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Arrifana (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

FOCUS: “Altas Luzes” by Rita Carmo

Rita Carmo, photographer for Blitz magazine, showed her perspective of music and musicians  by her photographs taken over the years. Now, some of that work (about 200 pictures) can be found in the book entitled “Altas-Luzes” (Highlights).

Publisher website.
Rita Carmo’s blog.

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Arrifana (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

‘SCAPE: Ansel Adams

Freeway Interchange, Los Angeles, Ansel Adams 1967

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Arrifana (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

EROS: Robert Mapplethorpe

Sonia and Tracy, Robert Mapplethorpe 1988

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Arrifana (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

FOCUS: “Father:Land” by Ara Oshagan

“My father died in June 2000.

A few years before that, he and I decided to embark on a project about Karabagh: a remote mountainous area next to Armenia. A region where the Armenians fought and won a fierce war of independence after the collapse of the Soviet Union. A region still with militarized borders and no political recognition. A place in transformation: the people, the land, the very way of life in political, social, existential upheaval. A place that is part of our distant homeland.

(…)

Father:Land is a project about origins and identity. A project about a place and a people emerging out of a dark history, transforming, forging a new identity, searching for themselves and a new way of life. And also about a very personal becoming, an emergence.”

in Burn Magazine
Ara Oshagan’s website

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Paris (France), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

FOCUS: “The Accidental Theorist” by Edgar Martins

“The imagery of The Accidental Theorist is less a set of pictures than a series of moments that have become independent of causation or function. It resembles a set of location shots for unmade films from lost scenarios. I am often drawn to spaces where I can prioritise poetic memory over concrete topographies.
(…)
Shooting largely on the same set of Portuguese beaches over a period of two years, I sought  to distance myself from conventional spatial representation. 
Shot with a an analogue 4x5 large format camera and making use of long exposures (but not long enough to register star trails) the images are surprisingly flat. “

Edgar Martins’ website

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Paris (France), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

‘SCAPE: Ed Ruscha

From the series “Twentysix Gasoline Stations” by Ed Ruscha, 1962