Une photo en passant...

Oeuvre de Stephan Muntaner, l'affichiste des Machines de l'île, à Nantes (et graphiste d'IAM).

kenavo a écrit:

Cornell Capa, Bolshoi Ballet School, Moscow, 1958

Très beau !

Istvan Orosz

Chim (David Seymour) 1911–1956


Bernard Berenson, Rome, 1955



Mykonos, Greece 1951

Alvin Langdon Coburn (1882 - 1966)



Brooklyn Bridge, ca 1900


The Stock Exchange (1905)


Williamsburg Bridge (1909)

kenavo a écrit:

Chim (David Seymour) 1911–1956


Bernard Berenson, Rome, 1955

J'aime bien !

Ara Güler dit "le photographe d'Istanbul" dont Nuri Bilge Ceylan s'est beaucoup inspiré pour le traitement de l'image dans son cinéma:




Et Nuri Bilge Ceylan: (photo de son père)

Magnifique ces photos.

Je vois avec horreur qu'il vient de faire en février une expo à Londres des photos sur son père! J'ai mis le lien de son site officiel sur le fil Nuri Bilge Ceylan où on peut toutes les voir. On peut commander le catalogue de l'exposition.

Citation :

Introduction for London Exhibition by Geoff Andrew :

For My Father : Photographs by Nuri Bilge Ceylan

Nuri Bilge Ceylan (b. 1959, Istanbul) is widely recognised as one of the finest and most distinctive writer-directors to have emerged on to the international filmmaking scene in the last decade; he has won important prizes at numerous festivals, including major awards in Cannes for both Uzak (Distant) and Iklimer (Climates). That Ceylan also takes photos should, perhaps, come as no surprise, since both those films include scenes of photographers at work; moreover, all his films � most of them shot by Ceylan himself � are notable for their visual precision, poetic eloquence and limpid beauty.

Again unsurprisingly, those characteristics are also to be found in Ceylan�s extraordinary photographs. As was revealed in an earlier exhibition of his work (�Turkey Cinemascope�), Ceylan has a remarkable eye for his native landscape. Whether depicting the streets and shoreline of Istanbul or the villages, farms and roads of the countryside, Ceylan has a rare ability to create spellbinding images that often look more like paintings than like other photographs.

This distinctive quality derives partly from his meticulous deployment of a digital camera, partly from his use of archival pigment ink and varnish on cotton rag paper, which together serve to render the pictures� colours and texture unusually rich. One should not, however, forget that Ceylan has an almost painterly sense of both composition and the subtly dramatic play of light; understandably, his photographs have provoked some critics to liken his work to that of Turner, Breughel the Elder and others.

Not that Ceylan is in any way an imitator or a dry formalist; he responds very deeply to the world around him, and has always been as interested in human beings as in the places they inhabit. In this new exhibition, which receives its international première at BFI Southbank, his fascination with both faces and the environment is beautifully and often very movingly combined in a superbly evocative series of portraits entitled �For My Father�. (Those who have seen Ceylan�s first three films will probably recall Mehmet Emin Ceylan�s strong, handsome features and kindly gaze.) Just as Three Monkeys (Üç Maymun) sees Ceylan breaking new ground with an audacious and highly expressive use of digital imagery, so these photos take a fresh and boldly imaginative approach to the tradition of photographic portraiture.

Ah oui, magnifiques, ces photos! Je vois que tu en as déjà prise une en avatar!

Mes préférées

Marie a écrit:

Ah oui, magnifiques, ces photos! Je vois que tu en as déjà prise une en avatar!

Je tenterai aussi des captures d'écran à partir de ses DVD. On ne s'en lasse pas!

Capture, Marko! J'imagine Marko avec un filet à papillons, comme Nabokov..

Expo au Musée du Jeu de paume , la collection Christian Bouqueret



Narcisse nous dédaigne Laure Albin Guillot




Satin et plumes Emmanuel Sougez

un lien ici

Pour être en phase avec l'actualité et le film Welcome sur les clandestins de Calais. Voici des photos de Jean Revillard
Ses prises de vue des habitats de fortune des migrants à Calais lui ont valu à la fois prix et critiques. Premier prix dans la catégorie "contemporain" des World Press, le plus important concours annuel de photojournalisme. Mais aussi critiques pour sa lumière particulière qui frise avec l'esthétisme.