work and my personal life, because in the last 5 years I’ve made a disturbing and silent search, for which I could use, as a metaphor, a photograph that goes from light to dark, allowing me to better understand the gray areas. I realized how much family values are important and how they have guided my way. I’ve learned in this journey.
It was suppose to be one original work. But today I see that this selection of images speaks a lot about me...
I’ve faced right and wrong; sometimes I was taken by chance, but I have seen past and present, heaven and hell, love and hate, life and death of the flesh and of the soul; and finally, the more important thing, I could see everything with the clarity of my eyes. I saw in these trips a simple photographic record and I plunged into a sense of introspection.
These images are the representation of this seduction. I could say that the images chosen to this essay are sentences that speak of the culture of a people, of a belief, a memory. But above all, these images speak of a latent silence that dwells within me.
On each trip to the desert, I feel my perception emerges, making me much more sensitive; I realize more about my feelings and I motivate myself with new reasons to continue developing this research
Finally, as we are made of memories, I remembered a conversation I had at the beginning of my studies in photography, where I learned from a teacher, that “we only photograph what seduces us”.
foto Ana Druzian
Check out the full gallery of Ana Druzian in: www.bwincolor.com.br/galeria/adruzian/
EL CALAFATE EARLY ALL BY CRISTIANO XAVIER
Cristiano Xavier firstname.lastname@example.org
We started in El Calafate in Argentina, where we went to one of the most touristic location but not least interesting, the Perito Moreno Glacier. A thin, uninterrupted rain accompanied us all day. That limited somewhat the images at first but when I realized that the rain wouldn’t stop, I put out the camera to get wet at once. It was an interesting test that made me realize how much the equipment can handle. The light was beautiful, totally diffuse and bluish. Low clouds, fog and a feeling of an extremely inhospitable place. A few days later we drove 05 hours to cross the Chilean border into Torres del Paine. That’s when you realize the full power of the wind. Driving at more than 100km/h makes the car very unstable when hit by a gust of wind. The danger forces you to be more cautious. On arrival, the imposing view of the three towers in the distance gives us the idea of the massif of Paine.
The next morning I was seeking the first rays of light to bounce in Cuernos but the weather was not cooperating. A mass of clouds to the east persisted all morning, but nothing that could make me lose hope. It was on that day that I witnessed the harmful effects of a fire occurred in 2011. Many old trees now transformed into twisted black trunks filled the foreground. A scene that was sad and beautiful at the same time. The following days I did a general recognition of the area with the help of Alvaro, an experienced local guide, till we reach the final challenge: the base of the towers.
The walk wasn’t light and with 07 days of little sleep, feeding poorly, the situation worsened a bit. Conquer the 09 km climb to get there at 05:00am demanded a logistics change. We only would have one chance because the weather would worse a lot for the next three days, with lots of snow. So we departed. By reaching the spot the wind was already furious. I positioned myself on the lakeshore for a wide approach of the foreground. Canon MK3 17-40mm and a solid ND filter. The tripod was vibrating and I tried to hold it still while the wind gusts was crossing over me. I stayed there for about 15 minutes to convince myself that I had the image I wanted. When I turned to grab the backpack, I noticed that it wasn’t where my assistant had left it. A powerfull gust flung it into the lake. Lenses, flashes, filters, accessories, cellular... Everything went along. I picked it up the way it was and we went down fast as the snow was already taking over. In the shelter I could dry everything at the fireplace and they were slowly coming back to life. Another tense test of endurance. For the equipment and for my nerves. t’s part of the process.
Cristiano Xavier www.cristianoxavier.com
EL CALAFATE EARLY ALL
ocated in the southernmost region of the Americas, Patagonia covers parts of Argentina and Chile. Awesome granite cliffs and the largest area of glaciers outside the polar zone, make the region one of the most amazing landscapes I knew. Th e we ather is cold, as it was expected, and the strong and constant wind accentuates the windchill that can reach 20ºC below in the winter.
#MyArtHas SMALL AND WITH BEAUTIFUL IMAGES BY MARCELLO BARBUSCI
And why not do something different this day, turning it into a record of pleasure and tranquility? With this thought on my mind that I got out of the bakery with my wife to hit the road. Initially with no destination, but with one goal: a peaceful place without the madness of a big city and which has beautiful places to be used as collyrium to the eyes.
Marcello Barbusci email@example.com
The idea was something near to Sao Paulo to not to get back home tired from a trip before a workday. We excluded cities that were very near, to avoid being in long lines of restaurants when we get hungry. We came up to three interesting points: Campos do Jordao, city that doesn’t need season to be crowded crowded; Sao Bento do Sapucai, very interesting, but already alike Campos - with the crowd; and Santo Antonio do Pinhal, the quietest among the three and which could be a beautiful spot for a short relaxing time. Santo Antônio do Pinhal won unanimously and there we were on our way of just over 180 km to reach the small town of 133 km ² and population of approximately 6,500 inhabitants.
We arrived and decided to go to Pico Agudo, the highest point of the city. To get there, we had to walk 8 km uphill on a dirt road which, we can say, was made to have just a small number of persons going up, to avoid cluttering the space. After 40 minutes we were rewarded with a unique view: 1,700 meters of altitude that provides a 360° view of the Paraiba Valley. The sun was there to welcome us and mist shyly presented itself to leave its mark on the grass and in fresh air. “But, what now? A sudden trip at the top of the world, an amazing view and nothing to register?”. So those were the words of my wife when we look down at the edge of a platform for paragliders and we saw an natural painting. At this point I pull put from my pocket (that’s right, the pants pocket), my compact camera to register that art of nature. Landscape beheld, records made and we decided to go back downtown to get to know a little more of this picturesque spot. In the return we could not help but take a coffee made as in the grandma days, in a cloth strainer and with a delicious piece of orange cake made right there in the house of the owner, which was in the back of the small room. We were treated like we were next door for more than 30 years. It was all very simple, but all very welcoming. In downtown we left the car and took a walk to meet the commerce and its surroundings.
A journey of just two hours, and I say “just” because the roads, both Ayrton Senna and Carvalho Pinto, are in excellent condition which makes the trip nice and allows you to take advantage of the plains that are there.
A clean city, where people greet each other looking them in the eyes and with a smile on their faces. Every shop indicated the other one, not worrying about competition and, moreover, they used to distribute business cards that indicate their friends who did the similar things.
To get to Santo Antonio do Pinhal seems that to get back in time, with small streets and an authentic countryside that contrast with the fancy shops and alpine constructs of the most illustrious neighbor town, Campos Do Jordao. In common between the two of them, only the cold weather and the mountains.
For me, who lives in a city like Sao Paulo where each one is for themselves and the stress is for all, I was surprised and sometimes even suspicious, but I can say that thinking of mine was short-lived. Actually, until lunchtime.
ust another given sunday which could be as boring as any other, waiting for another rush week full of news.
We walked in front of a restaurant that had been nominated as one of the best in town: Massa Mel. A suggestive name and a beautiful look. It couldn’t have been better. Pasta made in front of our eyes and a sweet taste of italian trattorias. A nice dessert and we were ready to continue our small but interesting tour, made at the last minute. We went to Eugene Lefevre train station. Although it is in the town of Santo Antônio do Pinhal, this station, opened in 1916,has never had the name of the city, officially. The station works, until today, in the original building and stands half way of the railroad. Beside it, a railway village where we could see the life of locals and a substation of the railroad. It also has shops with handicrafts of the region, coffee shops and the best codfish pie that I’ve ever had, made in a bar named Bolonho de Bacalhau e Cia. The trains still run today with the touristc tours, where the Eugenio Lefèvre station receives the line Campos do Jordao/Santo Antônio do Pinhal and also is a stop on the line Campos do Jordao/ Pindamonhangaba.
By then, we were already late in the day and rain was being prepared by the same gods who created the sensational scenarios that we recorded during our stay in the city. We had a different day, we met different people and unforgettable images. I walked, admired, knew and recorded places lit by the sun and places where the sun was shy, but in any moment I had to worry about the equipment I was using because, although compac t, my Fujifilm X20 w o r k e d w e l l i n d i f f e r e n t e n v i r o n m e n t s and I didn’t need to worry about photometry or anything else. I set it in “priority aperture” and let the camera think, because I... well, I was worried about spending the day with my wife enjoying the moment. To finish, I’ve made everything in native jpegs, so I didn’t have to do post-production. Not that it would be a waste of time, but because the camera delivers excellent results! #MyArtHas Fujifilm X20
The station is a very nice place and in its major facilities it has a light that is reflected from hydrangeas that are around. Its incision, without direct sunlight, reaches the tables that are very close the boarding line. In this area you can enjoy your coffee or your meal looking at the beautiful flowers and the train tracks, that goes beyond the eyes can reach. Leaving the bording area, we could see the houses of the village, which receive the sunlight through the mist, which creates a cinematic backdrop. Undoubtedly, I could not help but record these unique moments and bring that mixture of colors and textures to an eternal reality.
Right next to the station there is the Mirante da Santa, where we have a panoramic view of the Paraiba Valley and Serra da Mantiqueira. Another place that worths good photos.
ISO 320 | 11,3mm (equiv. 45mm in 35mm) | f 4.5 | 1/1250
ISO 320 | 7,9mm (equiv. 30mm in 35mm) | f 9 | 1/680
ISO 320 | 10,4mm (equiv. 40mm in 35mm) | f 10 | 1/640
ISO 320 | 10,4mm (equiv. 40mm in 35mm) | f 9 | 1/125
ISO 320 | 12,4mm (equiv. 50mm in 35mm) | f 9 | 1/500
ISO 320 | 8,7mm (equiv. 35mm in 35mm) | f 8 | 1/60
ISO 320 | 15,2mm (equiv. 60mm in 35mm) | f 13 | 1/60
WHAT MAKES A GOOD STREET PHOTO? BY THOMAS LEUTHARD
1. Content 2. Composition 3. Quality 4. Time Thomas Leuthard firstname.lastname@example.org
But there are many other things like the point of view, the depth of field (aperture), the shutter speed (showing motion), layers, leading lines, patterns and so on. The more unique your composition is, the more interesting your street photograph gets. There is no limitation in creativity on the streets. Often you have to reinvent your creativity and composition over and over again yourself. The race to a unique and interesting composition has not finish line. The process of creativity is never finished.
1. Content Content makes a photograph interesting and worthwhile looking at. The longer you spend to look at photograph, the better it is. We photographers have to tell a story with just one frame while movie makers have many frames for that job. We also have to tell this story without adding any text to the frame, while journalists mainly write text.
You should invest most of your time into composition. Composition to me is another 50% of the photo.
So the biggest challenge in photography is to bring a big story into one single frame, but how do we do that? I would say that we have to isolate the main subject that it is visible as the main subject. We also have to get as close as possible in order to get rid of all the objects, which are not relevant for story and the frame we want to create.
While thinking that, they forget that there are the two rules above. In order to reach the quality, some people do everything possible in manual mode. Those people think that the more they do manually the better photographer they are. But what is more important? They end result or the way you get there? The observer only sees the end result and has no clue how it was created.
When we are able to perform those two things, we are on the right way to master street photography. In my personal eyes content is about 50% of the photo. 2. Composition When we have found the right subject for our story, the next important job it to compose it. Basic composition is part of every photo course, but there are a lot of street photographers who are too busy with all the other tasks needed for taking a photograph. Everybody knows the rule of thirds, everybody knows the basics.
3. Quality For most of the photographers a good photo has to be sharp and correctly exposed. As soon as they have reached this goal, they think they have reached the state of a good street photograph.
If you shot it in auto mode or manual mode, nobody will every realize. The time you save when you shoot in P mode can help you focusing on a better composition, which is much more important than the way you create your shots. When the content and the composition is good, the quality is secondary. But when the quality is perfect, it doesnâ€™t replace any content or composition.
WHAT MAKES A GOOD STREET PHOTO?
his is probably one of the most asked and most difficult question to answer. If there would be a recipe for it, everyone would be able to make good photos at any time. There are four important factors which I would like to mention out of the process of creating a street photo:
4. Time After 5 years of street photography I can say that the time you practice on the streets is probably the best guarantor for a good street photograph. You cannot learn street photography in one day.
You have to go out for many days, shoot a lot of photos and keep shooting over and over again. If you ask me for numbers, I would say that you should practice 10’000 hours shooting in the street (based on the book “Outliers”) and you should shoot 500’000 frames in order to master street photography. When you go out for one hour every day, this means you have to do it for 10’000 days which means 27 years.
The more talented you are and the faster you learn, you may be able to reduce those numbers. But never think that mastering street photography is a piece of cake. Not even I think for myself that I’m there yet... Conclusion In theory a good street photograph contains of a strong story (content), is based on a unique composition, is made of excellent quality (sharpness & exposure) and was taken by a photographer who has a lot of experience. When people recognize the handwriting of you as a photographer based on the frame they look at, then you have reached the goal of a good street photograph.
Otavio Costa email@example.com
Recently I watched live, via the Internet, a presentation of tools developed to help people dealing with various issues related to the experience of photographing and making videos. Many people think of photography only at the time of the click, even though ever yone knows that the result, in general, depends on many factors, such as talent, equipment, the registered object, expertise, time, light, luck... so, infinite factors . But beyond all this, there is some similar or greater number of factors that do not happen at the time of the click or the REC, but after them. The event, which can be seen on Youtube, is called “A morning with Google+” and provides new tools to help with the “workflow” of the post-processing and organization of images. It has a lot of interesting and amazing things, although the most, for now, still work best for amateur photographers. Among the best features, is the automatic and “intelligent” organizer, which organizes images by their content. It identifies people and objects and selects the “Best Pictures”, not only by technical criteria, but also by analyzing the pattern of behavior of the public who surf through millions of images produced everyday. In fact, more than 1.5 billion photos per week are included in Google+ by users. The system allows access to all images produced, but highlights the best, the ones that show the relevant people to you, things that are unique. Initially it hides the “bad ones”, the redundant and those of little interest. But the catch is that the system learns about you and everyone else who photographs, tuning and improving its critical capacity.
And if you want to search for images that have not been highlighted, you can check one by one or you can do searches for dozens of words and objects that the system already understands. And he finds them for you, without the use of tags or any organization by those who posted them. Its intelligence goes beyond, by automatically improving the quality of photos, doing all kinds of corrections that usually the photographer does manually in his favorite software. Yes, you can reverse the process, partially or completely, but you’ll probably be surprised with some corrections that this tool is able to make on those images which your cellphone seemed to have screwed up beyond repair. And there’s much, much more, because besides an increasingly competent artificial intelligence, the system works with algorithms capable of revealing images that seem that not even were there. Then I remembered the fiction movies. And I really got surprised when I realized that the which had anticipated what Google just launched, it was not a science fiction movie, but an action movie (and thriller), 1987’s No Way Out, featuring Kevin Costner (you’ll find it at Neflix). Among other interesting things that the movie shows is a sof tware able to interpolate the pixels of a scanned image from a Polaroid photo, exposed to light before its natural process of development. Although slow, this computer is capable of imagining all the possibilities for each point of the image to reveal the original image that was lost right after the click. With tools like these, some difficulties in our lives have been overcome, even if the movie hero hasn’t liked the idea very much... But for everything in life there is a way out, isn’t there? Tip: watch the movie and the presentation from Google+ (on Youtube, it starts at 12 minutes of the video). You won’t regret it.
For everything in life, there is always a way out”. That is what life teaches us... what fiction frequently anticipates and, in general, what time proves to be right.
services, products, parts, sale, purchase, exchange classified
Zeca Salgueiro firstname.lastname@example.org
She arrived from the beauty salon with everything renewed: she’s got the hair cut done, the hair roots dyed, the nails of fingers and toes were cut and polished, eyebrows delineated, legs and bikini area depilated – brazilian style. Everything was invisible to the naked eye, of course. The haircut did not reach half an inch and she kept the same hairstyle; the nails color changed from “snow white” to “arctic white”; she took off a hair of each eyebrow and came home wearing pants, which prevented the evaluation of the result of the depilation. He was at h o me, hal f as l eep, hal f watching a soccer game in the B series, lying on the couch when she arrived, smiling, and sat beside him. - Hi! - She said. - Hi, love - He replied, also smiling. She was staring at him and smiling. He asked: - Why are you looking at me like that? - Like what, baby? - Like that, with those eyes wide open... you’re scaring me. - Didn’t you notice anything? - She stressed the question. Then he got really scared. To notice what? Everything was exactly as it was when she left four hours ago. It was half past six o’clock and the room was dim. But he had to risk something: - You’ve changed your hair, right? - He took a shot. - Uh-huh – She just nodded. - Ah, I knew it...
- And you’ve just noticed my hair? - She insisted a little bit angry. - Oh, c’mon, goddamn it! The room is in the dark, I was asleep, and you woke me up to see some changes that no one could see. Could you tell me what you’ve got done, please? - The nails! How did you not notice the color of my nails? - What color? They remain as white as they were last week! - Arctic white! Last week they were snow-white! Look here! - She got up and turned on the room lights. All the lights. - My eyes! Now everything’s white! - Look at my fingernails, and I’ve got a depilation, too! - You’re wearing pants! How am I suppose to see that you’ve got depilated if you’re wearing pants?!? - You had to... Wow! - She stopped talking and stared at the poor husband. - Now what? - Oh my God, I’ve never noticed it... - Have you never notice what? You’re scaring me again. Have you seen a tumor or something? - He asked. - No, it’s nothing... I just have never noticed that your eyes are light brown... - After ten years of marriage, only now you realize the exact color of my eyes? - He asked, gritting his teeth. - Yeah... funny that... I’ve thought they were a lot darker... He spent three days not talking to her. And it didn’t help either when she tryed to show the brazilian style...
BWINCOLOR EDITION #06 MARCH | 2014 ISSN: ISSN 2318-194X BLACK&WHITEINCOLOR CONTACT: | PHONE: 11 2532.0549 | MOBILE: 11 98208.3698 | EMAIL: CONTATO@BWINCOLOR.COM.BR THE BLACK&WHITEINCOLOR is a bimonthly publication for multiplatform developed for web, tablets, smartphones, desktops, laptops, and also in the printed version DISTRIBUTION OF MAGAZINE DIGITAL CHANNEL: WWW.ISSUU.COM/BWINCOLOR
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LIKE www.fb.com/bwincolor PHOTO COVER: Rui Costa GRAPHIC DESIGN: Marcello Barbusci CHIEF EDITOR: Marcello Barbusci SOCIAL NETWORKS: Tiago Henrique TRANSLATION: Zeca Salgueiro PRINT: www.alphagraphics.com.br Nobody is authorized to negotiate exchanges with shops, hotels and the like on behalf of BLACK&WHITEINCOLOR, the pretext of producing materials for the magazine.
INTERVIEW WITH: Madhur Dhingra Photographer based in New Delhi (India). Career working for advertising agencies in New Delhi but his true passion is street and travel photographs. DO NOT MISS THE NEXT ISSUE OF BLACK&WHITEINCOLOR
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