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PatriceChesse

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Stéphane Couturier's photographs hinge on a Gordian knot: their hyperreal quality is inextricably entwined with a dissolution of form. This seemingly contradictory principle, at the heart of each of his pictures, is also a thread that runs through more than twenty years spent scrutinizing the surface of the visible, from the first series dedicated to abandoned industrial interiors, like the Renault factories in Boulogne-Billancourt (1993), to the organic and fluid volumes depicted in « Meltings », a series initiated in the mid 2000 that marks a shift in Couturier's work towards the digital, as well as beginning of his use of image editing software.
Just wonderful!



  


  


  


  
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In 1980 French Magnum photographer Raymond Depardon was commissioned by The Sunday Times Magazine to photograph Scotland’s largest city: Glasgow, on the River Clyde. The city has long been known for its architectural heritage – from its majestic Victorian squares to stern rows of tenements and brutal industrial giants – much of this building being the product of the city’s great Victorian-era wealth. However, in spite of this prosperous past and the city’s pivotal role in Britain’s industrial and cultural development, numerous areas of Glasgow were – at the time of Depardon’s visit – poverty stricken. The photographer focused his work on Glasgow’s famed slums and dock areas, capturing the imposing architecture and broad vistas, as well as the resilient nature of the city’s inhabitants.
Just wonderful!



  


  


  


  
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Bitter failure is a vital part of Barcelona-born, Oslo-based ex-architect Pau Buscató’s photography. He takes playful pictures of people, animals, and objects overlapping in amusing ways. They look Photoshopped, or at least staged, but aren't. Busctaó takes hundreds of attempts, and sometimes years, to snap the perfect shot. The results are like a good joke. As soon as you understand what's going on, you get butterflies.

Buscató got his first serious camera in 2010, and almost immediately quit his nine-to-five to take photos full-time. He regularly spends seven hours a day walking the streets, and snaps his shutter 400 times in a regular session. These numbers are doubled when he’s traveling to New York or India, or any other place that isn't home.



  


  


  


  
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Ernst Haas (March 2, 1921 – September 12, 1986) was an Austrian-American photojournalist and color photographer. During his 40-year career, Haas bridged the gap between photojournalism and the use of photography as a medium for expression and creativity. In addition to his coverage of events around the globe after World War II, Haas was an early innovator in color photography. His images were disseminated by magazines like Life and Vogue and, in 1962, were the subject of the first single-artist exhibition of color photography at New York's Museum of Modern Art. He served as president of the cooperative Magnum Photos, and his book The Creation (1971) was one of the most successful photography books ever, selling 350,000 copies.



  


  


  


  
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Gruyaert was born in 1941 in Antwerp, Belgium. He studied at the School for Photo and Cinema in Brussels from 1959 to 1962. He began freelance work in Paris, while working as a director of photography for Flemish television.
In 1969 Gruyaert made his first trip to Morocco. The resulting work won him the Kodak Prize in 1976 and was published in the book Morocco in 1990. He travelled to India for the first time in 1976 and to Egypt in 1987.
In 1972 he photographed the Summer Olympic Games in Munich and the first Apollo flights as they were shown on a television set. This series, TV Shots, was first exhibited at the Delpire Gallery in 1974 and later elsewhere. It was published as a book in 2007.
Gruyaert joined Magnum Photos in 1981 and became a full member in 1986. Yes



  


  


  


  
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Featured

Stephane Couturier: patterns geography by PatriceChesse, journal

Raymond Depardon: Grisaille Vision of Glasgow by PatriceChesse, journal

Paul Buscato: Playful Photography by PatriceChesse, journal

Ernst Haas: color correction by PatriceChesse, journal

Harry Gruyaert: dual perspective by PatriceChesse, journal