A portrait can be more than simply a photograph of a person.
Under the right conditions it becomes a visual representation of a dialogue
between a subject and a photographer that is communicated to the viewer.
Dan Larkin
2 days ago
Wednesday, 10 June 2009
Tuesday, 9 June 2009
Monday, 8 June 2009
featuring drew thomas levy
'featuring' is a way of exposing the work and thoughts of a contemporary photographer
mostly it's a summary of a communication (live chat, interview, email, phonecall...) through which i tried to find answers on questions or to let the artist explain the idea behind an image
i noticed the photography of drew thomas levy some time ago on the internet
from the beginning i knew there was something special with this images
drew approaches his streetsubjects in a different way,
with a whole lot of consideration
keywords in his photographical life are memory, faith, time and loss...
© drew thomas levy
I took the photograph above on Lancaster Avenue in West Philadelphia, Pennsylvania. I took it outside a Haitian church. The church is housed in an old movie theater. They used to call movies motion pictures and before that magic picture plays. Those long threads of association may seem extraneous or even irrelevant, but they are the kinds of things I am thinking and chasing while I walk about taking photographs.
I first noticed this storefront church in the early morning, before the sun was falling across its facade. I locked my bicycle to a post across the street and walked away, off to spend the morning and early afternoon taking pictures. Several hours later when I returned to my bicycle, the westward-facing side of Lancaster Avenue had been transformed. The high, hot summer sun was pounding down on the storefront church, reflecting off its metallic surfaces. I made my way through the traffic to the other side of the street and set out to frame a photograph.
I remember the heat of the concrete as I kneeled down on the sidewalk to take this photograph. I remember thinking about the extremes of the light, not knowing exactly what the photograph would look like and yet trusting that it would work. I was conscious of my own reflection, but not of the reflections in their entirety: of the parking meter, the car, and the building that all work together to add earth to the heavens. I remember worrying about the words on the bottom of the poster and whether they would be legible in the photograph; I remember deciding it didn't matter.
I re-crossed the street, loaded up my two cameras in my bag, unlocked my bike, put on my helmet and began peddling home. As I rode, I kept thinking of this photograph, kept hoping I had managed to craft what I had seen. We talk about taking, capturing, even shooting photographs. These metaphors are as old as photography itself. And yet as I thought about this scene and this image on my bike, and even as I think of them now, I was thinking about translation. Photography offers to me over and over again the gift of the world's unexpected beauty and complexity and resonance and what I wanted more than anything as I made this photograph, as I make any of my photographs, is to translate an impression, the light, color, poetry. And when I am lucky, and that day on Lancaster Avenue I was very, very lucky indeed, photography allows me to translate what I see and experience and try to comprehend, it allows me to share my world with others.
In one way or another, I think all of my photographs are about memory, faith, time, and loss.
It's difficult to choose a single image. Difficult in the same kind of way that answering the question "what's your photography about" is difficult. Then again, for some people that question isn't difficult at all: "artist's statements" are a dime a dozen.
I live in Albany, NY, together with my partner Holly and my newborn child Daniel.
Albany is straight up the Hudson River from New York City.
Drew
mostly it's a summary of a communication (live chat, interview, email, phonecall...) through which i tried to find answers on questions or to let the artist explain the idea behind an image
i noticed the photography of drew thomas levy some time ago on the internet
from the beginning i knew there was something special with this images
drew approaches his streetsubjects in a different way,
with a whole lot of consideration
keywords in his photographical life are memory, faith, time and loss...
© drew thomas levy
I took the photograph above on Lancaster Avenue in West Philadelphia, Pennsylvania. I took it outside a Haitian church. The church is housed in an old movie theater. They used to call movies motion pictures and before that magic picture plays. Those long threads of association may seem extraneous or even irrelevant, but they are the kinds of things I am thinking and chasing while I walk about taking photographs.
I first noticed this storefront church in the early morning, before the sun was falling across its facade. I locked my bicycle to a post across the street and walked away, off to spend the morning and early afternoon taking pictures. Several hours later when I returned to my bicycle, the westward-facing side of Lancaster Avenue had been transformed. The high, hot summer sun was pounding down on the storefront church, reflecting off its metallic surfaces. I made my way through the traffic to the other side of the street and set out to frame a photograph.
I remember the heat of the concrete as I kneeled down on the sidewalk to take this photograph. I remember thinking about the extremes of the light, not knowing exactly what the photograph would look like and yet trusting that it would work. I was conscious of my own reflection, but not of the reflections in their entirety: of the parking meter, the car, and the building that all work together to add earth to the heavens. I remember worrying about the words on the bottom of the poster and whether they would be legible in the photograph; I remember deciding it didn't matter.
I re-crossed the street, loaded up my two cameras in my bag, unlocked my bike, put on my helmet and began peddling home. As I rode, I kept thinking of this photograph, kept hoping I had managed to craft what I had seen. We talk about taking, capturing, even shooting photographs. These metaphors are as old as photography itself. And yet as I thought about this scene and this image on my bike, and even as I think of them now, I was thinking about translation. Photography offers to me over and over again the gift of the world's unexpected beauty and complexity and resonance and what I wanted more than anything as I made this photograph, as I make any of my photographs, is to translate an impression, the light, color, poetry. And when I am lucky, and that day on Lancaster Avenue I was very, very lucky indeed, photography allows me to translate what I see and experience and try to comprehend, it allows me to share my world with others.
In one way or another, I think all of my photographs are about memory, faith, time, and loss.
It's difficult to choose a single image. Difficult in the same kind of way that answering the question "what's your photography about" is difficult. Then again, for some people that question isn't difficult at all: "artist's statements" are a dime a dozen.
I live in Albany, NY, together with my partner Holly and my newborn child Daniel.
Albany is straight up the Hudson River from New York City.
Drew
Friday, 5 June 2009
Thursday, 4 June 2009
what about tomorrow #8
© paul willaert (james - ramsgate 2009)
My name is James.
I'm twenty years old and I live in Southampton.
I'm studying business. I want to become a businessadvisor.
I have a strong and close relationship with my parents.
We talk a lot about everything.
They do different jobs.
But they support me a lot towards what I want to do.
I'm not sure if I will stay here. Just see what happens.
I will go wherever the a job takes me.
The relation with my girlfriend is definitely enriching my life.
I want to live my life in full, be happy...
Monday, 1 June 2009
Sunday, 31 May 2009
Saturday, 30 May 2009
Thursday, 28 May 2009
Wednesday, 27 May 2009
Tuesday, 26 May 2009
Sunday, 24 May 2009
q.
Things happen in front of you.
That's perhaps the most wonderful and mysterious aspect of photography.
It seemed like you just had to decide when and where to aim the camera.
The process was linear and it never stopped.
That's still true,
although i've traded in my need for always taking pictures.
I can let them go by sometimes now
and just be there?
Annie Leibovitz
(read in 'At work' Annie Leibovitz)
That's perhaps the most wonderful and mysterious aspect of photography.
It seemed like you just had to decide when and where to aim the camera.
The process was linear and it never stopped.
That's still true,
although i've traded in my need for always taking pictures.
I can let them go by sometimes now
and just be there?
Annie Leibovitz
(read in 'At work' Annie Leibovitz)
Friday, 22 May 2009
urban nature #11
© paul willaert (oostende - 2009)
tonight in gent (be) the opening night of a group exposition with the participation of a friend of mine luc rabaey
Thursday, 21 May 2009
Wednesday, 20 May 2009
featuring isabelle pateer
featuring' is a way of exposing the work and thoughts of a contemporary photographer
mostly it's a summary of a communication (live chat, email, phonecall...) through which i tried to find answers on questions or to let the artist explain the idea behind an image
isabelle pateer (°1980) graduated in 2003 from saint lucas brussels, dpt. of photography
specialised in documentary imagery and location portraiture she is shooting an equal balance of personal long-term projects and editorial assignments for magazines, companies and organizations
i've asked isabelle to write some words on her recent work 'unsettled'
this series is exposed now in 'galerie mercator' in antwerp
© isabelle pateer
© isabelle pateer
© isabelle pateer
the documentary series ‘unsettled’ focuses in a metaphoric way on the idea of ‘progress’
in a case where living environment has to disappear
because of industrial purposes
within this ongoing project this international case is illustrated
by focusing on the belgian village doel,
which is threatened by vast expansions of the port of antwerp
”unsettled” alternates portraits of young inhabitants with landscapes
that bare witness to the dejected state of the town
it rises the question of the purposefulness of growth, development and progression
isabelle
expo 'unsettled'
may 9 until june 25 2009
gallery mercator
daily opened from 9 to 17
desguinlei 100, 2018 antwerpen (be)
isabelle pateer
mostly it's a summary of a communication (live chat, email, phonecall...) through which i tried to find answers on questions or to let the artist explain the idea behind an image
isabelle pateer (°1980) graduated in 2003 from saint lucas brussels, dpt. of photography
specialised in documentary imagery and location portraiture she is shooting an equal balance of personal long-term projects and editorial assignments for magazines, companies and organizations
i've asked isabelle to write some words on her recent work 'unsettled'
this series is exposed now in 'galerie mercator' in antwerp
© isabelle pateer
© isabelle pateer
© isabelle pateer
the documentary series ‘unsettled’ focuses in a metaphoric way on the idea of ‘progress’
in a case where living environment has to disappear
because of industrial purposes
within this ongoing project this international case is illustrated
by focusing on the belgian village doel,
which is threatened by vast expansions of the port of antwerp
”unsettled” alternates portraits of young inhabitants with landscapes
that bare witness to the dejected state of the town
it rises the question of the purposefulness of growth, development and progression
isabelle
expo 'unsettled'
may 9 until june 25 2009
gallery mercator
daily opened from 9 to 17
desguinlei 100, 2018 antwerpen (be)
isabelle pateer
Tuesday, 19 May 2009
Monday, 18 May 2009
featuring dieter de lathauwer
'featuring' is a way of exposing the work and thoughts of a contemporary photographer
mostly it's a summary of a communication (live chat, email, phonecall...) through which i tried to find answers on questions or to let the artist explain the idea behind an image
i find dieter de lathauwer's imagery quite unique in the belgian photographyscene
born in '78, he graduated as an industrial engineer in 2000 after which he studied photography at the academy of fine arts in gent
he lives and works in gent - belgium
while observing dieter's intriguing landscapes, words like transparency and endlessness, solitude and desolateness, sublimed reality and surreality come to my mind
one thing is for sure, and this makes his portfolio that outstanding:
de lathauwer speaks a language of his own which he finds difficult
to explain himself but that no one amongst us can leave untouched
i asked the man to write something down about one of his images...
title: "don bocata" . 2008 . 80x100cm . inkjetprint on archival baryte . mounted on dibond .
I wander. I explore. The boundaries between nature and culture.
A tension between registration and storytelling.
Under the skin uneasy feelings.
Surreal, slightly.
Watching.
Slow.
Alone.
"We are now officially in fantasy land" - are we?
A strange world suddenly exposing itself to you.
Please come in.
This image is taken in Gran Canaria. Not that it matters. With a medium format film camera.
Is it real, fake, a miniature world? What's going on? Enter my world, please, enter.
Dieter
dieter's site and blog
mostly it's a summary of a communication (live chat, email, phonecall...) through which i tried to find answers on questions or to let the artist explain the idea behind an image
i find dieter de lathauwer's imagery quite unique in the belgian photographyscene
born in '78, he graduated as an industrial engineer in 2000 after which he studied photography at the academy of fine arts in gent
he lives and works in gent - belgium
while observing dieter's intriguing landscapes, words like transparency and endlessness, solitude and desolateness, sublimed reality and surreality come to my mind
one thing is for sure, and this makes his portfolio that outstanding:
de lathauwer speaks a language of his own which he finds difficult
to explain himself but that no one amongst us can leave untouched
i asked the man to write something down about one of his images...
title: "don bocata" . 2008 . 80x100cm . inkjetprint on archival baryte . mounted on dibond .
I wander. I explore. The boundaries between nature and culture.
A tension between registration and storytelling.
Under the skin uneasy feelings.
Surreal, slightly.
Watching.
Slow.
Alone.
"We are now officially in fantasy land" - are we?
A strange world suddenly exposing itself to you.
Please come in.
This image is taken in Gran Canaria. Not that it matters. With a medium format film camera.
Is it real, fake, a miniature world? What's going on? Enter my world, please, enter.
Dieter
dieter's site and blog
outlandish
in my mailbox this morning
funny...
18 mei 2009 05:22:21
Dear Photographer,
Congratulations! Your image was shown at the NYPH ’09 festival yesterday. Enclosed you will find an installation view of your image as it appeared on the festival’s screen.
The festival is enjoying great crowds. The organisers are all grateful for your participation in this global project. Thank you again for enriching the visual experience of festival goers.
Sincerely,
William A. Ewing
Curator
New York Photo Festival ‘09
Director, Musée de l’Elysée, Lausanne
.jpg)
funny...
18 mei 2009 05:22:21
Dear Photographer,
Congratulations! Your image was shown at the NYPH ’09 festival yesterday. Enclosed you will find an installation view of your image as it appeared on the festival’s screen.
The festival is enjoying great crowds. The organisers are all grateful for your participation in this global project. Thank you again for enriching the visual experience of festival goers.
Sincerely,
William A. Ewing
Curator
New York Photo Festival ‘09
Director, Musée de l’Elysée, Lausanne
.jpg)
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