Allotments Overlooking Easington, John Davies
31 July 2009
30 July 2009
29 July 2009
27 July 2009
Untitled
Alcacer do Sal (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge
25 July 2009
24 July 2009
From the series: Aseptic
Aseptic adj., 1. Free of pathogenic microorganisms; Using methods to protect against infection by pathogenic microorganisms. 2. Lacking animation or emotion.
The American Heritage Dictionary of the English Language
Cordoba (Spain), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge
The American Heritage Dictionary of the English Language
Cordoba (Spain), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge
23 July 2009
FOCUS: “CameraTruck” by Shaun Irving
“(…) The camera is as simple as it is inventive; the truck being a big light-tight box with lenses sealed into its broad side. Mr. Irving climbs in, often fumbling around in the dark. He sets the aperture with a piece of scrap paper. His shutter is a cardboard box.
Throw in a couple buckets of developer, fixer, a garden hose and some sponges, and the camera can produce an image four feet tall and eight feet wide.”
in The New York Times
CameraTruck webpage
Shaun Irving’s webpage
21 July 2009
20 July 2009
From the series: Aseptic
Aseptic adj., 1. Free of pathogenic microorganisms; Using methods to protect against infection by pathogenic microorganisms. 2. Lacking animation or emotion.
The American Heritage Dictionary of the English Language
Vigo (Spain), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge
The American Heritage Dictionary of the English Language
Vigo (Spain), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge
18 July 2009
17 July 2009
From the series: Deus Ex Machina
In the ancient Greek dramatic theater (and later on the Roman), to enhance the ‘terrible’ effect, a deity’s statue was lowered by means of a machinery – the Deus Ex Machina. Often, this was the turnaround point, when the divinity would bring the solution to a difficulty or to a probable dead end. Still, today’s people expect their god to bring them miracles as a reward of their faith. It is their despair that keeps the machina working.
Deus ex machina comes from Latin and is literally ‘god from a machine’. The camera, made from intricate mechanisms, mirrors and optical prisms, is a perfect alchemist tool were inorganic chemistry delivers the epistemological immortality imprisoned in the gelatinous emulsion. The camera as the machina.
Vigo (Spain), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge
16 July 2009
FOCUS: “MittelEur/opa” by Carlos M. Fernandes
Central Europe is an undefined area. It doesn’t fit between the Baltic and the Alps , and its borders move back and forward, shifting by the action of time, History and armies. Its influence spreads all the way to the Carpathians and the Balkans, and sometimes as far as the Black sea, stubbornly refusing to leave the Danube on its way to the estuary. MiteelEur/opa visits part of this concept and brings, to the outskirts, images of crossroads.
in P4 PHOTOGRAPHY
Carlos M. Fernandes’ webpage
15 July 2009
Untitled
V.N. Cerveira (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge
14 July 2009
13 July 2009
From the series: Deus Ex Machina
In the ancient Greek dramatic theater (and later on the Roman), to enhance the ‘terrible’ effect, a deity’s statue was lowered by means of a machinery – the Deus Ex Machina. Often, this was the turnaround point, when the divinity would bring the solution to a difficulty or to a probable dead end. Still, today’s people expect their god to bring them miracles as a reward of their faith. It is their despair that keeps the machina working.
Deus ex machina comes from Latin and is literally ‘god from a machine’. The camera, made from intricate mechanisms, mirrors and optical prisms, is a perfect alchemist tool were inorganic chemistry delivers the epistemological immortality imprisoned in the gelatinous emulsion. The camera as the machina.
Vigo (Spain), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge
12 July 2009
FOCUS: “Chernobyl. 20 years later” by Dima Gavrysh
“The story on Chernobyl is of particular interest to me. I am originally from Ukraine and on some level I have witnessed the disaster from the very beginning. I would like to keep documenting the lives of people in that region, and hopefully I will get to see a re-settlement of the area when this region is deemed safe to inhabit.”
Dima Gavrysh to SLIDELUCK POTSHOW
Chernobyl. 20 years later
Dima Gavrysh’s webpage
Untitled
V. N. Cerveira (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge
10 July 2009
09 July 2009
From the series: Deus Ex Machina
In the ancient Greek dramatic theater (and later on the Roman), to enhance the ‘terrible’ effect, a deity’s statue was lowered by means of a machinery – the Deus Ex Machina. Often, this was the turnaround point, when the divinity would bring the solution to a difficulty or to a probable dead end. Still, today’s people expect their god to bring them miracles as a reward of their faith. It is their despair that keeps the machina working.
Deus ex machina comes from Latin and is literally ‘god from a machine’. The camera, made from intricate mechanisms, mirrors and optical prisms, is a perfect alchemist tool were inorganic chemistry delivers the epistemological immortality imprisoned in the gelatinous emulsion. The camera as the machina.
Vigo (Spain), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge
08 July 2009
07 July 2009
FOCUS: “Salton Sea” by Lung Liu
“The Salton Sea, in Southern California, was once a resort destination for the rich and famous, but now it is an ecological disaster, abandoned and neglected. It is fed by agricultural runoff and the highly polluted New River. The sea’s lack of outflow results in increasing salinity and bacterial levels as well as algal blooms that kill all but the hardiest of fish. These dead fish have, in turn, severely affected the area’s massive bird population. The smell of the polution and algal blooms coupled with the dead fish and birds have significantly curtailed the area’s tourism. Resources such as fresh water that can help save the sea from further environmental damage are diverted to nearby areas such as Palm Springs. Needless to say, the future of the Salton Sea is bleak.”
in Burn Magazine.
Lung Liu’s webpage
06 July 2009
05 July 2009
From the series: Aseptic (IV)
Aseptic adj., 1. Free of pathogenic microorganisms; Using methods to protect against infection by pathogenic microorganisms. 2. Lacking animation or emotion.
The American Heritage Dictionary of the English Language
Sintra (Portugal), Nuno Vieira Matos, 2005 (gelatine silver print) – click to enlarge
03 July 2009
FOCUS: “Macaronesia” by Sandra Rocha
Macaronesia is a modern collective name for several groups of islands in the North Atlantic Ocean near Europe and North Africa belonging to three countries: Portugal, Spain, and Cape Verde. The name comes from the Greek for "fortunate islands", a term used by Ancient Greek geographers for islands to the west of the Straits of Gibraltar.
This selection of pictures make part of the project "(In) definições Atlânticas", realized with the sponsorship of the IAC , Azorean institute of culture.
Macaronesia – [kameraphoto]
Sandra Rocha’s webpage
02 July 2009
From the series: Deus Ex Machina
In the ancient Greek dramatic theater (and later on the Roman), to enhance the ‘terrible’ effect, a deity’s statue was lowered by means of a machinery – the Deus Ex Machina. Often, this was the turnaround point, when the divinity would bring the solution to a difficulty or to a probable dead end. Still, today’s people expect their god to bring them miracles as a reward of their faith. It is their despair that keeps the machina working.
Deus ex machina comes from Latin and is literally ‘god from a machine’. The camera, made from intricate mechanisms, mirrors and optical prisms, is a perfect alchemist tool were inorganic chemistry delivers the epistemological immortality imprisoned in the gelatinous emulsion. The camera as the machina.
Sintra (Portugal), Nuno Vieira Matos, 2005 (gelatine silver print) – click to enlarge
Subscribe to:
Posts (Atom)