#innovative photography techniques

[techdriveplay]

How Drones Are Changing the Face of Adventure Photography

The advent of drone technology has revolutionized many industries, but perhaps one of the most visually striking transformations has occurred in the realm of adventure photography. Drones are changing photography in fundamental ways, offering unprecedented perspectives that were once impossible or financially out of reach for most photographers. This article delves into how drones have become…

[photosbyjez]

Daily Floral Delight: Origami Transformation of Daisies -- FOTD Jun 20

Check out my latest post for Cee’s FOTD – a patch of #daisies transformed into beautiful origami art using AI. Follow my journey of AI creativity! #AIArt #AIArtwork #AIArtCommunity

Hi all 👋 My latest post for Cee’s FOTD. With Cee recuperating, I’ll be posting flowers daily to give her a bit of floral delight (my version of a bouquet) 💐 Patch of daisies As with my latest Fan Of… post (see link 👇), I’m exploring some DALL-E AI preset styles for my edits. For today, I’ve done an origami transformation; I think these came out quite well. If you follow my blog, you know I’m…

[westeal-photo]

[amethystamaris]

2024's Must-Have Reads: Discover the Latest in Physical Books – Updated Pricing!The Physical Books 2024!

Why These Books Are a Must-Have This Year: Our 2024 collection, featuring “STORM,” “The Vibrational Cure,” and “The Birth of a Genre,” is curated to provide not just reading material but immersive journeys. Whether you seek a transformative personal experience with “The Vibrational Cure,” an artistic and cultural exploration in “The Birth of a Genre,” or a creative coloring adventure in “STORM,”…

[hatita189]

Once upon a time in the bustling souks of Marrakech, there lived a talented young chef named Ahmed. Ahmed was known far and wide for his culinary prowess, particularly when it came to crafting the most mouthwatering Moroccan dishes.

One sunny afternoon, as Ahmed was browsing the vibrant market stalls for fresh ingredients, he stumbled upon a curious sight—a crate overflowing with the juiciest lemons he had ever seen. Inspired by this fortuitous find, Ahmed decided to create a new recipe that would showcase the bright and zesty flavors of these magnificent lemons.

Heading back to his kitchen, Ahmed set to work preparing his masterpiece—Moroccan Lemon Chicken Oven Roasted, or Djaj Mqualli as it was known in his homeland. He carefully seasoned the succulent chicken with a blend of aromatic spices, including cumin, paprika, and turmeric, before generously squeezing fresh lemon juice over the top.

As the chicken roasted in the oven, filling the air with tantalizing aromas, Ahmed couldn't help but hum a cheerful tune. Little did he know, his melodious singing had attracted the attention of a mischievous little genie who had been lurking nearby.

Intrigued by the delicious scent wafting from Ahmed's kitchen, the genie decided to pay him a visit. With a mischievous twinkle in his eye, the genie waved his magic wand and cast a spell over the chicken, infusing it with an extra dose of lemony goodness.

When Ahmed opened the oven to check on his creation, he was amazed to find that the chicken had transformed into the most delectable dish he had ever laid eyes on. Tender and juicy, with a tantalizing citrus flavor that danced on the taste buds, it was truly a feast fit for a sultan.

Word of Ahmed's extraordinary Moroccan Lemon Chicken Oven Roasted spread like wildfire throughout Marrakech, and soon people from far and wide were flocking to his restaurant to sample the magical dish for themselves. From that day forward, Ahmed's Djaj Mqualli became a beloved staple of Moroccan cuisine, cherished by all who had the pleasure of tasting it. And as for the mischievous little genie? Well, let's just say he was never far from Ahmed's kitchen, always eager to lend a hand—or a sprinkle of magic—whenever needed.

[sylvainperrierfotografi]

Mises à Jour du Micrologiciel et des Manuels d'Utilisation

Maximisez le Potentiel de Votre Appareil Photo : L’Essentiel des Mises à Jour du Micrologiciel et des Manuels d’Utilisation En tant que formateur en photographie, j’ai constaté avec surprise et régularité que de nombreux étudiants en photographie ne prennent pas le temps de lire le manuel de leur appareil photo ni de mettre à jour leur micrologiciel (firmware). Ces aspects, souvent négligés, sont…

[fugengulsen]

Photography in Turkey has a rich and storied history that spans more than a century, intertwining cultural heritage with technical innovation. The first cameras arrived in the Ottoman Empire in the mid-19th century, brought by European diplomats, traders, and travelers. One of the earliest known photographs of Istanbul dates back to 1843, taken by French photographer Joseph-Philibert Girault de Prangey. His daguerreotypes captured the splendor of Ottoman architecture, sparking local interest in the medium and laying the groundwork for photography in Turkey.

By the late 1800s, photography studios were established in Istanbul, often run by foreign photographers or members of Turkey's Armenian, Greek, and Jewish communities. The Abdullah Frères—an Armenian photography studio founded by the Abdullah brothers—became famous for their portraits of the Ottoman elite and the royal family. Their images documented the lives of sultans, officials, and foreign dignitaries, marking an era when photography became a respected art form in Ottoman society. The Abdullah Frères' work was prized not only for its artistic quality but also for its technical expertise, as they experimented with various methods and styles, often using hand-colored techniques to add depth and vibrancy to their portraits.

With the establishment of the Republic of Turkey in 1923, photography took on a new role as a means to capture and celebrate the nation's evolving identity. Mustafa Kemal Atatürk, the founder of modern Turkey, recognized photography’s power to promote cultural transformation and modernization. Photographs from this period show an emerging vision of Turkey, where Western-style clothing, industrial development, and women’s newfound roles in society were prominently featured. Photography served as a bridge between tradition and modernity, documenting the social reforms and aspirations of a young republic.

In the mid-20th century, Turkey saw the rise of influential Turkish photographers who brought a uniquely Turkish perspective to the medium. Ara Güler, often referred to as "The Eye of Istanbul," is perhaps the most renowned Turkish photographer of this era. Born in Istanbul in 1928, Güler’s black-and-white images of Istanbul’s streets, fishermen, and iconic landmarks captured the city’s soul during a period of rapid change. His work, rich in emotion and nuance, turned Istanbul into a universal symbol of nostalgia and resilience, earning him international acclaim. Güler's photographs went beyond mere documentation; they told stories, preserving the essence of Turkish culture at a time when modernity was transforming traditional ways of life.

Today, contemporary Turkish photographers like İlhan Maraşlı continue this legacy, blending artistry with an appreciation for Turkey’s natural and cultural landscapes. Maraşlı's work is celebrated for its simplicity and beauty, often focusing on the quiet, unadorned scenes of everyday life in Turkey. His images evoke a sense of tranquility and reverence for Turkey’s landscapes, villages, and people, embodying the philosophy that "simple is beautiful." This minimalist approach reflects a broader trend in modern photography, where moments of stillness and simplicity are valued as much as grandeur or drama.

In recent years, the digital revolution has further expanded the horizons of Turkish photography, making it accessible to new generations of artists. Social media platforms have allowed photographers to reach global audiences, showcasing Turkey’s rich heritage and diverse landscapes through vibrant imagery. As photography continues to evolve in Turkey, it remains a powerful means of expression and a testament to the country’s enduring creativity and cultural depth.

Historic Captured Eras

[sirfrogsworth]

Most of my photos were from 2012 to 2016. I have learned a lot since then. My photo restoration hobby has improved my image editing skills in general. And I was curious if I tried editing one of my photos from scratch if I could improve upon my original edit from years ago.

This is my friend Nicole.

( @nicolebelongs I hope you don't mind being my guinea pig for this.)

This is just a direct output of the original RAW file. RAW files are typically flat by nature so you have more latitude when processing and editing.

This is my original finished edit from 2016.

I actually made a pretty big lighting mistake when shooting this photo. A beauty dish can cause harsh reflections on makeup and so Nicole's forehead bounced all that light directly into my camera. I was still learning back then and didn't know anything about makeup. All that was required was angling the dish a few degrees up or down, which feels like a pretty silly mistake all these years later.

And here is my 2023 edit. I did not reference the 2016 image until after I finished.

The main priority was the glare on the forehead, but I think this is much more balanced overall as well. I also tried to fix the weird neck shadow and the lack of light in the eyes. I probably should have used a reflector originally, but thankfully Photoshop has a solution to almost any photography blunder. I removed some vellus hairs on the edge of the face, as that is not something you would notice in real life, but the camera and lights can exaggerate them. I'd also like to say I love the new remove tool. Getting rid of flyaway hairs was such a monotonous pain in the ass before and that thing just zaps them with a click.

I am also trying to learn new editing techniques I was never good at. There is a retouching technique called "dodging & burning" that I had trouble with back in the day. Mostly because finding advanced tutorials can be difficult. Much of the content on YouTube focuses on beginner techniques.

Dodging & burning was originally innovated by Ansel Adams back in the days of film. He would block portions of his negatives for a second or two so those areas would develop darker. Or he would let sections expose longer so they would be brighter. It was basically analog Photoshop. You can see a neat video of his darkroom here.

While Ansel mostly did landscapes, portrait photographers of the digital age utilize dodging & burning to help bring out dimension in the face. It's quite similar to makeup contouring, actually. It is very hard to perfectly light every nook and cranny on a face and many portrait lenses are slightly telephoto. Longer lenses compress faces to remove distortion, but you end up losing three-dimensionality as a tradeoff.

My first attempt dodging and burning did not go well but I played with this photo for a few hours trying many different approaches and I think I landed on something I like. But I have been staring at it for way too long, so it is hard for me to look at it objectively.

I do wish we could all look at this on the same display. Green is notoriously difficult to keep consistent from screen to screen.

In any case, there are a dozen subtle things I did with my upgraded knowledge that may not be noticeable individually, but I'm hoping it all adds up to a better finished result.

And I guess we'll see if there is a consensus regarding the dodging & burning. Either good, bad, or just... different.

[almostarts]

Gaetano Pesce (8 November 1939 – 3 April 2024)

Moving against the stream of rational, functional modernism in the 1960s and early 70s, Mr. Pesce experimented with materials and production methods to create furniture pieces imbued with political or religious meaning for brands from Cassina to B&B Italia.

Many would go on to become icons of Italian design including the Up5 chair – an innovative vacuum-packed chair designed to resemble a female prisoner – which he designed for B&B Italia precursor C&B.

Pesce moved to New York in 1983 and began to move away from mass production to create "standardised series" in everyday materials like resin, adapting conventional production techniques to create varied and imperfect outcomes.

The result are pieces such as the 1884 Pratt chair, which toe the line between functional design and decorative art, helping to create a new category that would later become collectible design.

Mr. Pesce was born in the Italian city of La Spezia in November 1939, only two months after the start of world war two.

As was common at the time, he trained in both architecture and design, studying first at the University of Venice and later at the Venice Institute of Industrial Design.

Among his architecture projects is the Organic Building in Osaka from 1993, with its plant-covered facade made of orange fiberglass that served as a precursor to today's vegetation-covered green walls.

But Mr. Pesce's most pioneering and well-known work happened in the world of design. In the late 1960s, he became one of the leaders of Italy's Radical Design movement, rejecting modernism's rigid focus on forms dictated by function.

Instead, Pesce focused on the idea that functional objects, much like art, could carry a deeper message.

One of the most famous examples is the controversial Up5 chair from 1969, which manufacturer B&B Italia describes as "the first product of Italian design with a political meaning".

Rest In Power !

"Up 5 & 6" Dressed Up Chair & Ottoman, 1969 – 2014, Polyurethane foam, fabric, Height: 40.5 in (102.87 cm)Width: 47 in (119.38 cm)Depth: 51 in (129.54 cm)Seat Height: 16 in (40.64 cm),

“Square Airport Lamp” (1986/1994). Photography by Elizabeth Carababas/The Future Perfect. Light sculpture consisting of a flexible rubber membrane studded with small light bulbs. Although made from a mold, no two lamps are alike, due to the imperfections that arise from the hand-mixing and pouring of colored urethane. H 92 - W 65 Cm,

"Feltri" Armchair for Cassina, 1980 -1989, Felt, Fabric, Resin, Width: 156 cm, Depth: 80 cm, Height: 129 cm, Seat height:42 cm, Courtesy: Oldera,

"Pratt Chair #7," 1984 2018 (purple), 2018, Transparent polyurethane, :93 x 53 x 53 cm. (36.6 x 20.9 x 20.9 in.),

"The Cabinet of The Tired Man," 2018, Photo: Courtesy of Salon 94 Design and Gaetano Pesce,

"Tramonto a New York" three-door screen, for Cassina, Made of coloured resin, hinges and feet in burnished brass, Width: 221, Height: 199,

"Organic" Building, Osaka, Japan, Completed in 1993 to embody the corporate ideal of Oguraya Yamamoto Co., Ltd,

"La In-Portante" Modular Bookshelf from the "Abbraccio" Series, 2010. Comprising 57 adjustable polyurethane resin shelves. Produced by Le Fablier, Italy. Polyurethane resin, painted wood, lacquered metal, 86½ x 118¾ x 16⅞ in. (219.7 x 301.6 x 42.6 cm) Courtesy of Sotheby's,

La Michetta Modular Sofa,Compostion of 8 by Meritalia, Structure in Lacquered Wood Seat with Elastic Belts, Flexible Polyurethane & Fiberfill Padding, Dimensions: W370 x D245cm,

Unique 'Ireland' table, Made of polyurethane and metal. The table was made and exhibited in 1996 by Gallery Mourmans, Knokke-Zoute, Belgium. It was part of a series of 'EU tables', where all 15 member countries were represented as a table, in this case Ireland. The top of the table has the shape of the outlines of the country and it stands on legs in the shape of question marks. W.80.71 in;H.28.74 in;D.57.09 in; (W.205 cm;H.73 cm;D.145 cm), Courtesy: Incollect.

[pamelaaminou]

Monday’s Photography Inspiration - Henry Peach Robinson

Born on July 9, 1830, in Ludlow, England, Henry Peach Robinson would emerge as a pioneering figure in the realm of photography, leaving an indelible mark on the medium through his innovative techniques and artistic vision. From an early age, he exhibited a keen interest in the visual arts, with a particular fascination for the emerging field of photography. His journey into this realm began when…

[cartoon-buffoon]

Random thought that's probably unoriginal but hay it's 4 AM and I've been thinking about this for awhile. Ever find it funny the comparison between Oswald's and Mickey's relationship with Walt Disney's and Ub Iwerks'? It's a funny parallel that doesn't get talked about much largely because people seem to forget Ub Iwerks (ironic). WARNING: RANT!

Wanna note this rant is by a person who hasn't properly played Epic Mickey 1, 2, and 2.5 (power of illusion) so sorry if I get some stuff wrong yet I know the premise and key story points. Anyways:

For those who don't know Ub Iwerks was longtime friend of Walt Disney and basically the man who would lead the Walt Disney Studios into being what it is today Ub's technical influence on the animations shouldn't be dismissed at all. The man is responsible for some of the most iconic stuff in Disney history like the colors of Dumbo's "Pink Elephants" musical number, a photography technique for the rain in Bambi, creation of a specialized Xerox machine allowing for drawings to go directly onto cels for 101 dalmatians, and he himself earned an Oscar for his efforts in bringing the mix of 2D and live action together in Mary Poppins. He even directed and worked on while going went uncredited for his creation of the wartime shorts that saved Disney Studios during WW2. From there Ub went back to working on SFX after the war and was responsible for a lot of technical magicry behind Disneyland. Oh he also was responsible for some technical stuff behind Alfred Hitchcock's "The Birds" where he won another Oscar. So ya know the man had clear innovative talent. Despite this work Ub was a humble man and the only real reason why we know of most of his influence and his history with Walt is because of his grand daughter's own creation of a documentary involving him. Arguably Ub is the real creator of Mickey Mouse although that debate isn't what I wanna talk about and I'm neutral on the subject regarding it. What I wanna talk about is how Ub was always there from the very beginning, he and Walt were together way before Disney was the thing it is today and to get it there they bankrupted 3 different companies before finally making it big. Despite this Ub is mostly forgotten, his input on the legacy of Disney Studios being treated as nothing more than a footnote despite his feats. Ub stayed in the background being the hard working man and animator while Walt was a director and charismatic face. Ub did win two Oscars yet now and days he's severely undercutted and even forgotten despite making most of the original cartoons (dude made Plane Crazy aka Mickey's first cartoon in garage on a nothing budget FFS) and being one of the major catalyst for animation as we know it today.

One person gets all the credit and is the face of a company while the other who helped create it is usually left forgotten and only really known by a certain group of people who are more invested in history. Sound familiar? Of course Oswald isn't as important to Disney as Ub was (sorry Ozzie) yet I still find the parallel really cool and thematically fitting. In Epic Mickey there is a statue that parodies the famous one of Mickey and Walt holding hands, yet Oswald made it about himself instead with him replacing Mickey. This no doubt shows bitterness and resentment and the plot of Epic Mickey features the two eventually making up after it all. Not after ya know after Oswald gets mad and releases the blot and all that after rightfully getting pissed knowing his world was put in danger and his wife was basically killed by Mickey. Everything works out in the end thankfully and in the second game the two are on much better terms of course, in the first game Oswald also does make an attempt to be nice to Mickey because it's what Ortensia would of wanted.

Despite them reconnecting and acting as brothers I still feel like Oswald would hold some sorta grudge. If not for the fame stealing thing at least for the whole "you ruined my world and turned my wife to stone" thing. Oswald is petty enough to make faces at Mickey behind his back, no way is the rabbit THAT mature to forgive Mickey 100% for everything. Still, I feel like the only real way Oswald could ever get over the fact that Mickey took his spot as the mascot and face of Disney is by learning about Ub and his input. This is a neat little head canon I have that Oswald would embrace Ub as his creator instead of Walt. There would be something so fitting if Oswald learned he had two dads and his creation was a joint effort and actively learning about Ub and his contributions to Disney. I feel like instead of yearning for the attention his brother has he'd take a page out of Ub's book, he'd sit in the background and let the fame and popularity go to another despite the fact that there would be no popularity without him.

I made this rant because I was too lazy to draw this but: the idea of Oswald making a statue featuring him holding Ub Iwerks' hand as opposed to Walt's is such a cool and cute idea to me. It would not only show Oswald's acceptance of not being in the spotlight yet it would also honor the legacy of another who was "forgotten".

Anyways rant over, I'm excited for Epic Mickey rebrushed and can't wait to experience it and I probably need to sleep for classes i got later.

[photosbyjez]

Great Masterwort: FOTD Dec 31 with Magical AI Artistry

Step into Jez's world where photography meets AI magic! 🌼✨ Explore our frosty days warmed by the sunny charm of Great Masterwort. See the transformation on our latest FOTD Dec 31 feature. #AIArtistry #PhotosByJez #aiartwork

Hi all 😃 My latest post for Cee’s FOTD. I am delving into my archives for warm, sunny shots during these frosty days. The Great Masterworts featured over the next couple of days are white (those last featured were pink); this led to a different feel for the images once enhanced. Any of you following my blog, will know I’m currently working on a project fusing my own photography with AI…

[jace-snaps]

Life and Pictures: Entry #6

Composition Techniques: Creating Balanced and Captivating Photos

Photography is not just about capturing moments; it's about telling a story through images. One of the most crucial elements in storytelling through photography is composition. Mastering the art of composition can transform a simple snapshot into a powerful and compelling photograph. In this entry, we will explore some essential composition techniques that can help you create balanced and captivating photos.

The Rule of Thirds

The rule of thirds is one of the most fundamental principles of photography. Imagine your frame divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines. The idea is to place the most important elements of your scene along these lines or at their intersections. This technique creates a more dynamic and interesting composition than simply centering the subject.

Leading Lines

Leading lines are natural lines within a scene that lead the viewer's eye through the photograph and towards the main subject. These lines can be anything from roads and rivers to fences and shadows. Using leading lines effectively can add depth to your photos and make them more engaging.

Symmetry and Patterns

Symmetry can create a sense of harmony and balance in a photograph. Symmetrical compositions often feel pleasing to the eye and can convey a sense of stability. Similarly, patterns can add visual interest to a photo. Look for repeating elements, whether they're shapes, colors, or textures, to create a sense of rhythm in your images.

Framing

Framing involves using elements within a scene to create a "frame" around your subject. This can be anything from a window or an archway to overhanging branches or even shadows. Framing helps to focus attention on the subject and adds context to the scene, making the photo more interesting.

Negative Space

Negative space refers to the empty or open space around the subject in a photograph. Using negative space can give your subject room to breathe and can create a sense of simplicity and calm. It can also help to emphasize the subject by drawing the viewer's attention to it.

Perspective

Changing your perspective can drastically alter the composition of your photograph. Try shooting from different angles—high, low, or from the side—to find the most compelling viewpoint. This can add a new dimension to your photos and help you see familiar subjects in a fresh way.

Photography tips for Composition:

By understanding and applying these composition techniques, you can enhance the visual impact of your photographs. The rule of thirds, leading lines, symmetry, framing, negative space, and perspective are all powerful tools in a photographer's toolkit. Experiment with these techniques, and soon you'll find yourself creating more balanced and captivating images.

Remember, while these rules are helpful guidelines, they are not set in stone. Sometimes, breaking the rules can lead to the most innovative and striking photographs. So, get out there, experiment, and most importantly, have fun with your photography journey!

[erasure-picnic]

One of Erasure’s most striking album covers is the one for Chorus (1991). How did the concept come about, and what do the images represent? If you’d like to know the story, keep reading.

The album covers vary by country and format, but in all cases, their heads are lit up in pink, and you can see the insides of their brains in vibrant technicolour. These visual concepts came from the group. After five years together, Clarke and Bell were feeling more connected than ever, and were looking to represent the strength of their bond in different ways. Andy Bell had wanted to capture their “auras” in photographs, and Vince Clarke was interested in illustrating the “electricity” generated between the two of them. 

To start off, Monica Curtin photographed the band members’ heads in silhouette, and they had brain scans done (the liner notes actually give thanks to the MRI Centre in London!). Clarke told Details magazine that he wanted to see “who had the biggest one”. And who did? According to Bell, they were “dead equal.”

When came time to assemble the cover, the designers (Me Company) made use of many innovative techniques. In a brilliant article for Classic Pop, designer Siân Cook–who was working for the Me Company at the time–explained the process. “The coloured areas inside the heads were colour photocopy collages, while the pink/purple auras around the outside of the heads were taken from images of Kirlian plant photography which were manipulated and wrapped around the silhouettes.” The medical theme was carried through in other ways; the subtle “e” pattern on the album cover and liner notes was “inspired by medicine packaging.”

In the liner notes, there are several stock images of happy, photogenic people enjoying their lives. Cook said that these photos referenced “big pharma promo brochures”. Andy Bell had more to add: “these pictures are Corporate America, or Corporate Anywhere”. To him, they represented a lifestyle that people were supposed to aspire to - which was a “farce”. If they were real, he joked, they’d feature “ugly people–like us!”

SOURCES:

Bardin, Brantley. “Erasure.” Details, Nov. 1991, p. 129. 

Chorus, 1991. Retrieved via the Internet Archive.

Dineley, Andrew. “Pop Art: Vince Clarke.” Classic Pop, Mar. 2021. Web article accessed 3 Aug. 2023. 

“Erasure Interview by Verónica Castro (La Movida, Mexico, 1991) .” La Movida, 1991, https://www.youtube.com/watch?v=dZ46ykCUbkQ. Video uploaded by bwlvideo on YouTube. Accessed 3 Aug. 2023. 

[fashionbooksmilano]

Man Ray 1890-1976 Genius of Light

Robert Rocca, Pierre-Yves Butzbach

SilvanaEditoriale, Cinisello Balsamo 2023, 232 pagine, 220 ill., 24,5x30cm, Brossura, Inglese, ISBN 978883665656

euro 34,00

email if you want to buy booksinprogressmilano@yahoo.it

Man Ray occupies a prominent place in the history of 20th-century art. A versatile artist, who lived mainly in Paris, he is best known as a photographer. Indeed, he was one of the first to use photography, not as a simple means of reproduction, but as a genuine creative medium, turning the technique into an art form. Some of his photographs, such as Le Violon d’Ingres (1924) and Noire et blanche (1926), have achieved iconic status.

Born in Philadelphia (Pennsylvania) on 27 August 1890, Emmanuel Radnitsky, known as Man Ray (as in a ray of light), actively participated in the intellectual and artistic circles of New York. He discovered the European avant-gardes and befriended Marcel Duchamp who opened the doors of Dadaism to him and welcomed him to Paris in July 1921.

At the heart of Parisian artistic life, he participated in the innovative experiments of the Dadaists and Surrealists, met with painters, poets and intellectuals, and became famous for his portraits. He developed a career as a fashion photographer, notably for designers Paul Poiret and Elsa Schiaparelli. A tireless experimenter, he rediscovered the technique of “photograms” (abstract silhouettes of objects) that Tristan Tzara named “rayographs” and in 1929, with his new partner Lee Miller, developed the “solarization” technique. In 1940, after the fall of France, Man Ray left for the United States and met Juliet Browner, who became his wife and muse. He returned to Paris in 1951 and lived there until his death in 1976.

Man Ray is renowned for having revolutionized the art of photography, but he was also a painter, draughtsman, assembler of objects, sculptor, writer and filmmaker. It is this protean artist that we seek to discover or re-discover, through a true panorama of his works, which will enable us to comprehend Man Ray’s creative process and the importance of his art.

02/03/24

[alessandro55]

Giovanni Gastel Masks and Ghosts

Germano Celant

Skira, Milano 2009, 167 pagine, 30x46,2cm, ISBN 978887203188

euro 30,00

email if you want to buy booksinprogressmilano@yahoo.it

Milano, Palazzo della Ragione, 23 settembre - 25 ottobre 2009

A splendid, surprising and original work of photography, this book is ideal for lovers of contemporary art and the boldest means of expression.

Beauty, life’s triumph, is fleeting. It heightens the body’s sublime aspect, but beneath its effigy lies the spectre of passing time, and so the figure beauty has within it the spectre of decay. Gastel, the great fashion photographer who has been portraying and exalting beauty for years, challenges himself in this work by confronting one of the deepest philosophical and literary themes. Characterised by a formal exactness, Gastel photography is an interweaving of experimentation and glamour: indeed he was the first to introduce “old mix” techniques, the “criss-cross” technique and pictorial reworking. The images in this catalogue demonstrate the direction of his current work in which the body of models is cut and metamorphose, resulting in a delicate balance between attraction and repulsion. Colour nuances and the manipulation of details through digital technology are extreme, creating fascinating and innovative images. Giovanni Gastel, who is among the best known international photographers, boasts thirty years of experience in the fashion world. He has published his photographs in such influential magazines as Vanity Fair Italia, Vogue Italia and Elle. He has also held a solo show at Triennale, Milan in 1997.

11/07/24