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The Democratic Republic of Congo (DRC) is home to the deadliest war in the world today. An estimated 5.4 million people have died since 1998, the largest death toll since the Second World War, according to the International Rescue Committee (IRC).

You can see the impressive multimedia photographic work by Marcus Bleasdale [from Agency VII] at MediaStorm. If you are interested you can purchase a DVD or a book of this heartbreaking work, and if you are generous you can donate at any organization mentioned in the article. It is really a shame for all humanity that this world is still experiencing never ending tragedies like this one in Congo … sadly, it is just one more among others.

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Andrew Hetherington has a post over at “Whats the Jackanory?” that could be interesting if you are a blogger and a photographer, and like to consider a job blogging about photography.

© Thomas Misik

Thomas Misik is a German photographer that photographs spaces where geometry, color and composition create an illusion of unpopulated areas isolated from their own context. His work shows the space as an art form, sterile, without human presence. Unfortunately, it is not easy to find much of his work online but found some interesting images via galerie-poller. The navigation is not very intuitive: click on the images until you see thumbnails on the right side, with galleries for different years. Click on the thumbnails to see larger images.

Words and photography. Two different media that rarely intersect besides some areas like photojournalism. Usually we see and enjoy fine art photographs without words, with not even a single caption in most cases. Good fine art photographs make us wonder and so we recreate with our own mind our interpretation of the image. It is our understanding of the picture, not the photographer’s.

Now let’s go to the other side. Let the photographer communicate with just words, not pictures, and let these words make us wonder about the image so we can recreate with our own visual aesthetics a world of possibilities based on the text. From words to pictures? It sounds unusual, it is uncommon. Related with this I came across a very interesting project, “Photographs not taken“, where photographers talk about images they did not take but they hold in their memory.

The Photographs Not Taken” is a collection of essays by photographers about the times they didn’t use their camera. This collection is a series of photographs not taken with a camera, but, instead, lived and remembered. – more here.

A good picture can trigger an emotional response. Also words can move us, poetry can make us feel, captions can change our visual interpretation of an image. Words and images are indeed complementary ways to communicate and they enrich each other to create a response in the viewer with enhanced awareness of the subject matter. I wonder why it is not more usual to mix both media, fine art photography with words, captions and poetry. The juxtaposition of both ways of communication could create something different, a new art form in a way, or at least enhance our understanding of the photograph and the emotions that the photographer likes to convey with the image.

[update: arneg in the comments referred to a great site Unphotographable, where the pictures not taken are indeed described with words. Very interesting indeed]

”Guy was the closest thing to a fine-art photographer that this business has produced.” – Albert Watson

I find very interesting the intersection between fashion and fine art photography, and both Guy Bourdin and Albert Watson, merge those genres like few have done. At the core of Guy Bourdin’s photographs there is a challenge to the very nature of commercial image making. Typical fashion images focus on beauty and clothing as their central elements. Guy Bourdin, on the contrary, presented fashion as an excuse to make beautiful photographs rather than the subject of his photographs. His main impact in photography resides on the fact that it is not fashion itself but the image that fascinates the viewer.

Guy Bourding was a radical artist in his field, he lived outside the cutting edge and so he re-defined it. He is one of the few in fashion whose work will endure the passage of time, placing him in the pedestal of the most influent photographers of the second half of the 20th century. You can see more of his images here, and after the jump, and a reference from the New York Times.

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This book [The photographer’s eye] is an investigation of what photographs look like, and why they look that way. It is concerned with photographic style and with photographic tradition: with the sense of possibilities that a photographer today takes to his work.- The Photographer’s eye, by John Szarkowski, 1966.

The Museum of Photographic Arts in San Diego (MoPA), California, celebrates its 25th year anniversary with a unique exposition based on the landmark exhibition at The Museum of Modern Art (MoMA), New York City, in 1964 and later published in the historical book “The Photographer’s eye“(1966), by John Szarkowski , the former Director of the Department of Photography at the Museum.

The exhibit at the MoPA (San Diego) starts tomorrow Jan. 19th and will be on display until April 20th, 2008. Continue Reading »

I guess that most of you agree with the main point in my previous post: “the print is the photograph”.

To some, it is such an obvious concept that it may not be worthwhile to mention. But, as much as we believe that the true photographic experience emerges from looking at prints, photographic editing is now mostly entirely driven by the use of computers, so most images never get printed. We even disqualify or select images from our own work by looking at the computer screen!

How many images do you print? Do you create photobooks? Do you create folios of printed work?

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