By Slawek K
landscape photography of green forest trail
Location: Owl Mountains Landscape Park, Jugów, Poland
Waldoscope : Rancho Dominguez - Drift Day 5 / Track Rat
Il faut suivre cette série photo remarquable
Rancho Dominguez - Drift Day 5 / Track Rat
Last shots, yesterday evening, the end...of the holidays...in this beautifull place, Villelongue dels monts, in France, near Perpignan city. The moutains are called Albères and Canigou. Sorry for the poor quality on those shots...I was celebrating my last day of holidays and drinking Pastis...a mix a a strong french alcool and water ;) #Photo #Photography #France #Sky #Nature #Clouds #Landscape #Photographie #Pics
Collectif Ogino Knauss (Ogino Knaus est une contraception par abstinence sexuelle durant la période de fécondité)
"Le collectif ogino:knauss a démarré ses activités au milieu des années 1990, sur la scène alternative florentine. La démarche d’ogino:knauss se caractérise par un attrait pour l’architecture et la vidéo. Tout comme les situationnistes, ils partent à la dérive pour explorer les facettes modernistes de nos cités, ces lieux où l’être humain se débrouille avec l’environnement qui lui est imposé. Leur attrait pour des endroits marginalisés et périphériques les a mené à filmer à La Havane, Moscou, Detroit, Berlin, Belgrade, Mexico...
De ces récits de voyage, ils distillent des vidéos, des photos et des performances.
Ogino Knauss is a collective active since 1995. Born as mutant cinema laboratory, acts during the years as a constant drift through audio visual languages and communication practices. The group experiments with VJing techniques as a peculiar form of open narrative, in contrast to the dominant tendency to create video
tapestries as an ornament to musician and DJ s production. Developing its action
at the crossing point between the exploration of etherotopic spaces and the exhibition of disclosing practices of the audiovisual device, Ogino knauss led a steady exploration of new spatial and creative contexts to confront, such as cultural centers, public spaces, temporary occupied zones, art galleries, festivals,dancefloors. Among many others ogi:no knauss collaborated or played live sessions with:
Autechre, Autobam, Vladislav Delay, DJ Ultracore, Masami Akita & Zbigniew Karkowski, Otolab, OTK, Rich Medina, Terre Thaemlitz.
In more recent projects, the attention has been focused on the globalizing urban landscape, applying image production techniques in the attempt to develop innovative listening and description practices about cultural urban processes. Urban explorations leading to performative acts or installations have place in such locations as Florence, Riccione, Berlin, New York, Rome,
Milan, Amsterdam, Thessaloniki, La Habana. The anthological project, Triplicity, focusing on the co-related production of space and image in the evolving global landscape, has been presented
world wide as live performance or installation and has been published as an interactive DVD + book by AVrec.
Tout le site est sous Flash, je ne sais comment exporter photos et vidéos ou meme si c’est possible.Cinéma expérimental, musique expérimentale, c’est riche et vraiment intéressant.
Parallélement le collectif a aussi ouvert blog plus institutionnel dans ses propositions et centré sur un projet unique.
Camera obscura by Marja Pirila
Since 1996, photographer Marja Pirila has been working on her “Interior/Exterior” project, using an old technique that is the basis of all photography to create complex, layered works.
Pirila puts her subjects in a dark space, covering the windows while leaving a small hole for the outside light to feed in.
An inverted landscape — with colors and depth preserved — fills the room.
This is the camera obscura technique, and it uses a naturally occurring phenomenon that led to the modern-day camera. Most cameras, however, have an internal mirror that flips the image back to the position it appears in real life.
Pirila has used the technique for almost 20 years, taking photos of people in Finland, Norway, Italy and France.
“They all have a documentary basis, i.e. they show how/where people live, how their interiors look and what they see from their windows,” Pirila said. “But besides this ... because of the two worlds merging down to each other, a third ’reality’ is created and made visible. That reflects perhaps mostly my mental landscape, but I feel, at least a bit, (it reflects) also the landscape of the model’s mind.”
Before working with the technique, Pirila had worked with pinhole cameras, which are essentially camera obscura on a smaller scale. Light and color slide through a small hole to create an inverted image that is absorbed by light-sensitive paper.
“Both techniques are slow and unpredictable and compel one to slow down and stop amid the daily routine,” Pirila said. “Moreover, the actual process is crucial in both. They present a challenge to experiment and extend conventional photography.”
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Pirila decided to explore camera obscura after seeing black-and-white images by Abelardo Morell in a magazine. She couldn’t find much information on this technique, and she had many trials before success. Pirila now has about 70 images in her project.
Pirila chose models she knew — students, friends, neighbors or random acquaintances — though always “they are people who touch me in one way or other,” she said.
Pirila sets up a room alone, then invites the model into the space. Together they find a place for the subject to pose that is comfortable for the model and aesthetically satisfying for Pirila.
“It is a big pleasure for me to show and share this light phenomena with my model,” she said.
Pirila used color film when she first started the project and has since switched to digital. Film exposures vary from minutes to hours, and digital exposures last anywhere from seconds to minutes, she said. Regardless, models must hold a pose for a relatively long time for a picture to be taken in this space with low light.
“Darkness and long exposures create the contemplative atmosphere and let us enjoy and be inside the magic world which appears in an ordinary room for a while,” Pirila said.
Light is the most important factor in photography, Pirila said, and camera obscura attracted her because of its play with light.
“I feel that the light is my home,” she said. “That is why I am a photographer.”
Marja Pirila is a photographer based in Finland
Guantánamo’s Surreal Prison Landscape
Ms. Cornwall’s Cuba is not found among the faded grace of Old Havana or the pastel tourist resorts of Varadero. It is at Guantánamo Bay, where she has made several trips to document the United States military prison where 149 detainees are being held, many without formal charges or a homeland to which they can return.
“I wanted to look at this all-American place and ask if this is who we want to be,” Ms. Cornwall said. “Is America at its best in this place?”
It took her months to arrange her first trip earlier this year, when she visited the naval base for two days of photographing under tightly controlled conditions. She was as interested in the lives and habits of the military personnel as of the prisoners.
One feature of the UK, and even more of England, is the high population density and degree of its urbanisation. In this peculiar context, and from different points of view (landscape, functional, land use, symbolic or social), the least artificialized spaces, either rural or natural spaces, represents a very specific value. Reinforced in this way by numbers of protection policies and devices, like the National Parks for instance, rural and natural spaces became some desired and lusted for places, particularly by people looking for their amenities. Some people practise outdoor activities or tourism, which are often socially selective, but others decide to settle and inhabit there, contributing most of the time to the gentrification of the countryside. Relying on the Lake District area, this article aims to focus on the link existing between the concepts of eco frontier on one hand and rural gentrification on the other hand. But it is also assumed that this link would allow a better analysis of the gentrification process and of its local modalities.....
In Olympic Sochi, a Photographic Pregame
By MATT MCCANN
When the Olympic torch reaches Sochi, Russia, to begin the Winter Games two months from now, it will have traveled farther than any other torch in Winter Olympics history. Since its odyssey began in Moscow, the torch has been carried by foot, on trains, planes and troikas, taken to the North Pole via icebreaker and into lower Earth orbit on a Soyuz rocket.
The #Olympics are built on boasts, and Sochi 2014 is no exception. Though plagued by corruption and other controversies — insufficiently cold weather, uncertainty about the presence of antidoping agencies, power failures, #Russia ’s ban on “gay propaganda” — they are the most lavish and costliest Olympics, approached as though the International Olympic Committee was expecting titans to clash in its stadiums.
And a #film : “The Sochi project”
Presentato al festival internazionale del documentario di Amsterdam “The Sochi project”, inchiesta sulle prossime Olimpiadi invernali e sulle violazioni dei diritti umani che ne hanno accompagnato la preparazione
Et un article scientifique publié par la Revue de géographie alpine : Sochi/Сочи 2014 : Olympic Winter Games between High Mountains and Seaside
The IOC’s decision to accept Sochi’s bid to host the 2014 Olympic Winter Games presented the Russian Government with an opportunity for international repositioning. The Caucasian War in August 2008, too, can be linked to this development. Going back to the very beginnings of the Soviet Republic, the Sochi region has achieved the tradition of a resort for health and recreation. However, these functions have so far just concentrated along the Eastern Black Sea’s narrow shoreline. With regard to tourism, the 2014 Games will extend the business segment by establishing the new winter season, whereby the planned actions and measures taken will reach extreme and superlative dimensions. From this perspective, an analytical observation systematically accompanying this mega sports event even prior to its commencement will be of exceptional importance. The academic literature pertaining to the Southern part of the Western Caucasian region shows a noticeable lack of contributions in regards to emerging changes. The study focuses on aspects of regional planning and settlement, as well as on socio-economic developments. Further questions posed at the same time relating to society as a whole refer to social processes of participation and decision-making. Overall, the current transformation processes that have reached this area in 1991 will therefore accelerate significantly. The effectiveness as well as the political willingness to promote societal bottom-up processes will in the end prove to be a measuring stick of their own sustainability.
The Depression Era project is a #collective of photographers, artists, researchers, writers, architects, journalists and curators formed in 2012, recording the Greek crisis through images and texts. It was originally inspired by the photographic program of the Farm Security Administration, which was designed to capture the impact of the Great Depression on the American people (1935-1944).
The Depression Era project aspires to portray a historical turning point; to reflect characteristic events and situations pertaining not only to the economic but also to the political, social, ideological, moral and aesthetic crisis: to depict the emerging #landscape of the #recession and its consequent, rapid, unraveling transformations of Greek society. It is an artistic #archive in-progress, a collective work experiment and redefines the terms and conditions of the artistic production and free expression of public discourse.
In this complex and charged political and social context, we are compelled to take a stance. The Depression Era is not a news project, nor a photographic #documentary of #poverty – as the FSA was to a great extent - but gives to each photographer the freedom to create according to her own personal style and determine his own perspective of things so that the collective work may comprise a multifaceted image of the situation.