Wim Wenders, German film maker and photographer in his own right, talks about digital photography, the transience of the moment and the tendency of today’s photographers to “not be there” with there minds when they press the shutter.
And in this little series “An afternoon with Wim Wenders” he shares with a young student about film-making, and his own journey and philosophy.
William Klein has lived many lives. One of the world’s most influential photographers, he pioneered the art of street photography and created some of the most iconic fashion images of the 20th century. He also made over twenty films, including the first ever documentary about Muhammad Ali and a brilliant satire of the fashion world, Who Are You Polly Magoo?
With a major Tate Modern exhibition celebrating his work, imagine spends time with William Klein to discover the irrepressible, charismatic personality behind a remarkable creative life.
Mark Seliger‘s Capture talks always feature inspiring artist. In this episode Mikhail Baryshnikov renown dancer, choreographer and (as I now know) photographer and Ben Lowy award winning war photographer discuss photography.
“Raymond Taylor’s Earnest Adventure in Love” is a short film production by Writer and Director Jemma van Loenen and Producer Phill Northwood. The production is Jemma’s fourth film as Director. “Raymond Taylor’s Earnest Adventure in Love” is a Lollapalooza Film production.
“Throughout his career as a photographer, Frank Hallam Day has concerned himself with many different aspects of the medium. Following numerous projects with a focus on political issues, his work has now increasingly turned towards exploring the relationships between man and the environment. For this, he shoots predominantly at night to reveal a suggestive and ambiguous side of the world.
The latest example of this is illustrated by his winning portfolio ‘Alumascapes’. This photographic project shows the results of a month-long journey through Florida. In his images, Frank Hallam Day depicts the phenomenon of man and his environment in a unique manner and makes recreational vehicles (RV’s) – ultra-modern, high-tech and luxury homes on wheels – the brightly lit and dazzling stars of his pictures. They seem to be inextricably entwined in the jungle landscapes of Florida at night and appear as essential islands of security in a dark and hostile environment. They protect their owners with a feeling of safety and comfort in the lap of luxury. Of course, this form of escape no longer has much to do with the love of nature, relinquishing everyday luxuries or winding down. Frank Hallam Day’s images reveal that the relationship between man and the environment is more ambiguous than ever before.
Frank Hallam Day’s work has been shown in numerous international exhibitions and is represented in many galleries and private collections. Frank Hallam Day lives in Washington, D.C. He has worked as a lecturer for photography at the Smithsonian Institution in Washington and is the winner of numerous prizes and scholarships.”
is well know internationally as one of the great street photographers of our time and is likened to Stephen Shore and William Eggleston. He is best known for his sensitive photographs of people and situations. His way of handling light is still groundbreaking.
In this short video he talks about his “Retrospective” show at the Hôtel des Arts – a Toulon where he presents more than 140 photographs of the last 50 years.
He says “Photography has taught me many things. I feel that I’ve been a servant to photography. Its given me back whatever I could understand from its gifts and demands.”
One of the first things he learned from working on the street was “that when the moment arrives you just have to make a picture of the moment and often the frame itself isn’t a perfect frame. Its isn’t a perfect Cartier-Bresson classically organized frame” Joel says “it’s got a different kind of energy, its clumsier, it’s bolder.”
Though many would see his work as art, Joel looks at them differently, thinking of his pictures not as art, but as a fraction of a second in which his understanding and the world’s offering are unified in some ways that allows us to have a kind of open experience to share with whoever looks at the picture.
Almost mystically he summarizes his view of photography as “one of the strength of photography is that it show you were to go. By reading your images you begin more to understand who you are. I trusted right from the beginning that photography would tell me what my identity was, and offer me a path of knowing more about myself.”
Horror news out of Syria, ongoing conflicts in Iraq, Afghanistan, Sudan etc. and the world’s news media framing stories fitted into the various political and economic frameworks (eg: show only blood and violence, show only clebrating troops and liberated people, etc.), is saying something about our understanding of Power and Authority.
Having witnessed first-hand one of the twentieth century’s most contentious struggles — the dissolution of apartheid — William Kentridge brings the ambiguity and subtlety of personal experience to public subjects most often framed in narrowly defined terms.
Using film, drawing, sculpture, animation, and performance, he transmutes sobering political events into powerful poetic allegories. Aware of myriad ways in which we construct the world by looking, Kentridge often uses optical illusions to extend his drawings-in-time into three dimensions.
Kentridge says: “Can one find an art that is connected to politics, which relates to politics, but in which the same ambiguities and uncertainties that one find when describing the rest of the world, exist in a political sphere? And that’s not the norm in political art.
Dewitt Jones is one of America’s top professional photographers. He’s been shooting for years, for National Geographic and as a photojournalist. He is also a keynote speaker, combining stories with his extraordinary photographs to teach both creativity and vision.
I first saw the Inside Out project in Rio when it hit the news last year. And today I came across JR’s Ted Talk. What an idea! I love what he did in Kibera especially, and knowing that I’ll be there in about two weeks excites me.
I was just moving from one train carriage to the other and grabbed an empty seat without paying much attention to the persons opposite me, when my eyes caught a glimpse of the unusual. An old brown leather bag, held by old leathery hands, an old brown leather jacket and an old brown leather vest, with an old brown tie. I looked up slowly. In front of me sat an old man and his old wife. Their hair was white, a bit longish, quite artistic. A chiseled face, deep wrinkles and weathered skin. An green amnesty international badge on his tie. They where dozing off into slumber-land between stops, gently talking to each other on the odd occasion, checking the time on their watch – being totally at peace and calm in this early afternoon commuter train. What a wonderful couple.
Where was my camera? I was wrestling with the idea of introducing myself to them, and asking if I could come over to their house this Saturday and just follow their day with a camera. Or just even take their portraits. I had to capture them. So unique! They would have been well in their 90′s. What would their day look like? It occured to me – as I slowly pulled out my iPhone – that they had no electronic gadget on them. Their world seemed to be thoroughly analogue.
So with the best camera available, I took that shot. Just the hands, just the jacket and bag.
I followed them with my eyes, as they got up to get off the train. She smiles at me. He took her hand, and together they walked down the platform towards the exit. I wonder what these photos could have been. Did I miss an opportunity? I got one photograph which speaks to me of that beauty of old.