Saturday, October 15, 2005
Friday, October 14, 2005
Photo by Hugo Provoste; card designed by Richard Caraballo "Minusbaby"
1. No soy fotografo y no me siento fotografo aun, pero dedico gran parte de mi tiempo a estar observando mi entorno para capturar aquellos detalles que todos deberíamos detectar a cada segundo.
I am not a photographer; I don't feel I'm one yet. But I dedicate a great deal of my time observing my environment to capture those details that we should be perceiving every second.
2. Hace algun tiempo descubri que la fotografia ademas podia ser una gran ventana para mostrar parte de mi imaginacion y de aquel mundo interior que solo compartia con pocos y que ahora abro hacia nuestro compartido mundo racional, eso hizo que la fotografía pasara a ser, para mi, puro amor al arte y por supuesto comenzar a disfrutar de lo magico de expresar aquellos destellos que sin aviso invaden mi mente.
Constantemente estoy probando distintas tecnicas que mejoren la calidad de mis trabajos y para ello la camara que se cruce en mi camino me servira para lograr mis propositos, sea analoga o digital.
It has been some time since I discovered that photography could be a window to share my imaginative and my interior world, which I used to share only with a few. Now, I have opened this to the world and photography has become a pure love of art. Photography has led me to enjoy the magic of expressing those flashes that invade my mind.
I constantly practice different techniques to help improve the quality of my work. To me, it doesn't matter the camera that crosses my path (whether digital or film) as long as it serves my purpose.
3. Flickr es una gran comunidad virtual de gente dispuesta a compartir su alma reflejada, no solo en sus trabajos, sino tambien en sus palabras, eso fue lo que me atrajo a mostrar mi trabajo en Flickr y lo que me mantiene fuertemente ligado a el.
Flickr is a great virtual community where people are willing to share their souls not only in their artwork but in their words. That is what drew me to display my work on Flickr and what keeps with strong ties to it.
4. Why did I want to take part in the NYC Exposition?
Formar parte de NYC Exposition es una oportunidad de mostrar y expandir mi trabajo mas alla de Chile y tambien es un incentivo para continuar creando gracias a esta impresionante experiencia.
Being part of the NYC Exposition is an opportunity to showcase and expand my work beyond Chile. It is also an incentive to continue creating. Thanks for this impressive experience.
Thursday, October 13, 2005
Mi chica !!!!
Mucha suerte en todo han realizado un excelente trabajo, admirable :) muchisima suerte para mañana y mucha PAZ!
Soy madre y estudiante a la vez, mi nombre es Cristabell y tengo alrededor de 25 años. Estudio Diseño Grafico en una Universidad Pública de Santiago de Chile, ya casi estoy terminando y mi carrera fue la que me permitió conocer el mundo de la fotografía. En ella me enseñaron los pasos básicos para partir en este gran mundo visual…y desde ese momento tuve una atracción especial hacia el film y este se transformo en el soporte principal de mi trabajo fotográfico. Eso fue hace un par de años (2002 si recuerdo bien), en donde trabajaba con cámaras prestadas, hasta que en agosto del 2004 recibí de regalo mi primera y única cámara análoga, una Nikon N75 la que me ha acompañado en los paseos callejeros que suelo hacer.
Mi fotografía se basa en la calle, en el folclor de la gente, en sus risas, miradas, en su actuar, aunque también realizo imágenes captadas en estudio, pero prefiero caminar y observar…es una experiencia mucho más satisfactoria, en donde te camuflas con las personas y aprendes de ellos…y de sus emociones.
Flickr permite en cierta forma eso, el contacto con distintas latitudes, el conocer y no conocer gente, su culturas, su folclor, sus formas de pensar, que a pesar de ser personas muy distantes en cuanto a kilómetros, podemos ser tan iguales en cuanto a corazón. Entonces NYC EXPO es algo así…una unión de gente latina, americana o que tenemos sentimientos en común, los que podemos plasmar en nuestra fotografía.
Bueno acá estamos llenos de poesía, pero una poesía visual cada uno desde diferente ángulo o diferente latitud, todos conectados a través de este gran enlace…
Cristabell Palma Lobos
Stgo de Chile
I'm a mother and student. My name is Cristabell and I am about 25 years old. I study graphic design in a public university in Santiago, Chile. I am almost finished with my studies, but thankfully, my career has allowed me to get to know the photography world.
In college, I have been taught the basic steps to this great visual world. I have a special attraction to film, which has become the main source of my photography work. My photography all started a few years ago (2002 if I remember correctly). I used to work with cameras I borrowed until August 2004 when I received a gift: my first and only Nikon N75. This camera has accompanied me in the street photo strolls that I go on.
My photography is based on the street, the people. I like to capture people's laughters, glances, actions. Although I capture images in a studio, I prefer to walk and to observe...it is a much more satisfactory experience. It's a way to camouflage yourself with the people, learn from them and their emotions.
Flickr allows users to communicate with people from different places, whether you know them or not. It is about people, cultures, folklore, different ways of thinking...that makes people who are physically so far away from each other come together in heart.
The NYC EXPO is something like that... a union of Latino, American, or just a diversity of people with common feelings: those that we can shape in our photography.
It's good that we are full here of poetry, but a visual poetry each one from a different angle or different latitude. All connected through this great connection...
Cristabell Palma Lobos
Wednesday, October 12, 2005
My name is Kathy Slamen and I consider myself to be an imagination specialist.
I am from and live in Montreal, Quebec, Canada. A two time Graduate from Concordia University (BA, BFA), I studied cinema, photography and worked extensively in both fields for many years. I am also a writer, which became a new thing for me this past year because I happened to write a play that sold out all 14 performances since July; but film (either the moving or still image) is, and will always be my first and true passion.
What’s my technique?
Hmm, that’s a tough one. I basically shoot what feels ‘right.’ I rely on intuition, and often compose a shot through the viewfinder of my camera before I even begin to look at the whole picture. I dream and think in colorful images, so it’s easy for me to ‘pre-visualize’ what I would like to capture. For my people portraits, I try to engage the subject, make them feel at ease, and try to keep the camera from becoming a barrier between us.
Almost all of my self-portraits are taken on a whim, when the mood strikes. I rarely plan the shoots in great detail ahead of time, if I plan them at all. Cindy Sherman and Duane Michals have to be my ultimate inspirations when it comes to this style. Their way of fusing the marriage between the cinema space and photographic frame is so close, sometimes, the boundaries get blurred, and that is exactly what I am trying to achieve.
My interest in erotic photography stemmed from my exploration into self portraiture. I loved the idea of creating a complete scenario for each image, placing myself in the center of the metaphorical and hypothetical story, using props, lighting, my own body movements and expressions to convey what words did not. It was an exercise in communication - a different language in a different medium, which yielded some pretty fascinating results. In my latest photographic endeavour, I have chosen erotica and the human body as new vehicles of my current artistic expressions. Through this genre, it is my goal to put the sensual elements back into sexual and pure definition of Eros back into erotica.
My current tool of the trade is a Canon 10D. I used a Canon EOS Elan II e for the longest time, and was very reluctant to go digital, and am still not 100% won over. I still take my 35mm out for a spin every once and a while. I am old school – I love the depth and grain and character of film.
Flickr – what an amazing place! I stumbled across the site by accident about a year ago. I was pleasantly surprised as to how many talented photographers were out there, sharing their images, and sharing their thoughts! I loved the idea of being able to critique other people’s work as well as have others critique mine – what a great way to get feedback and opinions from other artists who use the same medium.
From experience, it’s quite difficult to get your work out there– galleries are hard to break into and the ability to show your photos to the world can be quite limited, but Flickr has made that easy, and fun! I have met so many wonderful people on this site, have received a great deal of encouragement and guidance, which has helped me to define my direction and gain confidence in my work.
I was leery about ‘coming out’ as to my interest in erotic photography; but I became discouraged as to how and where I would be able to show my work to the public; it’s not the kind of thing that you can share with your parents, or hang in a local quaint art gallery, but because of Flickr, I found an audience who respected my photos for their artistic merit. But nonetheless, it came as a complete surprise to me, (and great honor) to be nominated in the ‘Excellence in Erotic Photography’ award. I came in third, but that didn’t matter – what mattered was the discovery of this new side to my art, and to my delight, have been a source of inspiration to many fellow Flickrites who have gone on to do the same.
I am beyond delighted and elated to be a part of this exposition!! It will be my first time in New York and I know that this experience will change my life, both personally and as a photographer. I am looking forward to actually meeting and talking with the fellow photographers whose work I admire and friendships I cherish.
Tuesday, October 11, 2005
Here are three examples:
Monday, October 10, 2005
Av Producer says:
Ron Diorio (av_producer) in Manhattan for life.
My old Nikon FM collects dust on my dresser because the digital darkroom transformed what I had come to know as photography. It moved me from picture taking to image making. Now the only real "photographic" moment is the end stage of the manufacturing process when a Digital C-print is pulled. For me, it has been important to have the "photographic" in the making of the object while disregarding the "photographic" in the image making process. So in a traditional sense, for me, there's not much photography to enjoy.
What I do enjoy is where image making intersects with storytelling - you frame the world - frame a point of view. In some ways "view finder" better describes what it is. The really emancipating thing has been to
find/seek/uncover the authentic - the essence of the emotional connection in the image without the "view" being my truth or something close to me. I'm always chasing that both in my own work and when I'm looking at other's work.
When I first posted on Fotolog in June 2003, I called my page "A photographic imagination." I had just read Sontag's On Photography and I wanted to put a marker down that these images should not be viewed as
documents - they were manipulated and as such the images were not representative but representational.
I was also beginning to understand how pixel based display was a great democratizer - all these screen images were made of the same substance. A Picasso painting, a DaVinci drawing, a deep space image form the
Hubble Telescope or an Ansel Adams photograph were certainly different objects in the real world but on the screen, they were just a collection of pixels. The playing field was leveled, the image content would be
judged on it's own aesthetic and against every other image that could be displayed. The eye would decide.
From the start, I wanted to give people something to think about - but not as a message or a lesson or a meaning. I think I lacked the confidence to articulate that early on. But it is there like the manipulation is as part of my whole approach. I want the viewer active to "look into the image" rather than just looking at the image.
I am not an equipment geek. If the device captures images without a flash, has a memory card I can read and a charged battery I'd probably use it. I don't need a perfect capture, I want to make a capture perfect.
I use Flickr to publish my images because Fotolog crapped out so many times it wasn't worth the aggravation anymore. Both Flickr and Fotolog are distribution points and provide a publication platform and an audience. I want an audience. Of course, this serves two masters because I can move easliy from presenter to an audience to being part of the audience.
At the point where I was searching for a way of working - first Fotolog and then Flickr gave me a daily production and publishing structure and a format to see a body of work developing.
It allows me to be prolific without purpose and organically find threads in the work. The dark side is that there is such a need to get the next image - almost an obligation. I realize this is a product of my own need for immediate gratification. I tend to ration the published images to one per day. The sheer volume of images posted on both of these services is a stark reminder of how insignificant any single image can be. It is quite intimidating.
I am always surprised by what people connect to in an individual image, what they are moved by. I am starting to sense a bond. It is not just that I said something nice about their picture or made them a contact
so they'll say something nice about mine. There is something we have in common, something they know and I know.
Why I wanted to take part in the NYC Exposition? I read Dylan's Chronicles earlier in the year and just saw Scorcese's "Don't look back" yesterday and "California Dreaming" earlier this week. Aside from their specific topics of Dylan and the Mammas and the Pappas, they documented the NY Folk scene in the early 60's. The creativity and mutual influences that so many of those artists had on each other strikes a similar chord to those of us who have watched each other's work over the last two years on Fotolog and Flickr. I see this as a
festival of those visual efforts and would feel I missed something important if I weren't participating. Also with some of my favorites are already participating I feel fortunate to have the honor of our work sitting
Coming off three traditional exhibitions of my "Anytown" series, I look forward to presenting some work from a new collection in its original digital format.
Now, I want to share this essay, which was published recently about "Anytown" and may be of interest.
Mysteries of the Glance.
Ron Diorio’s imagery initially evokes qualities of the ‘Hopperesque’. These sparsely populated cityscapes, with their angular deployment of architectural detail in compositions like Cornerstone and Hustler club,
conjure urban nooks that reference directly the loneliness and faintly sinister atmosphere we have come to associate with Edward Hopper in paintings like Sunday (1926). Furthermore, a heavily voyeuristic quality Diorio has inscribed in images such as Ten thousand days, Lobby at night or Moving day, mobilises a dialectic of compassion and alienation that can be found in Hopper’s Office at Night (1940).
But comparison with a major figure of American Art, while no doubt flattering to Diorio, may also come too quickly, curtailing further appreciation of his images. One difference is that, while Hopper’s paintings are not exclusively urban in content, the significance of anything approaching rural iconography for Diorio – in Botanica or Cruising for example – actively denies access to a bucolic world beyond the horizon. However ironic such references may be in Hopper, their possibility remains part of the enunciation of his work. Not so for Diorio, who confesses to finding ‘green difficult to deal with’.
While there is a contemporary aspect to the costumes of the young men in Cruising, elsewhere Diorio renders historic markers ambiguous. In Widows walk for instance, nineteenth century fashion and architectural
references lend a timeless quality, while the figures that punctuate Cruising include a contemporary predatory note. As in Botanica, this implicates the viewer in social questions, which an artist like Hopper tends to eradicate in favour of the psychological. The figure emerging from the dry, leafless trees in Botanica evokes the stroll of a park ambler rather than the purposeful gait of a country dweller: his narrative and identity remain the subject of speculation rather than being indicated by his environment.
Despite this socio-urban tone, Diorio’s imagery is also evocative of quietly tragic moments, in which hunched figures are reduced to objects by the metropolis that oppresses them. Images like Lament on the death
of a Blackberry TM, Hustler club or Piccadilly show people suspended in a temporal hiatus, who appear to be either waiting for something to happen or contemplating something that has already befallen them. And we
wonder also whether it is more likely that they are doing both, since the syntax of personal narrative saturates their forms, as if they were characters in an ironic film noir.
But if these images evoke oppression, a lighter mood is also present in a variety of Diorio’s images. The mock-heroic light that falls in the bathetically titled Lament on the death of a Blackberry TM corresponds
to the sheer, childish exuberance of Puddle jump. And if the title of the latter evokes an innocence in the poetry of e e cummings, its falling, starry spangle of city lights owes as much to Whistler’s Nocturne
in Black and Gold: Falling Rocket (c.1874) as to the darkness of a Scorsese text. Alternatively the contemplation of a strange perspective in Yesterday’s empire has the effect of morphing compassionate markers of homelessness and alienation into a sinister figure of a Taliban-like spectre among the ruins of an anonymous ground zero. Or there is the theatrical surrealism of other images – like Learning to fly or Clouds fall for example – which refer more to Dali than Hopper, both of whom would no doubt have done more to lend significance to a facial expression of their lone protagonists.
From the facelessness of Diorio’s figures a further opposition emerges: far from obscuring a direct address to the viewer, the lack of a face makes their pose more essential. These postures articulate the complexity of interaction habitually adopted by city-dwellers, in the glance that avoids eye contact on the street. Thus, by presenting for closer scrutiny what is casually taken as sufficient in the glance, Diorio forces realisation of what is also deficient in the ‘data-gathering’ activity of a glance. And this returns us to the impenetrability of Dreiser’s “streets of wall-lined mysteries” referenced in the preface, that translate to the twenty-first century ‘Anytown’.
Dreiser introduces Caroline Meeber, the eighteen year old ‘Sister Carrie’ of his novel, as “possessed of a mind rudimentary in its power of observation and analysis”, so the quotation that introduces ‘Anytown’
functions as a manifesto for an urban ‘aesthetic of the glance’ that is also innocent. The strange mazes of Diorio’s ‘glances’ interrogate Dreiser’s “wall-lined mysteries”. Light on surface is made to symbolise the “vaguest conception” dwelling in the unconscious of Dreiser’s Carrie: the wall of divisive opacity in Outsiders; an easy resistance to human emotion in the walls of Moving day or Ten thousand days; and finally a
disturbing, robotic face with glowing eyes that seems to stare from beneath the surface at the left of the frame in Man ray. These are elements of the impressionist glances that comprise Carrie’s observation of
The merging of Theodore Dreiser’s 1908 text of urban confusion with conditions that pertain in the twenty-first century metropolis lends temporal resonance to these images, extending beyond content. We have been comparing digitally manipulated images with those of painters not simply because computer applications can render a painterly surface or prompt the pursuit of an ‘aesthetic of the glance’. As well as surfaces, their compositions have been manipulated, using a computer-aided program to affect addition and deletion of objects. In fact Diorio’s application of digital montage techniques resurrects a nineteenth century practice of combination printing, like those of Henry Peach Robinson (1830-1901) and Oscar G. Reijlander (1817-1875).
New media theorist, Lev Manovich, reminds us that editing or montage was a key twentieth century technique, creating fake realities in mainstream film and provoking conceptual aesthetics in avant-garde treatment of both moving and still images. In the 1980s computers began to extend the possibilities of montage by making it easier to combine disparate visual elements: in the art gallery, ‘copy-and-paste’ elements, in works by David Salle (see for example The Canfield Hatfield Portfolio) or Barbara Kruger for example, began to celebrate the resultant hard-edged boundaries of combined objects.
But it turns out that computers do more than simply expand the possibilities of combining elements from different sources: in fact they have led to a new paradigm, one which replaces montage with compositing as
the dominant aesthetic. The aim of montage was to create visual, stylistic, semantic and emotional dissonance through active juxtaposition of consciously disparate objects. Compositing, by contrast, blends these elements into a single whole to create a visual gestalt.
What Diorio’s work confirms is that a logic of the postmodern aesthetic of the 1980s has finally passed: his technique erases boundaries and rejects the montage aesthetic of juxtaposition in favour of a smoothly
continuous appeal to the eye. At the same time the inherent compositing of these images interrogates the conceptual integrity of their glanced fictions.
Brooklyn. July, 2005.
Used by permission.
Copyright 2005 Norman Taylor
Sunday, October 09, 2005
iN yOUr oWn hAnds
I am a 19-year-old art student in college.
I only recently discovered my interest in photography; it happened when I volunteered to design the invitations for an exhibition. I think my style and technique is to capture whatever the subject is in its best light, the play of light and shadow is a must for me. I also tend to shoot some pictures at an unusual angle, so it's kind of a diagonal image. I use a Nikon CoolPix2500 and recently have used a Nikon D70.
I think Flickr is a good way to interact with others from around the globe and to get opinions from all over. It helps to progress my abilities and makes me want to push myself further. I am competitive so this is also why I like it. I start to compare and it makes me become better.
I was invited to join the NYC Expo and I thought it would be interesting to see how people who aren't in Flickr respond to my work, whether they like it or not. I also think it's a good way to show my work to the world, maybe I might inspire someone.
Thank you :)