Like the technology of photography itself, the practice of wedding photography has evolved and grown since the invention of the photographic art form in 1826 by Joseph Nicéphore Niépce. In fact, an early photograph, recorded some 14 years after the fact, may be a recreation for the camera of the 1840 wedding of Queen Victoria to Prince Albert. However, in the early days of photography, most couples of more humble means did not hire a photographer to record the actual wedding itself. Until the later half of the 19th century, most people didn’t pose for formal wedding photos during the wedding. Rather, they might pose for a formal photo in their best clothes before or after a wedding. In the late 1860s, more couples started posing in their wedding clothes or sometimes hired a photographer to come to the wedding venue.
After many years, the first in Poland exhibition of pictures of Wojtek Łukowski (FotoBodega’s owner) presenting dozens of diversified pictures through which the author takes the viewer on a tour beginning with the overall plan, the first view of the world, perception of fragments, elements of reality to processing realistic images into visions, abstractions, fantasies and understatement.
The works are presented in the stylish foyer of the National Theatre in Warsaw.
The vernissage of the exhibition: 27 May 2013 (Monday) at 19.00 in the Galeria Przy Teatrze, Plac Teatralny 3, Warsaw.
Zapraszam w dniach 27 maja – 30 czerwca 2013 do Galerii Przy Teatrze w Warszawie!
Pierwsza od lat wystawa zdjęć Wojciecha Łukowskiego (szef projektu FotoBodega) w Polsce prezentująca kilkadziesiąt zróżnicowanych zdjęć, pozwalających widzowi na odbycie wraz z nim drogi od ogólnego planu, pierwszego spojrzenia na świat, przez dostrzeganie fragmentów, elementów rzeczywistości aż po przetworzenie realistycznych obrazów w wizje, abstrakcje, fantazje i niedopowiedzenia.
Wernisaż wystawy odbędzie się 27 maja 2013 roku (poniedziałek) o godzinie 19.00 w Galerii Przy Teatrze, Teatr Narodowy, Warszawa, Plac Teatralny 3.
„What I have tried to do is involve the people I was photographing… if they were willing to give, I was willing to photograph.”
In 1954, at the age of 24, Gianni Berengo gardin took his first photograph. From that point, the camera would be his constant companion. After becoming a photojournalist, his simple yet raw language started to develop. For Berengo, it was not about art or about the act
of photography, but the process of documentation. however, his images resonated with people. they did more than just provide information — instead he captured surreal moments which spoke to the subtle oddities of the human condition.
Berengo’s approach to photography relies heavily on the fact that he uses only black and white film, no digital cameras or computerized post-production. he leaves all his images raw, exactly as he shot them. he believes that making an image more attractive in post-production is artificial, clashing with his engrained photojournalistic instincts. the power of photography lies in its close connection to reality. Modifications can make it more beautiful or compelling, but it will no longer be the truth. Berengo’s work, stretching from architecture and landscape to fashion, has appeared in domus, le figaro and time magazine. He has compiled 210 photographic books as well as shot for companies such as procter & gamble and olivetti. His photographs are at the museum of modern art new york and the national library in paris. currently, a twelve piece collection he produced for fantini is being shown at the belvedere gallery.
I was there! Amazing exhibition! My photos of photos special for FotoBodega’s friends 🙂
The Palau Robert (Barcelona) presents a selection of winning photographs from the last 20 editions of the LUX Prizes, a reference in the world of professional photography. The show is jointly organised by the Association of Professional Photographers of Spain and Palau Robert. The exhibition “20 Years of LUX Prizes. A Gaze at Professional Photography” shows the development of commissioned professional photography and demonstrate the huge variety of styles and tendencies in this field, as well as illustrating the transition from analogue to digital. Exhibition is curated by Michele Curel, Xavi Mañosa and Joan Roig.
South Africa in Apartheid and After
David Goldblatt, Ernest Cole, Billy Monk
01 December 2012 – 05 March 2013
This exhibition illuminates a vital, difficult, and contested period in the recent history of South Africa from the perspectives of three photographers: David Goldblatt, Ernest Cole, and Billy Monk. The son of Eastern European immigrants, documentary photographer Goldblatt came of age under apartheid and observed the increasing entrenchment of racial inequality in his country. His early project In Boksburg (1982) portrays a typical suburban white community shaped by what the artist calls „white dreams and white proprieties.” Included at Goldblatt’s request, photographs by Cole and Monk expand the exhibition’s field of view. Cole, a self-taught black South African documentary photographer, observed the other side of the racial divide in the 1960s, making photographs that are eloquently observant and deeply humane. Monk’s work offers a raw and witty record of The Catacombs, a rowdy Cape Town nightclub where he worked as a bouncer in the 1960s. These three groups of pictures are complemented by a selection of Goldblatt’s recent, post-apartheid photographs, sober yet hopeful records of an imperfect, still-evolving democracy.
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