Experimental Photography: A Handbook of Techniques

日本国内での展示を見ていて感じるのは、”写真”はカメラオブスキュラとも違うし、版画写真製版とも区別しています。僕は、写真をもうすこし広い視点で知りたいと思っています。今回のこの『Experimental Photography: A Handbook of Techniques』は、いわゆる技術指導・ノウハウ集ですが、写真側から境界を押し広げていっている処がありそうな点が気になります。

下記の社会人生涯学習にて、この秋に全4回Adams Verl(あだむす ばーる)首都大学東京准教授 システムデザイン学部のクラスが開講予定です。
興味のある方は、大学へ問い合わせてみてはいかがでしょうか。

首都大学東京・社会人生涯学習
Experimental Photography
https://www.ou.tmu.ac.jp/web/course/detail/1632J005/

実施日 2016/11/15 ~ 2016/12/06 曜日 火
時間 16:20~17:50 定員 15名
キャンパス 南大沢キャンパス 教室
受講料
10,000円 単位 1 単位


(c)http://www.vetroeditions.com/Experimental-Photography

(c)http://www.vetroeditions.com/Experimental-Photography

Experimental Photography: A Handbook of Techniques

##商品の説明

内容紹介
Experimental Photography is the first manual ever to break down into a step-by-step format the experimental techniques that photographers use to subvert or expand conventional camera technology, heralding a new era in photography. The book features technical sections that define a particular process and show how to carry it out, accompanied by examples of the finished images. These are interspersed with illustrated interviews with photographers who use these techniques, examining what their work aims to do and how it is made Some techniques, such as photograms or lumenprints, are cameraless; others involve building simple cameras from unexpected materials or exploiting the limitations of toy and disposable cameras for artistic effect. Camera hacking breaking rules in exposure, zooming, panning, focus, and composition; modifying the camera to produce slit-scans; or adding filters can produce a variety of exciting results Film can also be manipulated or distressed, and many experiments can be conducted during the preparation of negatives and prints. Even once the print has been produced, creativity continues: mordancage, for example, provides a controlled degrading of the print, and bleaching and encaustic can be used to create new effects For practicing photographers as well as anyone interested in artistic photographic techniques, this is an unprecedented sourcebook of practical inspiration that celebrates the work of the exceptional artists, hackers, and artisans who are pushing the boundaries of how we conceive of photography. ”
http://payload336.cargocollective.com/1/14/471100/9037968/Screen-shot-2014-08-03-at-6.13.27-PM_670.jpg
レビュー
An essential technical resource, but also an inspiring addition to the literature of forward-thinking photographic image-making.

著者について
Marco Antonini is Executive Director and Curator at NURTUREart, New York.

Sergio Minniti is attached to the Communication and New Technologies department at the IULM University of Milan and is the creator of frankenphotography.com.

Francisco Gomez is lab director at the art-space workshop Taller Milans in Barcelona.

Gabriele Lungarella is a lecturer in Photography at IED Rome.

Luca Bendandi conceived the book at SHS Publishing, Berlin.

http://www.thamesandhudsonusa.com/books/experimental-photography-a-handbook-of-techniques-hardcover

こちらからは、限定商品(オリジナルカバー)を購入できるようです。(海外発送可)
http://www.vetroeditions.com/Experimental-Photography

まだ読んでないけれど気になる本・3冊目『Photographers’ Sketchbooks』

NewImage
商品の説明
内容紹介
Find out how Alec Soth constructs his projects, why Trent Parke relies on old-fashioned Polaroids and hand-made books, and how forty-one other photographers experiment with new and old technologies, turn their photo-diaries into exhibitions, and attract audiences of millions via online platforms.

This book celebrates the creative processes of the modern photographic era, in which blogs and Instagram streams function alongside analog albums and contact sheets, and the traditional notebook takes the form of Polaroid studies, smartphone pictures, found photography, experimental image-making, and self-published photo-zines. Each photographer presents his or her sketchbook: several pages of images that convey his or her working methods and thought processes. These intimate, oneoff presentations are accompanied by engaging interviews that reveal how the simple act of pressing a shutter can capture and express a fully realized personal vision.

Three essays by the authors explore subjects at the cutting edge of contemporary practice. Designed to satisfy the most demanding of image junkies, this is an indispensable resource for anyone with an interest in photography or the creative process.

レビュー
What’s most interesting about Photographers’ Sketchbooks is how it bridges the analogue and the digital, both of which have a firm place in photography today. ”

Improvisational which is part of its charm….The notebooks of Robin Cracknell and Saul Leiter are delicate and lovely, works of art in their own right.”

Gathers together the notes, research, and exhaustive preparation that went into some of contemporary photography’s most interesting projects. From Roger Ballen‘s fever dreams to Viviane Sassen‘s controversial Africa photography, it’s all here.

Provides a behind-the-scenes look into the idea conception and through process of forty-nine photographers from around the globe.

To many, it might seem that the art of photography is simply a matter of going out and snapping pictures. But there s a lot more to it, and there s ample proof in the scribbles, diagrams, and other materials found in Photographers Sketchbooks.”

著者について
Stephen McLaren is a photographer, writer, and curator based in San Francisco. He is coauthor, withSophie Howarth, of Street Photography Now. He also coauthored Photographers’ Sketchbooks with Bryan Formhals.

Bryan Formhals is a New York based photographer and writer. He is founding editor of LPV Magazine.

Trent Parke Magnum photographer

NewImagehttp://saulleiter-movie.com

本= 2冊目 僕が興味ある本

NewImage
####Description

取り寄せて読んだもの以外で、僕がちょっと興味がある本
2冊目

ペーパーバック: 208ページ
出版社: Wiley-Blackwell; 1版 (2010/11/8)
言語: 英語
発売日: 2010/11/8
商品パッケージの寸法: 17.3 x 1.2 x 24.8 cm

Photography After Conceptual Art presents a series of original essays that address substantive theoretical, historical, and aesthetic issues raised by post-1960s photography as a mainstream artistic medium.  
+ Selected by Choice as an Outstanding Academic Title for 2011
+ Appeals to people interested in artist’s use of photography and in contemporary art
+ Tracks the efflorescence of photography as one of the most important mediums for contemporary art
+ Explores the relation between recent art, theory and aesthetics, for which photography serves as an important test case
+ Includes a number of the essays with previously unpublished photographs
+ Artists discussed include Ed Ruscha, Bernd and Hilla Becher, Douglas Huebler, Mel Bochner, Sherrie Levine, Roni Horn, Thomas Demand, and Jeff Wall

####Table of Contents

  1. Introduction: Photography After Conceptual Art (Diarmuid Costello, University of Warwick and Margaret Iversen, University of Essex).
  2. Auto-Maticity: Ruscha and Performative Photography (Margaret Iversen, University of Essex).

  3. Ed Ruscha, Heidegger, and Deadpan Photography (Aron Vinegar, Ohio State University).

  4. Subject, Object, Mimesis: The Aesthetic World of The Bechers’ Photography (Sarah E. James, University of Oxford).

  5. Exit Ghost: Douglas Huebler’s Face Value (Gordon Hughes, Rice University).

  6. Productive Misunderstandings: Interpreting Mel Bochner’s Theory of Photography (Luke Skrebowski, Middlesex University).

  7. Roni Horn’s Icelandic Encyclopedia (Mark Godfrey, Tate Modern).

  8. Thomas Demand, Jeff Wall And Sherrie Levine: Deforming ‘Pictures’ (Tamara Trodd, University of Cambridge).

  9. Almost Merovingian: On Jeff Wall’s Relation to Nearly Everything (Wolfgang Brückle, University of Essex).

  10. Morning Cleaning: Jeff Wall and The Large Glass (Christine Conley, University of Ottawa).

Index.

###Author Information

Diarmuid Costello is Associate Professor of Philosophy, University of Warwick. He co-edited (with Dominic Willsdon) The Life and Death of Images: Ethics and Aesthetics (2008), and (with Jonathan Vickery) Art: Key Contemporary Thinkers (2007). His articles have appeared in British Journal of Aesthetics, Journal of Aesthetics and Art Criticism, Critical Inquiry, Rivista di Estetica, and Angelaki.
Margaret Iversen is Professor of Art History and Theory, University of Essex. Her books include Beyond Pleasure: Freud, Lacan, Barthes (2007); Alois Riegl: Art History and Theory (1993); Mary Kelly, co-authored with Douglas Crimp and Homi Bhabha (1997). Writing Art History, co-authored with Stephen Melville, is forthcoming.

Iversen and Costello are also Co-Directors of the AHRC research project “Aesthetics after Photography.”

###Reviews

“This volume is the product of both a large-scale research grant and a conference … All the same, this book could be of interest to those teaching and studying photography in contemporary art.” (International Journal of Education through Art, 2011)
“This volume is indispensable for theorists and historians of photography, as well as those concerned with post-1960s contemporary visual culture. Highly recommended. Upper-division undergraduates and above.” (Choice, 1 May 2011)

本・『Post Photography——The Artist with a Camera』

capturfiles-08-14-2016_01-14-58
(C)Amazon

『Post Photography——The Artist with a Camera』
著者:Robert Shore
発行所:Laurence King Publishing

商品の説明

内容紹介
The real world is full of cameras; the virtual world is full of images. Where does all this photographic activity leave the artist-photographer? Post-Photography tries to answer that question by investigating the exciting new language of photographic image-making that is emerging in the digital age of anything-is-possible and everything-has-been-done-before.

Found imagery has become increasingly important in post-photographic practice, with the internet serving as a laboratory for a major kind of image-making experimentation. But artists also continue to create entirely original works using avant-garde techniques drawn from both the digital and analogue eras.

This book is split into six sections – Something Borrowed, Something New, Layers of Reality, Eye-Spy, Material Visions, Post-Photojournalism and All the World Is Staged – which cover the key strategies adopted by 53 of the most exciting and innovative artist-photographers of the 21st century, drawn from all over the world.

レビュー
‘This collection of works by 53 artists is broad in its reach, including digital, optical and physical manipulations of subject, technique and sometimes even the finished artifacts themselves’ Dressing The Air Featured in Get Addicted To, Photography Blog, Wallpaper, The Guardian and RPS Journal. ‘Along with more than 300 images, strategies and techniques are elaborated on, which means all the inspiration found here can be applied practically in your own work’ Bookseller ‘I’ve read and reviewed my fair share of books about photography and I think this is the first time I encounter a publication that focuses specifically on this phenomenon and articulates it so clearly and eloquently’ We Make Money Not Art ‘A thought-provoking collection showcasing the increasing diversity of photography now considered as art’ Photography Monthly

著者について
Robert Shore is the editor of the visual-arts quarterly Elephant and was previously deputy editor at Art Review magazine. As an arts journalist he has contributed to the Sunday Times, the Guardian, and Metro. He is also the author of 10 Principles of Advertising and Bang in the Middle.

日本の写真出版物でも、増え続ける写真の枚数について触れているものも多く、この本も同様の書きだしだ.興味深い点派、現在の写真を分析するために,6つに分類した.Amazonで見かけただけなので、これ以上は書かないが、英語圏という広い写真海で網を広げれば、様々な種類の写真魚達にであるというのは確かなのだろう。
+ Something Borrowed
+ Something New
+ Layers of Reality
+ Eye-Spy
+ Material Visions
+ Post-Photojournalism and All the World Is Staged

Amazon link

本・『僕とツンデレとハイデガー』

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『僕とツンデレとハイデガー』
著者:堀田純司
発行者:
発行所:

まえがき

プロローグ

—月曜日・神の存在を証明しよう

第1章 ルネ・デカルト

世界の真実の見つけかた\この世界でたったひとつだけ確実なもの\心と体はそれぞれ別の実体である\神の存在証明\人は雅でも大きな能カを持っている

—火曜日・人にとって人が一番大切なもの

第2章 ベネディクトゥス・デ・スピノザ

人はその本性上、妬み深いものである\本当のところ世界に、善も寒もない\世界は神であり、神は世界である\心と体は案は同じものの違う表現である

—水曜日・存在するとは、知覚されることである

第3章 ジョージ・バークリー&ディヴィッド・ヒューム

本当に、真実はあるのかな\では目の前のリンゴは実在するのか\人間とは感覚の束である\人間の精神を叙述してみよう

—木曜日・天なる星空と、内なる道徳法則

第4章 イマヌエル・カント

問答無用に心に響く声にしたがうべし\人間は自分について考えると消耗する\確実な学としての形而上学\空間と時間—人間がアプリオリに持つ2つのフォーマット\知が廃棄された領域

—金曜日・世界は、絶対知へと向けて発展する無限の運動である

第5章 ゲオルグ・へーゲル

大いなる生命の循環と歴史のはじまり\真実はさまざまに語られる\主奴論\過ちですら、匿史の中では意味がある

—土曜日・神は死んだ。しかしなにも変わらなかった

フリードリヒ・ニーチェ

教会の実践は生に敵対的だった\生の本質は、力への意志\神は死んだ。しかしなにも変わらなかった

—日曜日・世界がなければ僕たちもいない

そして僕たちがいなければ世界もない。僕たちはひとりじやない

最終章・マルティン・ハィデガー

存在と時間/現存在は、”可能性”を生きている\わたしはひとりじやない。世界をとおして、他の人といつもつながっている\「気分」「了解」「言明」/たいらく。それは究極の罪\死の実在論的分柝

エピローグ

あとがき