Between sculpting and lighting, Christine Mathieu photographs the symbolics and cultural meanings lodged into ordinary things. She was a prize-winner in the Polaroid-sponsored national competition for schools of photography, and then, held her first photographic exhibition in Paris. She then worked successfully in illustration, graphic design and colored design space. Her artistic work mainly explores the ways of photography only since 2002. Her photographs have been chosen for inclusion in national and international exhibitions and collections.
The photography master and Larry Clark cohort explains the magic of the printed page
“I’ve always wanted to make a film on Ralph because I knew it would be a great excuse to a have private class,” says filmmaker David Luraschi of capturing the master photographer Ralph Gibson at work. “Each time I visit I’m hoping to steal his secrets, but I leave his studio with even more questions.”
“Ralph was nine months late on rent at the Chelsea Hotel before he put out his first book and established himself”
Known for his stark Leica-shot work, How to Make a Book unpicks Gibson’s unique talent for shaping the mise-en-page: the laying out of images within a print publication. Carefully juxtaposing unexpected images across double-page spreads, the resultant diptychs create something independent of their separate parts. Gibson began his career in the 1960s assisting influential photojournalist Dorothea Lange and documentarian Robert Frank, and published his first work, Somnambulist, in 1970, a release which launched his print-making career soon after securing Larry Clark’s seminal book, Tulsa.
“Each time I visit Ralph I’m hoping to steal his secrets, but I leave his studio with even more questions”
Luraschi worked in collaboration with Danilo Parra – the Chilean-American director, recognized for his music videos for A$AP Rocky and the Black Lips – and came to know Gibson and his work through his father. “There’s a picture that my dad took of Ralph sleeping in San Francisco in 1961 where you can tell there’s no sheets,” says Luraschi, known for his popular Instagram series of street snaps taken where all of the subjects are captured from behind. “Two of his Leicas were in the pawn shop, and he was nine months late on rent at the Chelsea Hotel before he put out his first book and established himself.”
http://www.chriskovacsphotography.com/ (1976) Born in Edmonton, Alberta, Canada. Chris Kovacs is an award winning photographer best known for his multiple exposure black-and-white photography. Chris is fascinated with science, particularly with quantum mechanics and the possibility of a multiverse, or multiple, parallel universes, which also sets the stage for his style of photographic works. Chris is also […]
I’m interested in creating images with a narrative that you can feel. Building emotion into my images makes the process very intuitive and extremely slow. The formal qualities of my work reflect the conceptual indulgence provided by art school, the polish I learnt assisting fashion photographers and the many hours I spend making pictures alone in the studio. In past years I have collaborated on projects with Future Classic Music, Rosemount Australian Fashion Week and Oxfam/Cirque de Soleil. Daniel Shipp
To make images that stir the viewer’s thinking and emotions.
2. DEVELOP YOUR “SEEING” SKILLS
It’s the first and most important skill that you need to learn.
Seeing Exercises. Set aside 45 minutes from time to time around your home, with your camera and a subject that has your sustained interest. Relax for a few minutes then start taking pictures. Study part of your subject for a moment or two, then re-focus on another part of your subject and study it for a while. Become aware of colors and shapes. See how many details you can find. Then note the following:
Personal responses: Tune in to your feelings/thoughts as you locate the subject matter.
Impression: Look at your chosen subject matter, or any part of it, and see it simply as a geometric shape or an arrangement of geometric shapes. Note the position where things look most graphically appealing.
Expression: What does the subject matter seem to express in the way of sensation? Rough/smooth? Hot/cold? Sharp/dull? Hard/soft? Moving/still? What about emotion and mood? Love/hate? Joy/sadness? Anger/delight? Peace/turmoil? Tranquility/disturbance? Respond with your perceptions of sensation and emotion.
Meaning: What ideas does the subject matter seem to suggest? Respond with your intellect.
Subject Theme: In view of your personal responses, the graphic impression, what is expressed and seems to be said, decide upon a subject theme, the main idea/feeling you wish to convey to the picture viewer…………….. follow the link to read further