|grazie con tutto il cuore per il |
vielen dank für den
Thank you very much for the
Given 2014-03-29 ( Featured by myraincheck )
Welcome to new watchers:iconJakezDaniel:Welcome to new watchers by martaraff
Halfway to nowhere by doyoP2 by doyo
eternal secret by doyoeternal secret by doyoeternal secret by doyo
Halfway to nowhere by doyoP2 by doyoHalfway to nowhere by doyo
Statue by kvg1979Dragon thing by kvg1979Dragon thing by kvg1979
Eagle by kvg1979Statue by kvg1979Dragon thing by kvg1979
Eagle by kvg1979Eagle by kvg1979Statue by kvg1979
Landscape 3 by WieszczkaLandscape 1 by WieszczkaLandscape 1 by Wieszczka
Landscape 2 by WieszczkaLandscape 3 by WieszczkaLandscape 1 by Wieszczka
Landscape 2 by WieszczkaLandscape 2 by WieszczkaLandscape 3 by Wieszczka
9392 by filthy-hands9392 by filthy-hands9392 by filthy-hands
9334 by filthy-hands9334 by filthy-hands9334 by filthy-hands
9328 by filthy-hands9328 by filthy-hands9328 by filthy-hands
Current mood: lonely
'Cause I'm not a real street photographer: yesterday, as I was waiting for someone, with my nikon hanging around my neck, I started to take a look around. And that's how I got it. I'm a photographer of the wait. I don't look for shots. I find them in the pauses. That's why I love to take pictures in the subway, in bars: because I wait for the right shot, I don't look for it. All in all, it perfectly fits with my being. I'm motionless, it's life that changes my colour, my age. -Batsceba Hardy
perché non sono una vera fotografa di strada: ieri, aspettando una persona, con la mia nikon al collo, ho cominciato a guardarmi attorno. ed è così che ho capito. io sono una fotografa dell'attesa. non cerco gli scatti. li trovo nelle pause. per questo amo fotografare nella metropolitana, nei bar: perché aspetto lo scatto, non lo cerco. ma in fondo combacia perfettamente con il mio essere. io sono immobile, è la vita che mi trasforma, colora, invecchia. - Batsceba Hardy
I've stopped thinking. and i'm dumb waiting for the Great Mystery hug. I've been looking for it wandering about the streets in a city that doesn't belong to me, I've been looking for it letting water drop on me to shut my pain up. yet i've just met the other's rage and i've been annihilated. like i was annihilated as a child before someone raising their voice, a slap in the face i didn't understand. i'm not cut out for life. i don't have nails. i always expect understanding, explanations, love. but i can't change. and i'll keep on roaming with my disability to live, listening to the distant echo of the Great Mystery which will ease my pain. i don't know how to live but i know how to love. and i'll keep on walking trying not to to tread on the ant crossing my path.
Current Residence: Berlin
Favourite genre of music: all
Favourite photographer: Ansel Adams, Urs Lüthi, Yuri Bonder. Man Ray ... ...
Favourite style of art: surrealism, all
Operating System: Mac
MP3 player of choice: none
Favourite cartoon character: Corto Maltese
Personal Quote: peace and love
Dr. Dan Druckermann, post-cyber historian of the 22nd century, fancied himself a bit of a photo historian. But he faced a difficult task, because the primary sources had become rare and precious.
As Dr. Dan often explained to his media history students, photographers jumped into digital imaging technology at about the start of the new millennium. Everyone threw out their old film-based cameras, as the chemical methods that made photography possible for 150 years became obsolete. By about 2011, nearly all photographs were digital images saved to computers. Dr. Dan also had a box of plastic disks called “CDs,” but the technology to read them was long dead. His wife threw out most, repurposed the rest as coasters.
What his ancestors from 2011 didn’t know was that digital imaging turned out to have little archival permanence. The files became corrupted. The digital prints invariably were in color; as it turned out, the ink-jet technology of the time could not match the longevity of chemical-based black-and-white paper. Images faded or disintegrated.
By 2111 researchers could call up thousands of black-and-white pictures of America in 1900. But Dr. Dan’s specialty was the 21st century. And from that century, the archives produced a mere handful.
That’s why Dr. Dan was so excited today. He was watching the cyber-wrecking ball phaser through a rather ugly university building from the late 1990s named Ehly Hall. But what was that moldy manila envelope that fell from behind an ancient fabric cubicle? “Wait, wait!” he cried, running to the site to retrieve it.
Dr. Dan was amazed at what he found: a trove of black-and-white photos from the 1990s produced by his predecessor. Artifacts from the twilight of film! It truly was a treasure.
But something else intrigued Dr. Dan. With the images was a short essay. It appears Ross had once been a photojournalist, and thought to observe the changes in photography during his lifetime. Truly, Dr. Dan mused, here was the kernel for his next journal article. Dr. Dan began to take notes as he read the ancient laser print:
“I began seriously taking pictures in the 1960s, using a Canon 35mm film camera of my mother’s. I think the 60s and 70s marked the pinnacle of the age of what we call staight photography. Straight means unposed, unmanipulated. It grew out of the photographic ideals of the early 20th century. Early photographers of the age before World War I, people like Alfred Stieglitz and Edward Steichen, were perhaps most prominent in the movement. The idea was to strip away all the ornamentation, just as artists were changing the idea of ornamentation in architecture, furniture or graphic design.
“These photographers believed photos should portray life in an honest, real way—not a contrived way that many photographers liked toward the end of the 19th century. Sharp focus, not soft focus. People in real environments, not posing. Honesty, even if ugly, instead of pretension.
“This idea became easier to implement as cameras became easier to carry around and use. Photographers took to the streets of major cities to photograph life as it really was happening. They used the new, small, easy and fast 35mm cameras, particularly the Leica, as they prowled the streets for images they thought would reflect life as it really was.
“These street photographers, as we call them nowadays, were not necessarily journalists in the traditional sense. That is, they didn’t work for newspapers. Photojournalism really was not a term we’d be familiar with until after World War II. But certainly people took photos for news publication. By the 1930s these photographers, people like Margaret Bourke-White and Dorthea Lange, reflected the ideals of straight photography in their photo stories for Life and other general news or picture magazines.
“After World War II, with the rise of the concept of objectivity to the top virtue of the journalists’ profession, photojournalism, too, reflected objective ideals. And in that, the concepts as established at the turn of the last century found their flowering. News photographers who believed in this ideal set themselves some ground rules for their straight photography:
“Photographers both in journalism and in the fine arts often reflected these ideals, and today some of our most memorable images have been taken by these people. They believed that the honesty, the credibility, the integrity of the photographic image could only be established through the guarantee that this was how the photographer found life around him—straight photography.
“In fact, many photographers during this time were not enthusiastic about shooting color film, because they felt color distracted from the message of straight photography.
“I grew up as a photographer under this ideal.
“But today it seems to be no longer the ideal.
“Today I think we see straight photography is not the goal so sought after as it once was. Photojournalists routinely ask subjects to pose, and add light in contrived ways. This is partly because you need better light to take color photos, and color has replaced black and white in most photojournalism. In fact, as we know, with digital cameras, there is no real difference between shooting color and B & W. Both always exist.
“Photojournalists have faced a dilemma in how they translate the ideals of old straight photography into the new digital darkroom. Could you remove and add objects, or manipulate in other ways, those old images in the darkroom? Of course. But it was a lot harder, and took a lot more time and skill than Photoshop software does today. That annoying garbage can in the background can be removed in five minutes’ time using the digital darkroom. Why not do it?
“The old-time street photographers who considered themselves artists more than journalists, too, seem to be on the wane. Controlling the subject and the environment makes a better-composed photo, after all. And beyond that, some people have adopted the philosophy that it’s unethical to take someone’s picture on the street without first soliciting their permission. This, of course, assures the subject will not respond in a way not influenced by knowledge of the photographer’s presence.
“At the same time, we have seen enormous growth in amateur snapshooters and videographers. The results are thrown to YouTube or Facebook. Much of this, too, is posed and controlled. The idea of the street photographer prowling for genuine slices of human life to be frozen in time seems to be giving way to the idea of image-makers directing and controlling human life to freeze a performance. And as the ability to make visual images has become ubiquitous, everyone has become a self-conscious performer.
“That makes my approach an anachronism in the 21st century, I think. My photos here and online look a little old-fashioned to me. Of course, they are in black and white. I haven’t been able to adapt very well to the visual complexity color adds to an image. And, of course, refusing to manipulate a scene in the least way makes the image less perfect. I really wish that lamp post weren’t there. I really hope someone will climb on that wall. That hat would really jump out if I could backlight it. What can a straight photographer do? Select a composition, and wait for a spontaneous event that may or may not happen.
“Today we seem less satisfied with that kind of patience for randomness. We wish to control, and to compress wait time, to generate finished images in minutes instead of hours. The time-consuming practical skills we needed for darkroom work have given way to the fast and automated skills of image manipulation software. And with it, I think, our ideals have changed. The integrity of the image unmanipulated seems to have lost value, just as the face unaided by cosmetic surgery is less appreciated, or the skin unadorned by tattooed decoration. Do we in a new millennium seek pretention instead of honesty? I don’t know. These are big questions. I just continue to prowl the streets and record life as it passes by my lens in all its disorganized randomness.”