About the top image: A still from Incoming by Richard Mosse. Photograph: Courtesy of the artist, Jack Shainman Gallery, New York and carlier|gebauer, Berlin.
Perhaps the most widely discussed exhibition of the year, Mosse’s vast three-screen video installation was not strictly photography, but addressed all the issues that the medium is freighted with as it negotiates the post-truth world. Shot on a hi-tech military surveillance camera that registers body heat from as far away as 30km, Incoming reimagined the contemporary refugee crisis as a Ballardian dystopian drama populated by spectral figures moving slowly through an alien landscape. Beautifully observed moments of heightened intimacy – a lone figure praying to Mecca amid the tumult around him – provide breathing space in an almost overwhelming audiovisual installation.
Together with Avedon, Penn, Steichen, Strand, Arbus, Cartier-Bresson, Albert Watson and a few more, he is one of the truly great photographers. For me. They are all different and perhaps I should not compare them. So I don´t. Read the article from The Guardian, by Sean O `Hagan.
See the images and imagine the sound that he recorded. 😊 Pelle
Smith took many famous pictures, but also taped hours of audio of jazz greats, writers and artists of the day in his New York loft. A new book explores his strange world
Smith was perhaps the single most important American photographer in the development of the editorial photo essay. His visual narratives, usually published in Life magazine, were often brutally atmospheric. He evoked the horrors of the second world war in the Pacific, where he was injured by mortar fire, and chronicled the working life of Dr Ernest Ceriani in the small town of Kremmling, Colorado, in his 1948 series, Country Doctor, now recognised as the first extended editorial photo story.
In 1955, Smith became a member of the Magnum picture agency, travelling to Pittsburgh for his first assignment, which entailed producing 100 photographs in three weeks to mark the city’s first centenary. He worked on the project for three years, producing around 21,000 photographs. Today, his legacy is maintained by the W Eugene Smith Memorial Fund, which celebrates and encourages the kind of humanistic photography he pioneered, if not the impossible tasks he set himself and his beleaguered editors.
Many photographers are posing on their selfies with a camera, this is only natural. I guess. As you can see also the top photographers have thought of the same idea for their work. I wish I could visit the exhibition to see some of my favorites. 🌞 Pelle
I am afraid I will, and I am very sorry for that. If you live close enough you SHOULD go there. Paul Biddle is a very good friend of mine, and one of the best photographers that I know. And know of. He has the gift to always creating interesting and surprising images from his imagination.
Photography is also, among many other things, capturing dreams. Seeing the inner vision and to let that come out. Paul is one of the best. I am sure that he and his colleagues will create a wonderful exhibition that will open up your fantasy as well. Go see!
Canadian photographer Edward Burtynsky is best known for his large-scale images of landscapes altered by industry. An exhibition of his new work Salt Pans, a series photographed from the air above the Little Rann of Kutch in Gujarat, India, is on show in London.
Often from an aerial perspective Burtynsky’s pictures have a painterly, abstract quality. This shot, taken in 2012, shows the Thjorsa River in Southern Region, Iceland.
“Nature transformed through industry is a predominant theme in my work,” says Burtynsky. “We are drawn by desire – a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success.”
The project documents a disappearing landscape. The geometric patterns detail the network of wells and vehicle tracks made during the extraction of hundreds of tonnes of salt from the area.