Podcasts about Edward Weston

HT2645 - Trust Your Gut Yesterday I was discussing the 270 image captures of the rock walls of Capitol Reef that I photographed in 2012. I described how I only recently discovered a possible processing for those images. There's an interesting aspect of this story that is not obvious. In reviewing the 270 images, I found 37 that worked with this new processing idea. How do we know? What prompted me to reject the other 233? I think of Edward Weston and "the flame of recognition." This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process.

Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

Sotheby's in London meldet Rekordergebnisse: Die Versteigerung von 220 Fotografien aus den zwanziger und dreißiger Jahren bringt Millionen. FOLGE "HÖR MAL DEUTSCHLAND" IN SPOTIFYDie Fotografien von Man Ray, Edward Weston, El Lissitzky oder Umbo galten als verschollen, bis Sotheby's mit einer Geschichte aufwartete, die nicht nur wie ein Märchen klang. Der Sohn einer Helene Anderson, hieß es im Auktionskatalog, habe die von seiner Mutter angelegte Sammlung zufällig in einem Koffer auf einem Frankfurter Dachboden gefunden. Von Anja Kempe - Deutschlandfunk Das Feature

In questa nuova puntata del podcast, esploriamo il confine tra l'immagine statica e la narrazione cinematografica attraverso lo sguardo di Valerio De Paolis, figura cardine nella distribuzione del cinema d'autore in Italia. L'occasione è la mostra “Lanterne Magiche”, curata da Alessandra Mauro e Roberto Koch, attualmente ospitata presso il Museo Carlo Bilotti di Roma. L'esposizione segna il passaggio della collezione De Paolis dalla dimensione privata a quella pubblica, trasformando una passione personale in un percorso visivo condiviso. Durante la conversazione, De Paolis riflette sulla natura impulsiva e istintiva della sua ricerca, nata non dalla volontà di costruire sistematicamente un archivio, ma dal piacere immediato del “colpo di fulmine” visivo. Il cuore della discussione ruota attorno alla capacità della fotografia di operare una sintesi estrema: De Paolis osserva come un singolo scatto possa condensare una narrazione complessa e profonda, riuscendo a trasmettere in un istante ciò che il cinema, per sua natura, deve costruire gradualmente attraverso lo scorrere del tempo. Questa riflessione introduce uno dei pilastri della sua collezione, ovvero la centralità della figura femminile. Per De Paolis, la donna non è mai un semplice soggetto estetico o fisico, ma viene rappresentata come un'interlocutrice privilegiata, simbolo di un rapporto fondato sulla conversazione e sull'amicizia. Il valore dell'immagine viene poi esplorato attraverso il dualismo tra l'originale e la sua riproduzione. Prendendo come esempio il celebre ritratto di Tina Modotti scattato da Edward Weston, l'ospite sottolinea come il possesso dell'opera originale generi un coinvolgimento emotivo unico, che trascende la pur valida fruizione estetica di una copia. Buon ascolto! Leggi gli articoli del nostro Magazine: https://magazine.discorsifotografici.itSeguici su Facebook: https://www.facebook.com/discorsifotograficiSeguici su Instagram: https://www.instagram.com/discorsifotografici/Scrivici a: info@discorsifotografici.it

LW1497 - Dates, Time, and Eras When was Edward Weston's famous Pepper #30 photographed? How about Ansel Adams classic Moonrise Over Hernandez? Or Dorothea Lange's now icon image, Migrant Mother? What year were they photographed? If you can't recall the year these famous image where made, can you at least place them in chronological order? If not, why not? Simple — the year nor the order are important, at least not to our emotional response to the content. All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10. Instant access, terabytes of content, inspiration and ideas that expand daily with new content. Sign up for instant access! You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.

LW1495 - Ten Lesser-Known Masters You Should Study Have you heard me talk about the "airport test?" Name for me 10 famous painters, 10 musicians, 10 novelists. I'll bet you can. Ask 100 people at random at the airport to name 10 fine art photographers. Everybody is familiar with Ansel Adams, and a few might know of Edward Weston. Here are 10 lesser known masters of photography you should study precisely because they brought something to photography that has made a greater impact than their reputation would indicate. All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10. Instant access, terabytes of content, inspiration and ideas that expand daily with new content. Sign up for instant access! You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.

Humanities West explores Ansel Adams' legendary six-decade career as a conservationist, teacher, musician and, above all, photographer, bringing you the stories behind the famous images to reveal the infectious enthusiasms, fervent battles, and bountiful friendships of a truly American original.  Two of Ansel Adams' best friends, Georgia O'Keeffe and Edward Weston, criticized him for being too involved with the world. They advised that his activism—for the environment, for the rights of American citizens, for the recognition of photography as a creative art—all came at a grave cost to his art. To be a serious artist, they agreed, one must focus only on one's art. Ansel Adams proved them wrong. But too often, Adams' photographs are appreciated only for their aesthetic appeal, without consideration of the social and political circumstances of their making.  On what would have been his 123rd birthday, how do we celebrate this great artist and American citizen? Mary Street Alinder and Dr. Jasmine Alinder will place Adams' artistic work and political convictions in conversation, not as opposing forces, but as mutually supporting objectives.  Mary Street Alinder first studied with Adams in 1967, eventually becoming his chief assistant from 1979 until his death in 1984. During those years she worked very closely with him and completed his autobiography posthumously. She will share her very personal experiences with this great San Franciscan.  Jasmine Alinder is an interdisciplinary, community-engaged scholar and teacher of public history, the history of photography, and the history of Japanese-Americans during World War II. In her talk, she will focus on Ansel Adams' 1944 project Born Free and Equal: The Story of Loyal Japanese-Americans. A Humanities Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. In association with Humanities West. Organizer: George Hammond  Learn more about your ad choices. Visit megaphone.fm/adchoices

Tina Modotti, ki se je pred 130 leti rodila v Vidmu v Italiji, danes velja za pomembno ustvarjalko moderne fotografije 20. stoletja. In vendar je njen inteziven in dovršen umetniški opus nastajal le dobrih sedem let. Kmalu zatem je kot članica mehiške komunistične partije postala prepoznavna figura revolucionarnega gibanja – in fotografijo je povsem opustila. Kot najstnica se je preselila v Združene države Amerike in se preizkusila kot gledališka in filmska igralka, njen ustvarjalni in politični preobrat se je zgodil v Mehiki dvajsetih let prejšnjega stoletja. Tam je vstopila v krog umetnikov in intelektualcev, med katerimi sta bila tudi Diego Rivera in Frida Kahlo. Ključno vlogo pri njenem razvoju je imel ameriški fotograf Edward Weston. Po izgonu iz Mehike se je vključila v delo Mednarodne rdeče pomoči. Njena pot jo je vodila v Sovjetsko zvezo in nato v Španijo, kjer je med državljansko vojno delovala v podporo republikanski strani. Povsem se je posvetila političnemu organiziranju, revolucionarnemu in humanitarnemu delu, zato se k fotografiji ni več vrnila. Posebno zanimivo je, da je del svoje zapuščine – fotografije in drugo gradivo – v Moskvi zaupala tržaškemu Slovencu, revolucionarju in povojnemu politiku Ivanu Regentu. Prav po zaslugi teh vezi ima tudi slovenski prostor pomembno, čeprav pogosto prezrto mesto v zgodbi Tine Modotti. gost: dr. Miklavž Komelj, poznavalec njenega dela, ki je izbrskal umetničino zapuščino v Sloveniji  fotografija: Wikipeida, Tina Modotti by Jane Reece c. 1919

I hope you are having a great week and thanks for tuning into this week’s episode of the Perceptive Photographer. The just happens to be episode 571 and we still have one week of the Winter Olympics left. Woo H00!. This week, we're diving deep into the art of photographic composition and what truly makes a photograph great based on the inspiration of two quotes. One by Ansel Adams and the other by Edward Weston. Ansel Adams once said, “A great photograph is a full expression of what one feels about what is being photographed in the deepest sense.” This means that a photograph isn't just a picture; it's a reflection of your emotions and worldview. Edward Weston's perspective that “Good composition is only the strongest way of seeing the subject. It cannot be taught because, like all creative efforts, it is a matter of personal growth” It's about developing your unique vision and expressing it through your photography. The got me thinking that, while learning compositional rules is helpful, the essence of great photography really doe lie in personal connection and authentic expression. Your best work will come from a place of self-awareness and growth. Our great photographs are more than visual records; they are stories of our life told through our unique perspective. They reflect our values, emotions, and experiences. Couple of reminder about some upcoming fun things to do: Foundations of Photoshop Virtual Summit: Starting next Monday, February 23rd, through the 27th. It's a fantastic opportunity to get a free week of training on Photoshop fundamentals. Don't miss my classes on printing, troubleshooting, canvas, and image size. Sign up for a free pass from the homepage. . Adventures in the Palouse Workshop: Join me for a five-day immersive experience in a beautiful location. It's perfect for photographers looking to deepen their craft and connect with others. Check out the details under the workshop tab above. I hope these insights inspire you to approach your photography with renewed passion and authenticity. Remember, your growth as a person and an artist is inseparable from your growth as a photographer. Thank you for being a part of this journey with me. Have a wonderfully creative week, and I look forward to our next episode together.

Dans cet épisode, il sera question de :

durée : 00:27:29 - Les Midis de Culture - par : Marie Labory - Aujourd'hui, au menu de notre débat critique on parle d'expositions avec "Edward Weston. Modernité révelée" à la Maison Européenne de la Photographie & "Denise Bellon. Un regard vagabond" au musée d'Art et d'Histoire du Judaïsme - réalisation : Laurence Malonda - invités : Corinne Rondeau Maître de conférences en esthétique et sciences de l'art à l'Université de Nîmes et critique d'art; Sarah Ihler-Meyer Critique d'art et commissaire d'exposition

durée : 00:13:36 - Les Midis de Culture - par : Marie Labory - La MEP dévoile "Edward Weston. Modernité révélée", une plongée dans l'un des tournants majeurs de l'histoire de la photographie. À travers plus de cent tirages, l'exposition retrace le passage du pictorialisme à l'esthétique moderniste qui fera de Weston une figure majeure du regard contemporain. - réalisation : Laurence Malonda - invités : Sarah Ihler-Meyer Critique d'art et commissaire d'exposition ; Corinne Rondeau Maître de conférences en esthétique et sciences de l'art à l'Université de Nîmes et critique d'art

HT2456 - The Most Memorable Photographs of our Age Time has a way of filtering out the unimportant. Think back 500 years ago. We don't remember local politics, but we do remember the great art from that era. What will people, 500 years from now, look back at our era and find most remarkable? I'll guarantee you it won't be your work or my work, nor even the photographs of the masters like Ansel Adams or Edward Weston. No, they will look back at the images the astronauts captured while on the moon, the Voyager, Cassini, and Juno expeditions to the distant planets, the Hubble and Webb telescope images of distant galaxies. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

 I'm so excited to say that my guest on the Great Women Artist Podcast is one of the world's most renowned photographers working today, Sally Mann. Hailed for her images of nature in the remote American south –  full of deeply layered memories and rivers that become characters of their own – and intimate portrayals of her children Jesse, Emmett and Virginia, Sally Mann creates photographs full of beauty. Beauty being something that is tied up with ephemerality, that is alive, that is in motion, something that we have to catch. As she aptly wrote in her 2015 memoir, Hold Still, “there cannot be any real beauty without the indolic whiff of decay.” Mann's photographs are therefore both painterly and fleeting. They capture people on the cusp of something else, whether that be illness or an increasingly decaying body, but she also captures the land, connecting us to the ancient and the natural worlds. Using an eight by 10 bellows camera and 19th century photographic techniques, her black and white aesthetic - that can be both dreamlike and hazy - chimes with her interest in memory and decay. Born in 1951 in Lexington, Virginia, Mann began her artistic career as a poet, but a deep dive in photography in the late 1960s whilst attending the Ansel Adams Gallery Yosemite Workshops was one of the catalysts for her photographic career. Words have always also taken center stage - she studied literature at Hollins College in Virginia in 1974 and completed an MA in creative writing the following year. She is the author of Hold Still: A Memoir with Photographs and was the subject of two documentaries, Blood Ties in 1994, and What Remains in 2006. However, this year she also released the New York Times bestselling book, Art Work: The Creative Life, a part memoir, part insight into her creative life, which is a strange and lonely one; one that is so personal and insular, and one that we can often take for granted and get angry at. Yet it was reading this that really reminded me about why so many of us do what we do… Books mentioned: Sally Mann - Hold Still: A Memoir with Photographs: https://www.waterstones.com/book/hold-still/sally-mann/9780241699287 Sally Mann - Art Work: The Creative Life: https://www.waterstones.com/book/art-work/sally-mann/9780241774540 Artists mentioned: Ansel Adams (1902–1984) Edward Weston (1886–1958) Cy Twombly (1928–2011) Bill Brandt (1904–1983) Robert Capa (1913–1954) Julia Margaret Cameron (1815–1879) Mary Ellen Mark (1940–2015) Joseph Szabo (b.1944) Lady Clementina Hawarden (1822–1865) Imogen Cunningham (1883–1976) Artworks mentioned: Sally Mann, The Perfect Tomato (1990): https://www.guggenheim.org/artwork/10396 Sally Mann, Immediate Family series (1984–1992) Sally Mann, Dead Duck (1988): https://observer.co.uk/culture/photography/article/sally-mann-my-quest-to-take-the-perfect-photograph-memoir Sally Mann, Marital Trust series (1990s to the early 2000s, to be exhibited at Gagosian in 2027) The Family of Man, a 1955 exhibition at MoMA, organised by Edward Steichen: https://www.moma.org/calendar/exhibitions/2429 -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

“Edward Weston” Modernité révéléeà la Maison Européenne de la Photographie, Parisdu 15 octobre 2025 au 25 janvier 2026Entretien avecLaurie Hurwitz,commissaire d'exposition et responsable de la collection vidéos d'artiste de la MEP, co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, 14 octobre 2025, durée 19'46,© FranceFineArt.https://francefineart.com/2025/10/19/3655_edward-weston_maison-europeenne-de-la-photographie/Communiqué de presse Commissaires :Simon Baker & Laurie Hurwitz, MEP, ParisPolly Fleury & Hope Kingsley, Wilson Centre for Photography, LondresChargée de production : Elisa Monteillet, MEP, ParisCette exposition a été réalisée avec le soutien du Wilson Centre of Photography sur une idée de Michael Wilson.La MEP présente Modernité révélée, la plus grande exposition dédiée à Edward Weston à Paris depuis près de trente ans. Figure majeure de la modernité photographique, Weston a forgé un langage visuel radicalement novateur, fondé sur la clarté, la rigueur formelle et une exploration approfondie du médium photographique.Conçue à l'initiative de Michael Wilson — fondateur du Wilson Centre for Photography à Londres et l'un des plus grands collectionneurs de photographies au monde — l'exposition réunit un ensemble rare de tirages d'époque issus de sa collection, dont plusieurs sont présentés pour la première fois en France. Ces oeuvres offrent un éclairage exceptionnel sur l'évolution du travail de Weston et sur l'émergence d'un modernisme photographique pleinement affirmé.S'étendant sur plus de trois décennies, de 1908 à 1945, le parcours retrace la trajectoire artistique de Weston. Ses premières photographies pictorialistes, réalisées en Californie dans les années 1910 et au début des années 1920, s'inscrivent dans les traditions visuelles du XIXe siècle : flous soigneusement maîtrisés, mises en scène élaborées, et présence de symboles allégoriques. Progressivement, son regard se transforme : les images gagnent en netteté, les compositions s'épurent, et l'accent se porte de plus en plus sur la forme, la surface et la structure. Dès les années 1920, certaines oeuvres tendent vers l'abstraction géométrique — bien que Weston n'ait jamais adopté un style unique. Cette transformation s'opère de manière continue : les motifs se croisent, les techniques évoluent, révélant un artiste en constante recherche, affûtant sans relâche son regard.L'exposition met en lumière les grandes étapes de ce cheminement, notamment son séjour au Mexique, où il collabore étroitement avec Tina Modotti. Ensemble, ils créent des portraits et des nus empreints d'une liberté nouvelle et d'une radicalité inédite. Ces images dialoguent avec ses paysages évocateurs de la côte californienne, autour de Point Lobos et Carmel.Le coeur de l'exposition rassemble ses séries les plus emblématiques : gros plans sensuels de formes naturelles — poivrons, coquillages, fruits et légumes — photographiés avec une intensité presque obsessionnelle ; paysages de dunes et de rochers à Point Lobos et dans la Death Valley ; nus lumineux de Charis Wilson, sa muse et compagne. Weston y révèle la beauté universelle des choses les plus simples, qu'il transforme en formes sculpturales épurées. Portraits, nus, natures mortes et paysages se répondent dans une mise en relation inédite, dévoilant les résonances profondes de son oeuvre. Chez Weston, les formes naturelles prennent souvent des qualités anthropomorphiques subtiles, témoignant de la puissance formelle et de la richesse expressive de son regard.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In part two of our conversation with New York gallerist Bruce Silverstein, we delve deeper into his evolving gallery vision, his commitment to challenging traditional art hierarchies, and his dedication to championing overlooked artists. Bruce reflects on the inaugural exhibition at his new gallery location, Photographer as Sculptor, Sculptor as Photographer, which encapsulates decades of his thought on the fluidity of artistic mediums. He shares insights into how artists like Constantin Brancusi, Henry Moore and Edward Weston have blurred the lines between photography and sculpture, often using the camera as an intrinsic part of their creative process rather than just a documentary tool. The episode also covers Bruce's proactive efforts to address historical biases in the art world, particularly his work with overlooked African-American photographers from the Kamoinge group, such as Chester Higgins, and his promotion of Native American artists like Sarah Sense and Dakota Mace.  As well as the innovative approaches of contemporary artists Shinichi Maruyama and Marianne Tuijn, whose works seamlessly blend photography with performance, painting, and sculptural interventions.    Timestamps (00:00) – Introduction and welcome (02:00) – One month in new gallery location and reflecting on the move (05:49) – Photographer as Sculptor, Sculptor as Photographer exhibition (09:30) – Constantin Brancusi - Romanian sculptor, photographer, and painter (19:03) – Expanding the scope of the gallery beyond photography (25:59) – The purpose of contemporary art and our relationship to it (28:28) – Recognition of overlooked Black artists (32:33) – Kamoinge group (1963) of New York City based African American photographers (34:42) – Chester Higgins - African American photographer (37:07) – Sarah Sense and Dakota Mace - Native American artists (43:51) – Contemporary photographers redefining the medium (44:49) – Shinichi Maruyama - Japanese photographer (48:00) – Marjan Teeuwen - Dutch artist (51:31) – Future exhibitions and plans for the new gallery space   Bruce Silverstein is a leading New York gallerist specialising in modern and contemporary photography. After a successful career on Wall Street, he founded the Bruce Silverstein Gallery in 2001, quickly becoming known for his innovative exhibitions and advocacy for under-represented artists. Bruce's curatorial approach challenges traditional boundaries, integrating photography with other art forms and re-contextualizing overlooked voices in the art world. - Bruce Silverstein Gallery official website https://brucesilverstein.com/ - Follow Bruce Silverstein Gallery on Instagram https://www.instagram.com/brucesilverstein/   This episode of Subtext & Discourse Art World Podcast was recorded on 8. May 2025 between Perth (AU) and New York (US) with Riverside.   Michael Dooney official website: https://www.michaeldooney.net Instagram page: https://www.instagram.com/michaeldooney/

'Los yugoslavos' es una obra sobre la tristeza, el amor y el poder de las palabras que dirige Juan Mayorga en el Teatro de la Abadía. Sobre las tablas vemos a Luis Bermejo, Javier Gutiérrez, Natalia Hernández y Alba Planas. Estas dos últimas, junto al director, nos han visitado esta tarde. Nos faltan Luis Bermejo y Javier Gutiérrez, que son quienes arrancan la historia, en el bar de este último, y todo empieza con la petición de ayuda de uno a otro, y, en principio, con un simple intercambio de palabras.Cuando pensamos en la naturaleza, solemos imaginar animales, plantas, el cielo o grandes paisajes. Sin embargo, hay algo que está en la base de todo y que muchos olvidamos: las piedras. Con Miguel Ángel Delgado repasamos 'Escuchar a las piedras', de Marcia Bjornerud, publicado por Crítica.En Barcelona, la Fundación Mapfre presenta 'La materia de las formas', una exposición dedicada a Edward Weston, profundamente vinculado al paisaje y la historia cultural de Estados Unidos. Además, la misma fundación acoge 'La década convulsa', una muestra del fotógrafo catalán Joan Andreu Puig Farran. Aunque nunca llegó a exponer sus obras, entre 1929 y 1939 sus fotografías fueron publicadas en revistas y periódicos como testimonio gráfico de la guerra. Nos lo cuenta Marta Orquín.Y terminamos con el anuncio oficial del décimo Congreso Internacional de la Lengua Española, que se celebrará en octubre en Arequipa, Perú. Esta ciudad tuvo que ceder la sede a Cádiz hace dos años debido a la situación política del país, pero ahora recupera la organización de esta importante cita de la lengua española. Íñigo Picabea nos ofrece todos los detalles.Escuchar audio

Send us a textEver since she picked up her father's camera at age twelve, Rachael Short has been captivated by the art of photography. Listen to our conversation to learn more from and about Rachael's remarkable story.LINKS:Relay for RachaelGallery ExposedRachael Short Photography>>>>>>>>>>>SUMMARIES:Rachael's Nature-Inspired Photography JourneyRachael and Magnus reminisced about their past interactions and shared experiences. Rachael, who grew up in Carmel Valley, expressed her gratitude for her upbringing, which included spending time in nature and observing the environment. She credited this upbringing for influencing her photography and creativity. Magnus and Rachael discussed how Rachael's experiences, such as horseback riding and long drives through nature, shaped her perspective and artistic vision.Rachael's Photography Journey and Technical SkillsRachael discusses her early experiences with photography, starting in high school and continuing through her education at Brooks Institute. She was drawn to black and white photography and the darkroom process, which she began learning as a sophomore. Rachael explains that she didn't fully appreciate the significance of famous photographers from her area, like Ansel Adams and Edward Weston, until later in her studies. She describes her time at Brooks Institute, where she experienced the transition from film to digital photography, and highlights the technical skills she gained there, particularly in lighting and the zone system. Rachael also mentions her focus on fine art photography and portraiture, which led to her work in wedding photography as a means to fund her artistic pursuits.Neurological Trauma Experiences ComparedRachael and Magnus discussed their experiences with neurological traumas. Rachael shared her vivid memories of a 15-year-old accident that left her paraplegic, while Magnus described his wife's recent stroke. They compared their experiences, noting similarities and differences. Magnus asked Rachael about her memories of the accident and how she has coped with the trauma over the years. Rachael confirmed that she still remembers painful aspects of the accident and has no memory of the first few days in the hospital.Quadriplegia and Community SupportRachael discussed her quadriplegia, emphasizing the difference between paraplegia and quadriplegia. She acknowledged the fragility of life and the ongoing challenges of finding the right care to manage her condition. Rachael also expressed gratitude for the community support she receives, particularly through the annual run organized by a core group of friends. Despite the difficulties, she remains hopeful and appreciative of the love and support she receives.Rachael's Photography and New ProjectIn the meeting, Rachael discussed her photography work, including a series of images taken at her grandparents' property after it was sold. She explaineSupport the show_________________________________________________This podcast is a production of the Henry Miller Memorial Library with support from The Arts Council for Monterey County! Let us know what you think!SEND US AN EMAIL!

During the Pandemic, commercial and fine art photographer Beth Galton created an art piece that eventually turned into an art book she titled, Covid Diary. Now she has started a Kickstarter to help her fully realize the scope of this passion project.  On this episode, we're talking about the Covid Diary, which is on its final fundraising stretch. We discuss the origin of the project, its evolution, and how this experience has helped Beth grow. Click here to learn more about the kickstarter! About Beth: A born and bred New Yorker, Beth is continually inspired by the sights, sounds, and tastes of the city she calls home. The path to a prolific career as an award-winning New York City photographer began in a childhood animated with Marvel Comics, choral music, a natural science education, flute lessons, and the chaotic and composed meals she had at home and abroad. Photography became her method to synthesize life. Drawn to the organic classicism of Edward Weston, Ansel Adams and Edward Steichen, Beth's work is informed by her sensitivity to how light falls and shapes the subject. Her work is exceptional in its ability to invest her images with emotion. Whether making a photo look so compelling you want to pick it up off the page, or conceptually exploring an idea, she applies her deep knowledge and love of craft to each photograph she creates. Beth's personal warmth and generosity infuse her working and shooting environment. She enjoys creative and collaborative relationships with stylists and Art Directors many of whom she works with again and again. Her images and short films tell stories – the story of memories, of what and how we eat together, a love of nature, and the pleasure of shared experiences. Visit Beth's website.  

Sotheby's in London meldet Rekordergebnisse: Die Versteigerung von 220 Fotografien aus den zwanziger und dreißiger Jahren bringt Millionen. Die Fotografien von Man Ray, Edward Weston, El Lissitzky oder Umbo galten als verschollen, bis Sotheby's mit einer Geschichte aufwartete, die nicht nur wie ein Märchen klang. Der Sohn einer Helene Anderson, hieß es im Auktionskatalog, habe die von seiner Mutter angelegte Sammlung zufällig in einem Koffer auf einem Frankfurter Dachboden gefunden. Von Anja Kempe - Deutschlandfunk Das Feature

HT1981 - Seeing a Focal Length I remember hearing a story about Edward Weston that I hope is true. It's said that once he set his tripod down to make a photograph he never needed to move it because he knew the focal length of his lens so well he could predict exactly where the camera needed to be. Does this mean that choosing our focal length changes the way we see?

After a fun morning of photography, the Shutter Brothers are back to the podcast table - and Kevin has questions! Lately, he's been in the darkroom trying out fiber based paper for the first time, and he has much to learn about the differences between resin coated and fiber based paper when it comes to exposing, developing, fixing, washing, and drying processes. Fortunately, Wayne has been printing on FB paper for decades, so get ready to learn, everybody! The look and feel of FB paper makes mastering the learning curve worth it. Kevin also reviews a fine photo book, New York Changing:  Revisiting Berenice Abbott's New York by Douglas Levere. Berenice Abbott had a long and very successful photography career and is well known for her documentary photography of 1930's New York City. Levere attempts to rephotograph Abbott's subjects to demonstrate the changes time has brought about, and the book contains many side by side comparisons of both Abbott's and Levere's photography. Anyone who has interest in urban large format photgraphy will enjoy it very much! Next, Wayne leads a discussion about Edward Weston's quote, "To photograph a rock, have it look like a rock, but be more than a rock." Exactly how does a developing phoographer begin to make images that express feelings or tell stories? Wayne has some practical and useful tips. Don't forget about our 3rd Annual Photowalk with the Shutter Brothers, which will happen on Saturday, October 26, at Fort Southwest Point in Kingston, Tennessee. If you've ever thought about photographing a military reenactment, this is your chance. There will be hundreds of reenactors patroling the reconstructed Fort Southwest Point providing ample photographic opportunities. Mark your calendar! Our show notes can be found at https://unclejonesyscameras.blogspot.com. Happy Photography!

Podcst Notes: https://www.moneymakerphotography.com/edward-weston/ Edward Weston was a famous 20th-century photographer known for pioneering high-detail photography work. His personal life was also tempestuous. Here is the interesting story of this remarkable American cultural personality.

1921 – Edward Weston conoce a quien sería su musa, su amante, su asistente y su mejor alumna, Tina Modotti que por entonces está casada con un artista que se apoda Robo. En la primera etapa del romance que dura años, Tina le escribe. Un espacio de Bárbara Espejo.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Kelli Connell discuss her brand new book, Pictures for Charis, published by Aperture. Kelli talks about her fascination with and subsequent extensive research on Charis Wilson and the eleven year relationship she had with legendary photographer Edward Weston, and how what she learned guided her own exploration of portrait-making and landscape work while collaborating with her wife of fourteen years, Betsy Odom. Sasha and Kelli also discuss Kelli's renowned series, Double Life, which also explores the relationship between photographer and model as well as gender and identity. https://www.kelliconnell.com https://aperture.org/books/kelli-connell-pictures-for-charis/ http://www.decodebooks.com/connell.html Kelli Connell is an artist whose work investigates sexuality, gender, identity and photographer / sitter relationships. Her work is in the collections of the Metropolitan Museum of Art, Los Angeles County Museum of Art, J Paul Getty Museum, Philadelphia Museum of Art, Columbus Museum of Art, Museum of Fine Arts Houston, Dallas Museum of Art, Milwaukee Art Museum, and the Museum of Contemporary Photography, among others. Publications of her work include Kelli Connell: Pictures for Charis (Aperture, March 2024), PhotoWork: Forty Photographers on Process and Practice (Aperture), Photo Art: The New World of Photography (Aperture), and the monograph Kelli Connell: Double Life (DECODE Books). Connell has received fellowships and residencies from The Guggenheim Foundation, MacDowell, PLAYA, Peaked Hill Trust, LATITUDE, Light Work, and The Center for Creative Photography. Connell is an editor at SKYLARK Editions and a professor at Columbia College Chicago. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Plongez dans l'univers féminin des fleurs, où la pivoine rouge, les roses d'Aphrodite et les camélias de Coco Chanel s'entrelacent dans une épopée botanique. Découvrez comment les femmes, des guérisseuses médiévales aux suffragettes du 20e siècle, ont utilisé les fleurs comme symboles de résistance, de créativité et de liberté. Rejoignez-nous pour explorer la question intrigante : Les fleurs peuvent-elles être féministes ?Références :La Pivoine Rouge (1970) - Film japonais "yakusa".Hamlet - Œuvre de William Shakespeare."Herbier curieux" (1739) - Ouvrage d'Elizabeth Blackwell.Marché Elizabeth II - Lieu à Paris, rebaptisé en l'honneur de la Reine Élisabeth II.Georgia O'Keeffe - Artiste américaine du 20e siècle.Blow Up (1954) - Technique photographique utilisée par Edward Weston.Coco Chanel - Icône de la mode française."La Dame aux Camélias" - Œuvre influente pour Coco Chanel.Journée Internationale des Droits des Femmes - Célébrée le 8 mars.Langage des fleurs - Floriographie.Mimosa - Symbole politique en Italie après la Seconde Guerre mondiale.Suffragettes françaises - Utilisation de fleurs violettes, vertes et blanches.Roses Elizabeth - Variété de roses associée à la Reine Élisabeth II.Bienvenue dans « Purple Theorie », Là où les questions deviennent féministes , le podcast qui explore les questions de féminisme à travers la culture, l'histoire et bien plus encore. Bienvenue dans « Purple Theorie", le podcast qui explore les questions de féminisme à travers la culture, l'histoire et bien plus encore.Chaque chronique a pour déclencheur, une scène de film de cinéma, qui nous entraine dans les trajectoires féministes, en abordant des questions culturelles, historiques et philosophiques. Écoutez, partagez et laissez-vous emporter par "Purple Theorie" sur Apple Podcast et Spotify & Co. Préparez-vous à vivre des sensations fortes à chaque épisode !Production: Mikrophonie Emission écrite et réalisée par Marie SuchorskiMusique: Royalty-free music by Slip.stream / https://slip.stream Rejoignez-nous pour une exploration passionnante du féminisme….Instagram : www.instagram.com/purpletheorieSite web : www.purpletheorie.com#purpletheorie #podcast #féminisme #feministe #femme #art #cinema #Mikrophonie#Fleurs #Botanique #PivoineRouge #GeorgiaOKeeffe #Suffragettes #Roses Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

HT1757 - Seek What They Sought Some 2,600 years ago, the Chinese sage Lao Tzu advised us, "Do not seek the wise men of old. Seek what they sought." I can't help but think that he was speaking directly to us photographers here in the 21st century. Instead of chasing the Yosemite of Ansel Adams, the Point Lobos of Edward Weston, or the New York of André Kertéz, perhaps we should look beyond their work to the deeper beauty, honesty, and introspection they were trying so diligently to capture in their photographs.

HT1694 - Even Winners Produce Losers Can we all agree that not every Ansel Adams, or Edward Weston, or Wynn Bullock image is a winner? Sometimes even the great photographers would produce a questionable image. When I produce crap, I find it comforting to remember that.

Tina Modotti è stata una delle più grandi fotografe del '900, ma spesso si parla di lei in funzione delle sua biografia. Tina Modotti e Frida Kahlo, Tina Modotti musa di Edward Weston, ma chi era Tina Modotti come fotografa? A rispondere a questa domanda e a prendere parte insieme a noi a questo viaggio meraviglioso c'è Riccardo Costantini, curatore della mostra "Tina Modotti. L'opera" che puoi visitare a Palazzo Roverella, Rovigo fino al 28 gennaio 2024. Prima di visitare la mostra, ti consigliamo di ascoltare le parole di Riccardo! Qui trovi maggiori informazioni sulla mostra: La straordinaria mostra di Tina Modotti a RovigoTina Modotti, storia di una fotografa e attivista politica + libri da leggereVisita il sito web di Palazzo Roverella

HT1586 - Most Influential Book Daybooks by Edward Weston? The Decisive Moment by Cartier-Bresson? The Americans by Robert Frank? For me, there is no question that most influential book has been Photographers On Photography by Nathan Lyons. This is the one book I go back to and reread over and over again.

Formerly a photographer and founder of The Center for Photography in Woodstock in 1977, Howard Greenberg has been one of a small group of gallerists, curators and historians responsible for the creation and development of the modern market for photography. Howard Greenberg Gallery—founded in 1981 and originally known as Photofind—was the first to consistently exhibit photojournalism and 'street' photography, now accepted as important components of photographic art. Howard Greenberg Gallery maintains diverse and extensive holdings of photographic prints including Eugène Atget, Henri Cartier-Bresson, Bruce Davidson, André Kertész, William Klein, Gordon Parks, Edward Steichen, Paul Strand, Josef Sudek, and Edward Weston on its roster of artists. More recent additions include Edward Burtynsky, Jungjin Lee, Joel Meyerowitz, and Vivian Maier. In 2013 Howard Greenberg Gallery announced exclusive representation for the estates of Berenice Abbott and Arnold Newman. In 2018 Howard Greenberg Gallery became the primary representative of the Ray K. Metzker Archive. In 2019 Greenberg sold 447 photographs from his collection to the Museum of Fine Art in Boston. This conversation took place over Zoom in January 2023.

Full show notes and photos here: allthroughalens.com And on this episode - the big 8-0! - we are talking to photographer Kristie Cornell (@kccornell on IG) and sculptor Marla Kristicevich (@marla_kristicevich on IG) about a project they collaborated on around Louisiana's Bayou Teche . We'll also tell you about Esther Bubley, one of Roy Stryker's photographers who became much more than just one of Roy Stryker's photographers. There's also the answering machine and some witty banter!   Kristie Cornell & Marla Kristicevish   Kristie Cornell and Marla Kristicevich collaborated on a project called Meander Mindset that took them down the 124mi length a Bayou Teche, a vital waterway in Louisiana. The project was a combination of photography and sculpture, as well as various other skills - all aboard a small 1970s Boston Whaler.   Flickr: https://www.flickr.com/photos/kccornell/albums/72177720300912386   Kristie: www.kristiecornell.com   Marla: marlakristicevich.com         Esther Bubley     Lately, our stories have involved the various and alarming sexual escapades of any number of wriggling photographers. But not today! There's actually almost nothing known about this photographer's private life (which means she probably didn't date Edward Weston!)    Today we are talking about Esther Bubley, a Midwestern photographer who had the ability to essentially disappear into the background and capture people at their most normal and vulnerable - all while making them feel truly seen and understood.    Here are some of her FSA images:     And here are her Assignment images:         Link her her government archives: https://www.loc.gov/pictures/search/?q=LOT%20939&fi=number&op=PHRASE&va=exact&co!=coll&sg=true&st=gallery   www.esterbubley.com   PATREON   Thank you to everyone who supports us!   Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff!   patreon.com/allthroughalens   THE CREDITS OF ENDING   www.allthroughalens.com   Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kit  

Full show notes and photos here: allthroughalens.com   We are back from our long winter's nap with a wonderful show for you. We'll be talking with the amazing Kat Swansey (@katswanseyphoto on IG) about her new book, and then sharing with you another story of collaboration and love gone wrong with Lee Miller and Man Ray. We've got the answering machine question, and a bit of housekeeping, so welcome the hell back to All Through a Lens! Kat Swansey We first talked to Kat Swansey all the way back in episode 18. We fell in love with her straight forward depictions of small town Texas. But now she's back with a book called Texas Textures, and we we're excited as hell to hear what she has to say… Her book: https://www.katswansey.com/book Web: https://www.katswansey.com/ IG: @katswanseyphoto And here are some of her photos:   Lee Miller and Man Ray One of the topics we've been exploring lately is the idea of collaboration. We examined the love between Claud Calhoun and Marcel Moore; Talked with Taylor and Kate Miller-Wilson about their water-side photos; and most recently looked at the toxic dependency between Margrethe Mather and Edward Weston. Today, we're entering into the intense and desperate four year relationship between Lee Miller and Man Ray. How might a self-centered, aristocratic Vogue model of 22 get along with a short, odd, working class, surrealist photographer pushing 40? As we'll see, Lee Miller was not your average fashion icon, and Man Ray wasn't your typical surrealist. In fact, Lee might have fit that definition far better than Man. Lee Miller and Man Ray shot hundreds of photos together. Some of them we can even share with you. We also referenced a few other photos by Lee and Man separately:   PATREON Thank you to everyone who supports us! Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff! patreon.com/allthroughalens THE CREDITS OF ENDING www.allthroughalens.com Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kit

LW1334 - The Flame of Recognition The Flame of Recognition is the title of an Edward Weston monograph published by Aperture in the 1960s. I've come to realize this is a much more important idea than I thought when I purchased the book so many years ago. It describes one the of central cores of fine art photography. You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online. LensWork Online includes hundreds of hours of audio, video, and downloadable content - literally terabytes of content, content, and more content. All 1200+ of Brooks Jensen's podcasts, the complete Here's a Thought... video library, Looking at Images commentaries, Creative Labs and new channels for 2021 including Exploring the Back Issues and Q&A with Brooks and friends. We add new content literally every day. You can learn more about memberships to LensWork Online at www.lenswork.com. And don't forget that all members can download the digital versions of LensWork for your tablet or computer. LensWork Online is the most content-rich resource for ideas and inspiration you'll find anywhere on the Internet.

HT1403 - Georgia's Hands There is a history of photographers photographing their loved ones, not as family snapshots, but rather as an artistic pursuit. Stieglitz photographing Georgia O'Keeffe's hands; Harry Callahan and those portraits of Eleanor; Edward Weston and his portrait of Charis. This idea intrigues me.

Michael Torosian has spent his life taking photographs, interviewing great photographers, and making fine press photography books. He's in the process of making another entitled Lumiere Press, Printer Savant and Other Stories to commemorate the establishment of the Lumiere Press Archive at the Thomas Fisher Rare Book Library in Toronto. It's full of life lessons and back-stories illuminating each of the twenty-two books he's published over the past four decades.    We sat down in his workshop, behind his house in Toronto, to talk about the book. Topics covered in this first installment of a two part conversation include: photography, bookmaking, relentless exploration, 'general aesthetics,' cultivating aptitudes, the blossoming of the photography market, Edward Weston, Aaron Siskind, decoding visual language, composition, respect, paying homage, the Ninth Street Show, Gordon Parks, learning as the key to existence, making every word count, the Paris Review's Writers at Work series, capturing the voice of the artist, the book as the medium of photography, and more. 

For full show notes and photos, head here: allthroughalens.com   We're talking to Travis Cannady (@travis_cannady on IG), photographer and publisher of Better Off Zine. For our main feature, we'll tell you the story of the nearly-forgotten, yet wildly influential Margretha Mather (@betteroffzine). And that means we'll have to talk about Edward Weston too, so… apologizes all around. We've also a zine review and maybe even the answering machine.  Travis Cannady Along with being a film photographer and lab technician, our guest today, Travis Cannady is a zine maker. He creates and publishes his own, but he also does something pretty remarkable. He puts out a zine called Better Off. Each issue, the entire zine is dedicated to a single photographer. It's the zine equivalent of a solo-show. Or really, it's how some early photography periodicals used to do things. We've got him here, so let's talk his ear off. IG: @travis_cannady IG: @betteroffzine Web: traviscannady.com Buy Better Off Zine: betteroffzine.com Here are some of his photos: Margrethe Mather (and That Other Guy) The story of Margrethe Mather is not a simple story to tell. She was not a simple woman, nor a simple photographer. She was an anarchist in every sense of the word and held neither gods nor masters above her. Though wildly creative, she had little ambition for self-promotion, once telling Edward Weston, to leave her unremembered, to “pretend that I didn't exist.” In biographies of Edward Weston prior to the 1980s, if she is mentioned at all, Margrethe Mather is hardly more than a footnote. She was thought of as a woman, often naked, who posed for the great Edward Weston. The story of the two of them together had been consumed into his story alone. And it is our job to separate them. But that is no easy task. However, by Imogen Cunningham's reckoning, “in artistic matters Margrethe was, of course, the teacher. Edward, the pupil.” Margrethe's influence upon Weston can hardly be overstated. He followed her lead, and sometimes flat out copied her style. They were friends, companions, lovers, collaborators and ultimately estranged. Their relationship was in many ways mutually toxic. But since humans are always complicated, it was also mutually essential to their growth as artists. Here are some of Margrethe's photos:   And here are some of Weston's photos taken of and with Margrethe: The Center for Creative Photography issue we reference is available here: https://repository.arizona.edu/handle/10150/641064 You can borrow Artful Lives by Beth Gates Warren online here: https://archive.org/details/artfullivesedwar0000warr/page/n7/mode/2up We also recommend: Margrethe Mather & Edward Weston; A Passionate Collaboration also by Beth Gates Warren. There are no other books about Margrethe Mather. There are a shit ton of books about Edward Weston. Zine Review Fool Me Once, Fool You Twice by Tee Ferguson This is highly saturated, full color, 88 page perfect bound zine made up entirely of double exposures, all of which happened in-camera. She'd shoot an entire roll, re-roll it and shoot it again. This allowed for happenstance and serendipity to work their magic.  IG: @tee.ferguson Etsy Shop: https://www.etsy.com/uk/shop/teeonfilm   PATREON Thank you to everyone who supports us! Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff! patreon.com/allthroughalens THE CREDITS OF ENDING Music by Last Regiment of Syncopated Drummers Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kit   All Through a Lens: IG, Website, Patreon, Spotify Playlists

HT1289 - Once Again, the Pace of History Amazes Do you realize that 100 years ago, [well, technically 105 years ago when Stieglitz published issue #48 — the final issue — of Camera Work] high quality photography publications used tipped-in photogravure prints? It would be another 30 years before offset lithography was used in state-of-the art books like Edward Weston's My Camera on Point Lobos, another 60 years before Ansel Adams' Yosemite and the Range of Light used duotones. Today, we can share our work instantly via the Internet to people all over the world. How is this not the best time in the history of photography to be a photographer?

In the early 50's Peter Vincent saw a car that changed his life forever.  He was a 6th grader standing on the corner for junior traffic control when a lowered, drop top Merc pulled up with frenched headlights, nosed and decked with a smooth bumper and no grill. Needless to say, it made an impression. He has been hooked on cars ever since, and his passion stayed with him as he bounced from mechanical engineering to architecture and finally landed in his true passion, photography. Like that Merc, the act of creation in photography grabbed Peter like nothing else and never let go.   Peter learned photography from workshops with Ansel Adams and Edward Weston, taking in their formalism and methodical zone system of visualizing, measuring and capturing images. As he honed his craft, he turned his camera to cars. Much like architecture and landscape photography, cars provided subjects with lines and shapes that appealed to his passion for disciplined image making. Bonneville provided the perfect setting to capture hot rods in their purest form, built by like-minded car enthusiasts with their own spin on disciplined craftsmanship.  Since those first images, Peter has published five books of photography and made a reputation for himself as the premier hot rod photographer. We talk with Peter about his extensive experience in photography, his own cars and getting to know early hot rod legends like Keith Cornell and Ken Schmidt of the Rolling Bones hot rod shop.  Don't miss the Speedway Motors Museum of American Speed feature of Peter Vincent https://www.museumofamericanspeed.com/peter_vincent_photographer.html 

In 1930 three people, Edward Weston, Lincoln Steffens, and Jack Black (not THAT Jack Black) have some life-changing experiences and their stories intersect with a woman named Ginny Williams who buys a portrait 60 years later.

Stefano Karadjov, direttore di Brescia Musei ai microfoni di Claudio Chiari ha parlato della mostra fotografica "WESTON. Edward, Brett, Cole e Cara una dinastia di fotografi". Si tratta della prima mostra che ha come centro Edward Weston, gigante indiscusso che ha "ucciso" la pittura e portato la fotografia fino alla modernità. Mostra che comprende 100 anni della storia della fotografia, dalle prime foto di Weston in Messico del 1923 alle foto contemporanee della nipote Cara. Oltre a questa mostra, un'altra molto importante che Stefano ci ha consigliato è intitolata Lo sguardo restituito curata da Renato Orsini che vede presenti 170 fotografie di ritratti di più di 100, tra i più grandi autori della fotografia a raccontare il corpo e la sua evoluzione. Tutte le informazioni sono presenti su bresciamusei.com.

Clima frizzante a Milano, la settimana della Milano Art Week ha portato l'arte in tutta la città; Musei, gallerie, spazi espositivi e parchi ad accogliere Miart, la..26a edizione della Fiera dell'arte moderna e contemporanea, titolo: “Primo Movimento” - ..Vi proponiamo un viaggio fra mostre e fiera..- Ma non è da meno Brescia dove ha preso il via la quinta edizione di Photo Festival: “Le forme del ritratto” coi più bei nomi della fotografia e un omaggio a Edward Weston

Alberto Rossetti - presidente Civita Mostre e Musei"Frida Kahlo. Una vita per immagini"Ancona, Mole Vanvitellianahttp://civita.it/http://www.lamoleancona.itFrida Kahlo. Una vita per immagini è il titolo della mostra promossa dal Comune di Ancona, Assessorato alla Cultura e organizzata da Civita Mostre e Musei con Diffusione Italia International Group, che sarà aperta al pubblico alla Mole Vanvitelliana fino al 22 maggio."E' un anno speciale per la fotografia e l'arte ad Ancona. La mostra, che racconta attraverso gli scatti di grandi fotografi la vita di Frida Kahlo, testimonia la capacità della Mole di ospitare eventi e coinvolgere pubblici utilizzando codici differenti, anche contemporaneamente. Così, questa prima parte dell'anno vede due grandi eventi espositivi diversi, la mostra su Frida Kahlo e la mostra Terra Sacra, accomunate da una ricerca della qualità, del respiro nazionale, dell'arte che sta a cavallo tra il Novecento e il contemporaneo", afferma Paolo Marasca, Assessore alla Cultura e Turismo del Comune di Ancona.Attraverso un centinaio di scatti, per la maggior parte originali, la mostra ricostruisce le vicende della vita controcorrente della grande artista messicana, alla ricerca delle motivazioni che l'hanno trasformata in un'icona femminile e pop a livello internazionale. In effetti le foto sono state realizzate dal padre Guillermo durante l'infanzia e la giovinezza della figlia e poi da alcuni dei più̀ grandi fotografi della sua epoca: Leo Matiz, Imogen Cunninghan, Edward Weston, Lucienne Bloch, Bernard Silbertein, Manuel e Lola Alvarez Bravo, Nickolas Muray e altri ancora. In questo straordinario “album fotografico” si rincorrono le vicende spesso dolorose ma sempre appassionate di una vita, oltre agli amori, alle amicizie e alle avventure di Frida. In mostra è esposto anche un gruppo di piccole fotografie molto intime di Frida, scattate dal gallerista Julien Levy.Il percorso di mostra ricostruisce innanzitutto il contesto in cui si è affermata la sua personalità: è il Messico del primo Novecento, attraversato da una rivoluzione che ne ha cambiato la storia, grazie a umili campesinos ed eroici protagonisti come Pancho Villa e Emiliano Zapata. L'epopea e il mito della rivoluzione messicana resteranno impresse nella mente di Frida e ne forgeranno il carattere indomito, alimentando il suo senso di ribellione verso le convenzioni borghesi e le imposizioni di una società̀ fortemente maschilista. In questo contesto si innestano le vicende della famiglia Kahlo. Guillermo, il padre, è un fotografo di professione di origine tedesca, giunto in Messico nel 1891 e ben presto innamoratosi del paese che lo ha accolto. La sua attività è testimoniata da alcune fotografie realizzate su incarico del governo austriaco, per documentare le chiese del Messico, erette nel periodo coloniale.Di sangue misto, tedesco e messicano, Frida cresce nel mito di un Messico rivoluzionario, introiettando tutti i caratteri di una personalità̀ libera e indomita, che trova nella pittura un linguaggio appassionato, viscerale, dai forti contenuti impietosamente autobiografici, con cui si racconta senza ipocrisie. Tutta la sua opera è una forma di autoanalisi, alla ricerca di una propria identità̀ e di una ragione di vita. Nei suoi numerosi autoritratti non teme di mettere a nudo le proprie debolezze e le proprie inquietudini. Accanto a Frida è spesso ritratto Diego Rivera, il pittore e muralista con cui ha condiviso un rapporto intenso e turbolento, che ha attraversato gran parte della sua vita. Ma vi appaiono anche altri personaggi come Leon Trotsky e André Breton. In mostra è esposto anche un gruppo di piccole fotografie molto intime di Frida, scattate dal gallerista Julien Levy ed alcuni documenti come il catalogo originale della mostra di Frida, organizzata da André Breton a Parigi, il primo “manifesto della pittura rivoluzionaria” firmato da Breton e Rivera, una documentazione fotografica della sua famosa Casa Azul, alcune litografie di Rufino Tamayo e un grande dipinto realizzato dal pittore cinese Xu De Qi che riproduce Las Dos Frida. La mostra si chiude con un video che raccoglie le poche immagini filmate della grande artista messicana. Tutto il percorso espositivo è accompagnato da un'audioguida a disposizione di tutti i visitatori, inclusa nel biglietto. Il catalogo, curato da Vincenzo Sanfo, è edito da Papiro Art.Esibendo il biglietto di Frida Kahlo Una vita per immagini si può visitare con tariffa ridotta la mostra Terrasacra, in corso alla Mole. La promozione è reciproca e quindi esibendo il biglietto di Terrasacra si può accedere alla mostra dedicata a Frida Kahlo con biglietto a tariffa ridotto. IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Episode 49: Today I sit down with California landscape photographer and climber, Claude Fiddler, to chat about:How an early experience on the John Muir Trail laid the foundation for his passion for the mountains and mountaineeringHow to think about risk assessment and learning how to safely dig deep mentally and physicallyThe photographers and writers who influenced how he approaches photographyWhat makes a photograph a picture rather than just a photoThe key element that makes a composition compelling and impactfulThe creative benefits of using a large or medium format cameraBehind the scenes of what it was like to create his new book, Inside the High Sierra, and the legacy of photographers and climbers of this region he hopes to share through itLINKS MENTIONED:Website: http://www.claudefiddler.com/Claude's book: Inside the High SierraFollow Claude on FacebookSign up for the Outdoor Photography School NewsletterFull Show Notes***HAVE A QUESTION?Record a Question for Tidbit TuesdayLOVE THE OUTDOOR PHOTOGRAPHY PODCAST?Ways you can support the show:Buy Me a CoffeeLeave a Rating and ReviewShare the show with others!CONFUSED ABOUT WHERE TO FOCUS?Download my FREE Hyperfocal Distance Made Easy EbookABOUT BRENDA PETRELLA (host)Learn more about meVisit my online portfolioConnect with me on Instagram

Se me antoja difícil transmitirte el impacto que el invitado de hoy - con el que arranca la segunda teporada de Calle Oscura - ha tenido en mi vida. Recuerdo perfectamente la primera vez que sostuve en mis manos uno de sus libros, era un ejemplar de Fotografía de Viajes (https://amzn.to/3uFU6Iq) que encontré en una estantería de una biblioteca pública hace un buen puñado de años. Me lo llevé a casa y lo devoré de principio a fin tan fascinado por las imágenes como por las palabras. Con aquel pequeño volumen aprendí muchas cosas, una de las más valiosas que es posible enseñar divirtiendo. Entonces ni lo sospechaba, pero aquel libro de color amarillo anaranjado acabaría por convertirse en una de las semillas de lo que ha acabado siendo mi vida. En todos estos años Tino Soriano no ha dejado de enseñarme e inspirarme. Es uno de los pocos fotógrafos con los que en algún momento me dije aquello de “yo quiero hacer esto”, antes de entender que cuando tienes la suerte de descubrir a grandes como él lo mejor es subirse a sus hombros para encontrar tu propio camino. En este episodio hablamos de - La conveniencia de olvidarse de la cámara de vez en cuando. - Esa parte menos visible - y también mucho menos agradecida - del trabajo de reportero. - Compatibilizar encargos y trabajo personal. - La transición de la fotografía analógica a la digital. - Todo lo que nos puede enseñar los lugares que conocemos bien. - Cómo disfrutar de los lugares que visitamos. - Viajar bien. - Dedicar tiempo a las personas con las que nos cruzamos. - Que la fotografía es el resultado de la experiencia. - Y una excusa para compartir nuestra vida. Entre muchas, muchas cosas más, y es que tantas décadas de carrera profesional dan para un buen puñado de lecciones que Tino comparte con todos nosotros. Quién me acompaña Tino Soriano nació en Barcelona en 1955 y vive cerca del lago de Banyoles, un lugar que en sus propias palabras le ha enseñado mucha fotografía y al que recientemente ha dedicado BanyolesSpeculum, uno de sus, por ahora, veinte libros. Fotógrafo y comunicador, el trabajo de Tino ha sido reconocido por la Unesco, la Real Sociedad Fotográfica y las organizaciones del World Press Photo y el Premio Nacional Piedad Isla, entre otras muchas entidades que componen una lista interminable. Pensad en una publicación relevante y Tino habrá publicado en ella sin lugar a dudas: Geo, Altair, El País Semanal, Time Magazine, Paris Match, Der Spiegel… Y sí, también en National Geographic, de la que se enamoró de pequeño en casa de su padrino, con la que trabaja desde hace más de 20 años y que lo ha reconocido como docente experto. Encuentra y descubre más cosas de Tino: - En su web: https://www.tinosoriano.com/ - En las estanterías de las mejores librerías (tienes algunos de sus libros unas líneas más abajo). - En su perfil de Instagram: https://www.instagram.com/tinosoriano/ Referencias y enlaces Autores - Agustí Centelles. - Alex Webb. (https://jotabarros.com/mejora-fotografia-calle-street-photography-alex-webb/) - Andoni Candela. - Ansel Adams. (https://jotabarros.com/libro-400-fotografias-ansel-adams-anaya-photo-club/) - César Lucas Abreu. - Colita. - Cristina García Rodero. (https://jotabarros.com/grandes-fotografias-cristina-garcia-rodero/) - David Alan Harvey. - Edward Weston. - Emilio Morenatti. (https://jotabarros.com/grandes-fotografias-emilio-morenatti-afganistan-2008/) - Francesc Catalá Roca. - Gerardo Vielba. - Henri Cartier-Bresson. (https://jotabarros.com/curso/monografico-henri-cartier-bresson/) - Isabel Muñoz. - José Manuel Navia. (https://jotabarros.com/aprende-de-jose-manuel-navia/) - Juan Manuel Castro Prieto. - Oriol Maspons. - Oriol Alemany. - Richard Avedon. - Robert Doisneau. - Samuel Aranda. - Steve McCurry. (https://jotabarros.com/steve-mccurry-no-me-emociona/) - William Albert Allard. (https://jotabarros.com/grandes-fotografias-william-albert-allard-henry-gray-1970/) - Xavier Miserachs. Trabajos - Ayúdame a Mirar. (https://amzn.to/3ovvPnj) - BanyolesSpeculum. (https://www.tinosoriano.com/es/llibres/veure/BanyoleSpeculum) - CurArte. (https://amzn.to/2Yk4gTq) - El Libro de la Fotografía Creativa, de John Hedgecoe. (https://amzn.to/3ledQjk) - Fotografía con una Sonrisa. (https://amzn.to/3iT18VF) - Ligeramente Desenfocado, de Robert Capa. (https://amzn.to/3oB0waO) - Los Colores y Tú. (https://amzn.to/3iBzOe6) Muchas gracias por tu escucha Si te ha gustado este capítulo de Calle Oscura, deja tu valoración positiva en Ivoox, Apple Podcast y Spotify, donde también puedes encontrar este podcast. No olvides suscribirte a través de cualquiera de esas plataformas para no perderte ningún episodio. Por favor, comparte este contenido entre tus redes para que llegue a más gente, puede suponer una gran diferencia. Muchas gracias por estar ahí, al otro lado. Muy pronto, más Calle Oscura. Hasta entonces, nos vemos en la calle. Jota.

A few weeks ago, I had a great exchange with Joel, a friend of the show. We were talking about a set of original Ansel Adams prints on sale. Some of the photos are amazing and stop me dead in my tracks. They simply captivate. Yet other works… are less enthralling. They are, dare I say, average. I think that's fair when measured against today's standards. Maybe they are images we have seen already. Or maybe it is a concept we are familiar with now.So what makes photographers like Ansel Adams so great? What makes the past masters of photography deserve our reverence? It comes down to a single word - vision. The masters of old had singular, unique vision. They showed us our world in a different way, made visible something the rest of us didn't see.Dorothea Lange's work capturing images during The Great Depression put a face on struggle. She made others see hunger. And, rightly so, her work influenced generations of photojournalists and documentarians.Edward Weston's work is all about detail for me. Whether it is a nautilus shell or sand dunes or those famous bell peppers… a viewer is transfixed by his images. We get lost in the lines and curves that weave through the frame, creating forms and shapes we didn't see after the first glance.And what about Ansel Adams? He had the singular talent to incoprorate weather into the landscape. Weather became a central character in his imagery, an essential part of the photo.And for those of us that aspire to have vision like the past masters, what lessons can we take away? Don't be afraid to capture the subject that move you, that stir some feeling or emotion in you. When that little voice in your head says “take a photo” … go ahead and listen. Also, concern yourself more with the content of the photo and less about the technical aspects. Technique is important, sure, but the content is most important. The past masters made incredible images with far less technically capable equipment. Their vision is what mattered, and their vision continues to stand the test of time.Resources mentioned in this episode:Ansel Adams Gallery, https://shop.anseladams.com/collections/original-photographs-by-ansel-adamsRate & ReviewIf you enjoyed this episode, please rate and review it on Apple Podcasts, Stitcher, or Podchaser.com. Fresh, current ratings help other photographers find out about the show.Supporters Of The Show - Thank You!Thanks to everyone that supports this show, through comments, reviews, and shares. Sharing this podcast with your photo friends and camera clubs is one of the many zero-cost ways you can support the show. If you wish to support the show financially, you can also make a one-time donation.Affiliate LinksProduct links in this post may contain affiliate tags. Depending on the purchase, Scott Davenport Photography may receive compensation if you purchase a product via one of those links. There is no additional cost to you. The use of affiliate links never influences the content or opinions of the episodes.

Shape of Light: 100 Years of Photography and Abstract Art, a new exhibition at Tate Modern, explores the intertwined stories of the two art forms from the early photographic experiments to the digital innovations of the 21st century. The two curators discuss the relationship between artists, including Jackson Pollock, Georges Braque and Bridget Riley, and photographers, including Man Ray and Edward Weston.Stephen Deuchar, chair of the judging panel for the Art Fund Museum of the Year prize, reveals the shortlist for this year's award. Oh My God, What a Complete Aisling was the bestselling novel of 2017 in Ireland, beating David Walliams to the coveted Christmas number one slot. The main character, Aisling, started life as a fake Facebook account created by two friends, Emer McLysaght and Sarah Breen. They discuss bringing their surprise hit novel to the UK. The chief economist at the Bank of England has said that popular trends in streaming music can be as important indicators of upcoming consumer confidence as more traditional statistical methods. Can trends in happy or sad downloads really be a basis for fiscal strategy? The BBC's Economics Editor Kamal Ahmed looks at the possibilities of the arts for economic forecasting.Presenter: Kirsty Lang Producer: Edwina Pitman.

En este episodio repaso la obra del fotógrafo estadounidense Edward Weston, considerado uno de los mejores fotógrafos del siglo XX. Y utilizo su ejemplo para dar un repaso por los inicios de la historia de la fotografía. Más información y ejemplos de la obra de Weston en en Blog: https://www.theimagen.com/le-belleza-lo-sencillo-edward-weston/ Te recuerdo y te animo a […] La entrada 91. Edward Weston y los orígenes de la fotografía se publicó primero en the imagen.

Lord Lloyd Webber discusses joining forces with Downton creator Julian Fellowes and a cast of 39 children for his new stage adaptation of the Jack Black film School of Rock. He tells Samira how he hopes the production will serve as a reminder of how important the arts are in education.Actor Ewan McGregor talks about adapting Philip Roth's Pulitzer Prize-winning novel, American Pastoral, in his directorial debut and why he's returning to the role of Renton, 20 years on from Trainspotting.Elton John owns one of the best photography collections in the world and now he's loaned some of them to the Tate Modern in London. The Radical Eye: Modernist Photography includes Man Ray's Glass Tears, Dorothea Lange's Migrant Mother and Edward Weston's portrait of Igor Stravinsky. Newell Harbin, Sir Elton John's curator, shows us around.The Goldsmiths Prize was established three years ago to recognise fiction that breaks the mould or opens up new possibilities for the novel. Previous winners have included Eimear McBride's A Girl is a Half-Formed Thing and Ali Smith's How to be Both. We talk to this year's winner Mike McCormack about his book Solar Bone. Presenter: Samira Ahmed Producer: Marilyn Rust.

For more than thirty years Thomas Palmer has been making printing separations for books. His credits include work by Lee Friedlander, Nicholas Nixon, Walker Evans, Robert Adams, Paul Strand, Edward Weston and many others. In spring of 2015 I visited Palmer at his home in Newport, Rhode Island to talk with him about his start in photography, his earliest job in printing and making books with Irving Penn and Lee Friedlander. The Newport Art Museum is currently hosting a show of Palmer's photographs titled "This Newport," on display until September 5, 2016.