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Posts Tagged ‘photography’

Gallery

Monday, December 4th, 2017

http://nico-gomez.com/index.php

NY snowstorm

Sunday, January 24th, 2016

link for great pictures of the NY snow storm !!

ny snow

America in Color from 1939-1943

Sunday, December 12th, 2010

These images, by photographers of the Farm Security Administration/Office of War Information, are some of the only color photographs taken of the effects of the Depression on America’s rural and small town populations. The photographs are the property of the Library of Congress and were included in a 2006 exhibit Bound for Glory: America in Color.

more pictures here

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Photo : les Indiens affirment leur identité en se jouant des clichés

Sunday, October 4th, 2009

Allez lire cet article :

http://www.rue89.com/oelpv/2009/09/30/photo-les-indiens-affirment-leur-identite-en-se-jouant-des-cliches

Il fait notamment référence à Edward Curtis dont voici quelques photos. Allez également lire l’article.

http://fr.wikipedia.org/wiki/Edward_Sheriff_Curtis

439pxedwardscurtiscollectionpeople016.jpg

Le Paris de Fernand Pelez au Petit Palais

Sunday, October 4th, 2009

Du 24 septembre 2009 au 17 janvier 2010, le Petit Palais (musée des Beaux-Arts de la Ville de Paris) offre une rétrospective de l’œuvre de Fernand Pelez. L’exposition Fernand Pelez, la Parade des humbles, présente l’intégralité des peintures et dessins de l’artiste conservés par le Petit Palais.

Acteur de la vie artistique parisienne sous la IIIème république, Pelez est sensible à toutes les dimensions du Paris d’antan. L’exposition retransmet l’aspect populaire du Paris, elle peint et décrit l’environnement visuel et humain dans lequel Pelez a évolué de façon à percevoir ses engagements humains et esthétiques.

http://www.culture.fr/fr/sections/une/a_decouvrir/paris-fernand-pelez-au

http://www.rue89.com/zoomorama/2009/10/01/les-images-de-pelez-ou-la-face-moche-de-la-belle-epoque

September 11th

Wednesday, September 23rd, 2009

Douze couvertures de quotidiens américains le 12 septembre 2001 (DR)

Je voulais vous faire partager une réflexion interessante sur les une des journaux et sur la répétition des images à la une de certains médias.

Suivez le lien ici

Kodachrome

Thursday, September 17th, 2009

Une histoire assez peu ordinaire.

Une chercheur tombe par hasard sur des vieux Kodachrome, système qui permet de réaliser les premières photographies en couleur (je ne suis pas spécialiste) et découvre une série de commandes pour le Ministère de l’Agriculture Américaine.

Voici un témoignage émouvant sur l’Amérique de la Grande Depression et du début de la Guerre.

Un diaporama de Time Magazine.

Il me rappelle Apocalypse, que vous avez peut-être regardé ces jours-ci à la télé, sur France 2, sinon ne ratez pas la suite de ce documentaire.

John Millington Synge

Thursday, September 17th, 2009

John Millington Synge ((1871-1909), poète, écrivain et accessoirement musicien, était aussi photographe. Issu de la bourgeoisie protestante irlandaise, il passa une partie de sa vie à voyager pour étudier les arts et la littérature.

En 1897, malade, il décide de vivre entre Paris et Inis Meàn, dans les îles d’Aran. Il y effectue un véritable travail d’ethnologue, sillonnant la campagne avec son appareil-photo, collectant récits et chansons à chacun de ses passages.

En 1907, il publie son livre Les Iles d’Aran, illustré par Jack Butler Yeats. Les photos prises par Synge dans les îles d’Aran entre 1898 et 1902 ne seront rassemblées et publiées qu’en 1971 dans un recueil intitulé My Wallet of Photographs aux éditions Dolmen Press.

Synges_wallet1.jpghttp://www.aran-isles.com/1224246671468_4.jpgSynges_wallet7.jpgSynges_wallet3.jpg

Synge was 27 when he went to the Aran Islands for the first time in l898, armed with l9th-century contemporary technology: a typewriter and a second-hand camera called a Klito he had bought from another visitor in Kilronan. Recovering from an operation for Hodgkin’s disease and a frustrated love affair, he was open, vulnerable and receptive. The images he took, record everyday island life – the women at the spinning wheels, the men gathering seaweed or hauling their currachs – but they also chronicle a dramatic news event, one of the last evictions on the island of an old woman turned out of her house after 30 years.

In his pictures of people, there’s an intimacy, a familiarity in the attitude towards the camera, a sense of ease in facing a friendly rather than an intruding lens. The photographs were used by Jack Yeats for his illustrations for a series of articles Synge wrote for the Manchester Guardian in June and July 1905 and the original sketch of the family on Inis Oírr now hangs in the Niland Gallery in Sligo.

“These photographs are important because they are among the first to portray the cultural revival in Ireland at the turn of the century and are among the most visual statements of Irishness from a cultural national perspective,” says Walsh, who first came across the photographs on a visit to Inis Meáin two years ago. “Synge was someone who believed that here was a reservoir of pure unadulterated Irishness, much more rooted and organic and, in a way, like an alternative lifestyle that came from the people and the elemental forces that surround them.” Other photographers of the time, he argues, did not have the same empathy, did not speak Irish, and were transients passing through with a camera, or scientists clinically recording what they perceived as a primitive way of life.

Synge was a close observer of nature and an accomplished musician who had ways of engaging with islanders and entertaining them. He could also be inconspicuous when he wanted to, and the portrait of the family on Inis Oírr, the man moving away from the woman and child, has a kind of epic grandeur, almost cinematic in its formality and setting.

He noticed details of island dress, “the local air of beauty”: the flannel trousers, the veists or báiníns, the pampooties, cowhide shoes and, of course, the red petticoats and indigo stockings “on the powerful legs” of the women. He certainly didn’t write about white cabled Aran sweaters, which did not exist then, and the idea of drowned fishermen being identified by their knitted jumpers was a later, mythical invention. Early visitors to the island were always impressed by the colour and unity of the dress, and the contrast between the farmers on Aran and those of their counterparts in Wicklow in their top hats, suits and boots could not be more striking.