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February 5th 2013 21:26
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Source:
woowinny.us
Photography has born as a scientific reproduction tool of the reality and has been the strongest and the largest medium to construct modern history of the mankind but the statut of the photographic document as lost its authority with reality in its new relation with the digital world. Since photography switch into digital era, the truth we used to attached to this medium has disappeared. There is no more negative to prove chemically and mechanically that an event has really occurred. The change of the nature of photography into an image brought deep distance between the fact itself and its representation.
Without image there is no event and any event could be built with images. Mass Consumption of images has created images to serve specific goal and to be recognized, modifying the production process from « taking » to « making » a picture. The space conquest have been focused all its energy in the construction of an heroic and mythic media exploit. Without any image of the first moon landing on the moon, nobody would have believed it…
“This is amount of work that goes into a hand printed photograph - Keep in mind all those figures (times) and tone setting’s are all made by hand.” via New Touch Lab
Norbert Schoerner was born in Bavaria and moved to London in 1989. His first commission was for The Face, which he received two weeks after his arrival. He has since worked for most of the major fashion and photography magazines and on advertising campaigns and projects including those for Yohji Yamamoto, Comme des Garcons, Nike, Armani, Miu Miu, Alexander McQueen and Shiseido. He worked an exclusive contract with Prada from 1998 until Spring 2000. He has also been involved in unique collaborations with architects Herzog and de Meuron for the Prada Tokyo Store, and Future Systems for the Selfridges in Birmingham. His first monograph, ‘The Order of Things’ was published by Phaidon in 2001, and his second monograph titled ‘Third Life’ is scheduled for print in 2012.
I have been slowly bombarding my friends and followers of my various social media websites with photographs of the road trip I went on…. a month ago. “Why?” people might/might not be asking. I spent days, weeks, talking to various friends/coworkers about my trip. At one point I felt like I was arrogantly boasting about my trip to people who haven’t even heard my stories yet. I became sick of talking about my trip, [I was never a big talker], so I let my photographs do the talking.
When I was planning for this Northwest trek, I specifically wanted to remember this trip in the form of film. I bought a couple of cheap CVS disposable cameras, brought along my 35mm and ample rolls of B&W film, and my 60D for the more technical shots.
Why film? Well, why not? Film gives me patience and helps me compose a shot. It also creates situations where I would have to make quick decisions about grabbing that shot. In my opinion, film makes you a better photographer. & the most important of reasons, IT’S FUN.
It’s difficult for people to use film nowadays. Especially with the scarcity of convenient photo labs. I took my CVS disposable cameras back to CVS to process, but they told me that they send them out to process now. [Before digital cameras were of the norm, CVS, Target, etc. would process film in-store using automated machines, sometimes resulting in poorly handled film.] When I heard they send them out to a pro lab now, I was elated. Yes, pro labs exist. It took longer than the advertised 10 days for both of my rolls be mailed back to me, but they came back without light leaks, so I was satisfied. I probably won’t be using CVS’s processor for my film if I need them within a week. But they’re good for the money, $9.99 a roll. A place I would recommend though is The Darkroom. They’re fast, they scan the negatives for you, uploads them online for your viewing pleasure, and puts them on a CD mailed to you along with your carefully packaged negatives.
Within the next couple weeks be ready for a steady stream of summer photographs.
Jordi Gual, A portrait of his blind daughter Natasha
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