Tim Petersen is a New York based photographer who specializes is Fashion, Celebrities and Beauty. He has contributed to countless publications and. All the issues of Petersen's PHOTOgraphic on our Newsstand. Get the subscription to Petersen's PHOTOgraphic and get your Digital Magazine on your device. The Return of Petersen's PHOTOgraphic Magazine. By Ron Leach. Most avid photographers, including loyal readers of Shutterbug, will recall.
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Swedish photographer Anders Petersen was elected Photographer of the Year at the Rencontres d'Arles in Anders Petersen and JH Engström were both born in the same remote province in and documented their experiences with two distinct photographic styles. Bryan Peterson's Understanding Photography Field Guide book. Read 22 I borrowed it and then immediately ordered this field manual. Here's a review I.
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A Sony Shooter How to Choose the Right Camera for Landscape Photo Meme of the Week: From this point of no return comes the second port which the contemporary technology has indicated to the culture, that of chaos. The constant proliferation of new voices and styles, which mixing together create new visual and audio input, generated a hybrid cultural landscape, similar to a biblical monster.
Something tentacular and similar to an immense telematic labyrinth, in which it is increasingly difficult to extricate. The continuous approach of materials with completely different and sometimes conflicting characteristics and quality pushed artistic perception towards a breaking point, a moment that we can define, as already mentioned, a drift of vision or drift of the audio-vision.
In this context is placed the experience of the SEL of Harvard in Boston Sensory Etnographic Laboratory : a laboratory which was created in for want of and under the guidance of director anthropologist Lucien Castaing-Taylor.
The stated goal of the center, perhaps unique in the world, is Sixth issue Leviathan to find the perfect meeting place between aesthetics and anthropological ethics, between sensory and Ethnography hence the meaning of its name.
To date the SEL produced short films, documentaries, short feature films, visual and sound installations. All these works have a basic idea and an ethical and aesthetic rigor in common. The bond that links all the works of art of the SEL seems to come directly from that wild eye immortalized by Cronenberg in Stereo.
In fact, the film or installation of the SEL provides for a director who wants to reflect the contemporary disorder and which itself becomes multifaceted and uncoordinated. The style maintains a thin absolute rigor, which enables us to understand the immense study by researchers-artists which is behind every work.
The breathtaking scenery is used to visually and sensorially tell the story of some endangered cowboys, men wearing for the last time their flock of [p. Photographer: Julie Cunnah shumance. In this way, SweetGrass offers us the story of the absolute and indissoluble union between work, humanity and bestiality, which will then be taken up and deepened by Leviathan USA, UK, France, , the true masterpiece of Sensory Etnographic Laboratory.
The thing which amazes the most is that scholarsartists of the SEL are used to produce their film following the formula of co-direction, and scrolling through the titles released in the last few years you may notice that the collaborations are renewed and continually interchanged. It almost seems that there is an invisible will to reset the name and maybe even the personality? I was aware of the SEL of Harvard in the summer of During that time the phenomenon Leviathan burst, in conjunction with the Locarno film festival, which had put the film in the main section of the board, the most prestigious one.
The site looked rigorous, and that feat was not done for publicity reasons, but had a definite ontological significance. Leviathan is apparently a film on bottom trawling, which takes place off the coast of New England, where the novel masterpiece and founder of bestiality in art Moby Dick by Herman Melville was originally conceived and wrote. In fact, fishing is only the most superficial pretext to set this film in the open sea on a fishing boat and to be able to visually represent the glowing violence of chaos.
The initial intention of the two was to create a film about the world of traditional intensive fishing off the coast of New Bradford.
The two filmmakers recorded dozens of hours of footage and interviews in factories producing ropes and materials used by fishing boats, up to the moment when they became friends with some fishermen, and were invited to attend a session of offing fishing for two weeks. This event completely changed the initial plans, for two main reasons.
The trip by boat instead gave the authors the idea and the opportunity to test the performance of GoPro cameras, new ones as big as a fist, but capable of recording both high-definition images of excellent quality and a sound track. The sound of these machines to date is still of mediocre level, but can be used as a reference track to synchronize other sound sources.
In the case of Leviathan, the original sound was reused from an artistic engineer of the SEL, Ernst Karel, to create a hellish and material soundscape, in perfect harmony with the images.
The GoPro are usually used by lovers of extreme sports, since you can hook them to the end of a mountain bike, of a snowboard or even of the human body: in this way it is possible to capture breathtaking views and these devices are sold everywhere at great prices. But no one before Leviathan, connected with so exalted results the artistic taste with the almost amateur lightness of the mechanic device.
Paravel and Castaing-Taylor were able to attack everywhere the twenty GoPro used for the film, in every part of the boat, and even outside it. During filming, the cameras passed from hand to hand, from the directors to the fishermen; sometimes they were even related to the tracksuits of the men who worked or were hoisted on the networks, hurled into the sea in a storm.
All this created a layered film, where a myriad of different points of view meet and collide exactly as all the elements clash in the boat. When fishing, the man melts and at the same time fights with nature, with various fish and shellfish. The menacing seagulls swoop down to eat the remains of the animals. The machineries in the boat seem bombastic mechanisms which might be found at the gates of hell. The film is therefore, at first sight, a purely perceptual, sensory experience, which wants to burst any good classical narrative rule in order to directly dialogue with the non-rules of underground cinema and the artistic avant-garde works.