check the video fashion show with google
30-Nov-10
STREET PHOTOGRAPHY NOW PROJECT
STREET PHOTOGRAPHY NOW PROJECT
Street Photography Now Project is a collaboration between The Photographers’ Gallery, London and Sophie Howarth and Stephen McLaren, authors of Street Photography Now (Thames and Hudson).
Each week from 1 October 2010, a leading contemporary street photographer will issue a new instruction, written to inspire fresh ways of looking at and documenting the world we live in.
Over the following six days, photographers around the world are invited to upload one photograph in response, to a special Flickr Group. After six days the next instruction will be issued. See the Take Part section of this website for more details on how to contribute.
The Project will run for 52 weeks, and you can join in at any time. The aim is to build a global community of photographers exploring the rewards and challenges of documenting public life. All photographers, including those who contribute to the Instructions, will be encouraged to comment and respond to the images posted to the Flickr groups.
Though not a competition, at the end of the Project one photographer will be chosen who has made the most outstanding contribution to the project across a number of weeks. They will be awarded £1000 of Thames & Hudson books and have their work displayed on The Photographers’ Gallery digital Wall for All.
The Street Photography Now Project was launched in September 2010, as The Photographers’ Gallery closed its doors for the redevelopment of its building on Ramillies Street. The Project will run for one year and is scheduled to end when The Photographers’ Gallery reopens in late 2011.
A note on the website from our designers Europa: “The Street Photography Now Project instructions are colour coded in line with the weather conditions on the day of their issue, giving photographers an indication of the lighting conditions that they will be subjecting themselves and their lenses to. The colours vary with temperature from red down to blue and with sunlight from full saturation down to grey. So for a freezing cloudy day expect the instruction to be set on a bluey grey background and for a scorching sunny week expect to see a bright, vivid red.”
25-Nov-10
‘too hard to keep’ archive by Jason Lazarus
‘too hard to keep’ archive by Jason Lazarus
“I have started an archive of photographs deemed ‘too hard to keep.’ Submissions may include photos of friends, family, pets, places/objects too hard to view again. The reason you can’t live with the photo or photo album I do not need to know. I am creating a repository for these images so that they may exist without being destroyed. Please dictate whether the images you submit to the archive are 1) images not to be shown again, or 2) images that may be exhibited in the future with other submissions to the archive.”
–Jason Lazarus
For more information on this project, please visit http://www.toohardtokeep.blogspot.com/.
22-Nov-10
VESTIGE – Riitta Päiväläinen
VESTIGE – Riitta Päiväläinen
Several years ago, an old black dress made of velvet caught my attention in a second-hand shop. examined the garment carefully. There was no label. The style of the dress was from the twenties. The seams revealed the dress was handmade. The owner of the shop told me that she had bought it in Paris. I tried the dress on and it fitted me perfectly. I became intrigued by the history of the dress. Who was the woman who had had the dress made? What was her life story?Our daily life is full of history. I am fascinated by the history that you cannot find in library books, official files or archives. This “unwritten history” surrounds me all the time. I can feel its presence in various ways: as a rip in a coat; as a place worn thin in an armchair; as a light footprint on an inner sole of a shoe.The main theme and primary driving force of my work is my interest in old clothing. In my photographs, I use discarded clothes from second-hand shops and flea markets. I am interested in old garments, because they carry silent, unknown stories and histories. The unavoidable fact that I will never know the actual stories and personal histories connected with the clothes arouses my curiosity. The clothes remain silent withholding their secrets. Little by little, personal histories are absorbed into the collective history.Who or what is historically remarkable enough to be recorded or remembered. I do not want to emphasise the historical significance or the importance of remembering everybody and everything. As much as I need to remember, I need to be able to forget. The idea of having only “one historical truth” would not make alternative truths possible. In this sense, forgetting can be regarded as a positive potential.Instead of thinking what or who we have lost, I want, through my photography, to concentrate on what is still to be found.For me, a piece of clothing represents, above all, its former wearer. It tells you that somebody has been present. However, the person who wore it is now gone. The faded colours and tears in the fabric show the signs of the time passed. By freezing the garment or letting the wind fill it with air, I am able to create a sculptural space, which reminds me of its former user. This “Imaginary Meeting” represents, for me, the subtle distinction between absence and presence.In the series “Wind”,”Structura” and “Camouflage” landscape plays an essential role. Landscape is not only a topographical, objective phenomenon. For me, it is personal and subjective. Working with a landscape means going into it: experiencing and sensing the place. When I place clothes into a landscape, I create an installation. In this sense, landscape can be considered as a stage. Bringing these two elements (landscape and clothes) together, I create a dialogue – an interaction. My aim is to suggest and bring forth potential stories, mental images and associations.
