US press review
by Paul Melcher
WWD: Miley Cyrus At NY fashion show Photo by Miles Ladin
Time magazine : Bolshoi by Yuri Kozyrev
New Yorker magazine : Nicholas Pye and Sheila Pye, “Sitting on a Unicorn” (2004). “Playing self-invented, absurdist, and at times juvenile games, Sheila and I developed a situation or stage for power struggles between female and male to play out. This photograph deals with the meaning of language through abjection,” Nicholas told me. “The camera had always been a tool to explore the deeper side of loving relationships for Nick and me,” Sheila continued. “I think that when we decided to go our separate ways, it was a bit like cutting off a limb… so art was a way of avoiding that pain. We still make a lot of photographic and video art together, and shifting our love into a brotherly-sisterly realm actually made our work stronger.” From the series “The Paper Wall.”
NBCnews.com : Andres Kudacki / AP A performer spits fire during a carnival celebration in Madrid, Spain, Feb. 9. The carnival, which takes place across Spain just before Lent, is believed to owe its origins to pagan festivals.
NBCsport: James Michael McAdoo of the North Carolina Tar Heels looks to throw the ball inbounds against the Duke Blue Devils during their game at Cameron Indoor Stadium on Wednesday, Feb. 13 in Durham, N.C. The Cameron Crazies got to him.
The palm Beach Post : An anhinga, also known as a water turkey, dries its wings as the sunrise lights up the mist rising from a pond in Okeeheelee Park. (Lannis Waters/The Palm Beach Post)
National Geographic Magazine : Cricket Game, Bangladesh Photograph by Mohammad Rakibul Hasan, My Shot Due to the effect of climate change, in 2007 Tropical Cyclone Aila hit Gabura Union, a coastal island of Bangladesh. Now people from this place are recovering from their wounds. Children are playing cricket in a salty, barren field.
W Magazine : blouse. Pebble London crown; Givenchy by Riccardo Tisci choker; (on right hand) Pebble London necklace; (on left hand) Butler and Wilson necklace; Raul De Nieves shoes. Versace triacetate blend blazer, satin top and shorts. (From top) Elephant Heart bubble necklace, Reid Peppard for Phoebe English necklace (both worn as headpieces); Butler and Wilson necklaces (worn as bracelets); Raul De Nieves shoes. Photographs by Mario Sorrenti Styled by Panos Yiapanis
Interview Magazine : RYAN BLOUM Photography ROBBIE FIMMANO I was in one play in sixth grade. It was The Grinch and I played a little elf. I wasn’t very tall.
I Love You Magazine : Ataui Deng by Elle Muliarchyk
Christian Science Monitor: A man carrying his child walks past the closed shutters of a shop affected by a nationwide strike called upon by the Unified Communist Party of Nepal (Maoist) in Kathmandu. Navesh Chitrakar/Reuters
NY Times : Elias Edouard/Agence France-Presse Syrian rebels fire a mortar round toward government forces stationed at Kwiriss airport in Al-Bab.
Can we, and should we, trust photography? Are we seeking photography as a proof of reality or to feel an experience? The recent announcement of the World Press winners sparked yet another controversy over altered images. The winning image, it seems, has been tampered with via Photoshop, artificially changing the skin tones and adjusting the overall mood. Yet, was it really changing reality or, in fact, perfecting it ?
We all know that cameras are not perfect capturing tools. They have much less dynamic range than the human eye/brain. Our lenses poorly capture our real focal point and when we leave 50mm, we enter a field that no human can naturally replicate. We do not see vertically or horizontally in a 24 x 36 or square frame. In other words, photography only can make analogies to our personal vision, not replicate it.
However, all those technological shortcomings do not come close to the biggest element that we are missing: the experience, the sensations, the emotions. Those come with the addition of sounds, smells, words, previous events, relationships. While a professional photographer will desperately try to convey those by using a variation of tricks, from shooting angle to depth of field ( other form of alterations), they only come close, but never truly replicate.
Sometimes, it might be something in the light, the colors and this is where Photoshop comes in. Maybe the altered image we see is what the photographer remembered it looked like, to him, when he was photographing. Don't forget, he might be editing hours later. In other words, he trusts his memory more than his camera. The final image becomes his invested reality.
We all do the same when we remember events because they are charged with our personal emotions that somehow end up in the vision we recollect. They accentuate one color over the other, one detail, one light reflection and if shown an actual photograph of the event, we would probably say “ O No, it didn't look anything like that”. Because we temper with reality all the time. We interpret, we add layers of emotions, feelings, experience to everything we do, see, touch and remember.
So why do we become cruel to photographers who try to do the same with their photographs ? They are just showing what they saw, the way they saw it. They are not surgeons of reality, slicing a perfect piece out of timeline, to be exhibited in a controlled environment. They are humans conveying a message, an experience using emotions that, unfortunately, do not stick to an electronic sensor. So they use all the artifacts that hollywood has been using for decades, consciously or not. Is it cheating ? Probably not. It's not about what you see but what you make other see.