世界報道写真2012
フォトジャーナリズムは芸術をたくさん持っている
El fotoperiodismo tiene mucho arte
Ámsterdam acoge por unos días un debate sobre la manipulación y estetización de la imagen
World Press Photo 2012
Juan Peces Ámsterdam 26 ABR 2013 - 21:26 CET
Photojournalism has a lot of art
Amsterdam is home for a few days a discussion on manipulation and beautification of the image
World Press Photo 2012
John Fish Amsterdam 26 ABR 2013 - 21:26 CET
The multimedia exhibition of photography and best known touring the world, disclosing the works awarded World Press Photo Awards, it is an artistic event but a celebration of the best photojournalism. But, as with other border areas of human creation, the formal elements, the type of narrative approach and visual treat employees give increasing importance to the role of the photographer as creator and head of a mission statement more or less explicit .
In both shows, newly opened in Amsterdam in the Oude Kerk, the old Gothic church-like in the days of screenings and debates parallel, is detected not only a greater awareness of the expressive possibilities of the medium (whether still images or movement), but an acceptance that the creative aspect does not necessarily interfere in the veracity of a document. Moreover, it is often able to enhance the viewer's immersion in the reality that is intended to communicate.
By giving higher priority to issues such as the type of lighting, framing or context (and subtext) of the image, documentary photography reflects a fondness that has traditionally defined the culture at large: the will, not only of convey a reality, but to create an original work of moving and last over time.
One of the most striking images is included which shows a woman, Aida, after the bombing of his home in Idlib by the Syrian army in the spring of 2012. Blood testifies injuries sustained in the attack. But their eyes are showing the horror of a person who has lost her husband and two sons.
"Those green eyes reminded me of my family, migrated from Homs to Buenos Aires at the beginning of the last century," says the author of the image, Rodrigo Abd. "Their three daughters, bloody from injuries sustained in the explosion, I made the sign of victory while photographing" recalls photographer for the Associated Press. "To me there is a conflict between aesthetics and document. If photographic tools and aesthetic knowledge are used for the ultimate goal, which is to better document and raise awareness, they are welcome. "
Deepening is also the mana sucking swedish Paul Hansen, 2013 winner of the photo of the year, showing children victims of an Israeli military attack on Gaza, in the foreground of a procession of grieving family members.
"The dialectic between us always ends up rotting when you approach the individual, the context and know his fate," says Hansen. We can not stay in one photo a day to be reduced to a simplified exclamation ".
Photographer received some criticism for the treatment of light in your image, which would have accentuated the spectacular photo. He dismisses them: "I understand that in this context some will always put geopolitical questions."
Santiago Lyon, AP vice president and president of the jury of photography of the World Press Photo, which saw the original picture and published, defends Hansen. "Although our standards [agency] in terms of retouching are stricter, not pretend that they are the only ones. My only concern is that in post-production manipulation can change the perception of the scene and deceive the reader, and if it is not. "
In this edition of the awards is detected an increasing recognition of multimedia documentary. In this category have been awarded, on the subcategory of interactive pieces, photographer Miquel Dewever-Plana and Fougère journalist Isabel by Alma, a project focused on the testimony multisupport a Guatemalan expandillera.
"We wanted to show a restrained aesthetic Alma to force the viewer to look into her eyes, into a linear narrative, rather than piecemeal, and shunning archetypal aesthetics of marginality". Fougère claimed also "liberation" has meant using "codes of drama, film, literature ..." to overcome "the formal limits of journalism."
If Picasso broke the way to capture on canvas the slaughter of Guernica, the XXI century documentary photography continues to seek new ways to have lived and appropriating it (almost) all formal resources at your fingertips.
Photographer Spaniard Pep Bonet delves into such experimentation in his short documentary Into the shadows, on the exploitation of immigrants in Johannesburg, first prize in its category, and it actually is "the advancement of a film intended for film festivals." Bonet understood that, "according to which stories to tell, the picture alone is not enough." And remember that "the ability of people to remember a story has a lot to do with the presence of a strong aesthetic."
Sometimes it is the finding of the reality show featuring magic making a photo. That is what happened to Daniel Rodrigues, Portuguese freelance recognized for her portrayal of youngsters playing football in Guinea Bissau. "We are used to photograph football telephoto" he says. "I wanted to play with them and get in the game to show capture their happiness, their welcome ... this Africa that transcends the cliché of misery."
Javier Manzano, Mexican freelance photographer and cameraman award for his coverage of the war in Syria, banishes any artistic pretension of photojournalism, while admitting the aesthetic concern in performing the image "as a secondary layer, below the evidence."
We must get away from the battlefield in order to achieve the amalgamation of information and aesthetic creation. And to conclude, seeing the work of authors such as Fausto Podavini (Italy), Stephan Vanfleteren (Belgium), Maika Elan (Vietnam), Jessica Dimmock, Stephanie Sinclair (USA) and Anna Bedynska (Poland), which can, at times, distracting Document attention, causing a pleasurable and what sinful? aesthetic experience.
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