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21 posts tagged Film

Photograph by Brea Souders

These images are made by layering cut negatives from my archives over a simple white ground. As the formation of overlapping slices grows, the clarity of images within the negatives becomes obscured. The layering of colors darkens as it builds. Light bouncing off the darkest surfaces provides some highlight and dimension, but rarely reveals a discernable image. With these elements in place, I ply the amorphous pile, coaxing it into various abstract shapes. With each pass new pieces are revealed, while others become buried.

Mountains Without Faces, a solo exhibition by 2013 CCNY Darkroom Resident Brea Souders, is on view at the Camera Club of New York February 20 – March 15, 2014, with an opening reception on Thursday, February 27, 6 - 8 PM.

Courtesy Deutsches Filminstitut

Film stills, clockwise from top left: Fear of Fear (1975), Satan’s Brew (1975/76), Rio das Mortes (1970), The Merchant of Four Seasons (1971)

Still Life with Fassbinder: A Master Filmmaker, Frame by Frame

Photograph by Joakim Eskildsen

Joakim Eskildsen’s latest body of work explores the poetry of place through the different homes to which he has moved his family over the past seven years, on display later this week at the 17th edition of Paris Photo.

Christopher Dean, a twenty-year old who grew up in the projects of South Memphis and whose thoughtful speech introducing President Barack Obama at his high school graduation gained him an internship at the White House, returns to his hometown to collaborate with Alan Spearman, a talented filmmaker, to produce a short, powerful film on a wounded city.

Learn more about it on LightBox here.

Finding Vivian Maier - Official movie trailer. See the work of Vivian Maier on LightBox here.

A section of Stanley Kubrick’s contact sheet from his 1949 photo essay ‘Prizefighter.’

Stanley Kubrick was still a teenager when he was hired as a staff photographer for Look Magazine. One of his photo essays, scenes from the life of Bronx-born boxer Walter Cartier, would inspire the acclaimed filmmaker’s directorial debut, ‘Day at the Fight.’

Read the story and watch the film here.

Jane Fonda poses in a costume from the cult classic film Barbarella in 1967 in Rome. (photo: David Hurn)

A member of Magnum since 1965, David Hurn had been photographing behind-the-scenes on films for years in the 1960s—including the Beatles’ A Hard Day’s Night and the first four James Bond films—when he was asked to take pictures for the 1968 sci-fi cult classic Barbarella.

See more photos here.

Right: William Klein. Dakar, school’s out, 1985. Painted contact 1998 © William Klein

Left: Daido Moriyama. Memory of Dog 2 1982 © Daido Moriyama

William Klein + Daido Moriyama

October 10, 2012 – January 20 2013 - Tate Modern, Level 3

William Klein + Daido Moriyama will be the first exhibition to examine the relationship between the work of William Klein (b.1928), one of the twentieth century’s most important photographers and film-makers, and that of Daido Moriyama (b.1938), the most celebrated photographer to emerge from the Japanese Provoke movement. Taking as its central theme the cities of New York and Tokyo, William Klein + Daido Moriyama will explore both artists’ celebrated depictions of modern urban life.

The exhibition will present approximately 300 works from the 1950s to the present day, including vintage prints, contact sheets, film stills, photographic installations and archival material. The influence of Klein’s seminal 1956 publication Life is Good & Good for You in New York, Trance Witness Revels, as well as his later books Tokyo 1964 and Rome: The City and Its People 1959, will be traced through Moriyama’s radical depictions of post-war Tokyo in Sayonara Photography and The Hunter 1972. The juxtaposition of these artists will not only demonstrate the visual affinity between their urgent, blurred and grainy style of photography, but also their shared desire to convey street life and political protest, from anti-war demonstrations and gay pride marches to the effects of globalisation and urban deprivation.

Read more about the exhibition here.

What Film Photography Still Has to Offer (CNN)

There are no more Polaroids. No more Kodachrome. And the smell of potent darkroom chemicals has almost disappeared.

For most people, “analog photography” is a relic or something their parents once used; an archaic technology now lumped in with yesteryear’s sensations, like the rotary phone or 8-track tape player.

Over the past decade, the number of analog film and manual cameras has dramatically decreased in favor of their digital counterparts. Digital photography has ubiquitous control over the market, leaving little to no room for alternatives.

Yet in the New York City metro area, there is a close-knit community of photographers, merchants, galleries, institutions and darkrooms that keep the art of analog photography quietly in practice.

"[There’s] just something inherently different about the medium that you can’t get with digital," said Steven Sickle, who works at K&M Camera in Tribeca.

Some say that “something” is depth or quality.

Continue reading here on CNN.

USA. Las Vegas, Nevada. November, 2011. Sarah-Jane Wood while protesting due to the loss of her home to foreclosure.

Bruce Gilden’s series about foreclosed homes, which will be presented this weekend by the Magnum Foundation as part of the Photoville 2012 festival, is a departure from the photographer’s usual working style.

See more photos here.

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