Tag Archives: Selective Focus

Yigal Feliks

Ninth generation Israeli photographer, Yigal Feliks, has created several compelling bodies of work that grew out of his experience of serving in the Israeli Army.  He brought his photographic eye and fine art sensibilities to war, and the result is a way at looking at military life with a unique perspective.  I am featuring two bodies of work, War Games and Portraits, each capturing different interpretations of army service.  In War Games, the use of selective focus allows us to look at war from a child’s perception, making real soldiers into toy soldiers and combat into an afternoon activity. His work focuses on themes relating to the changing Israeli space alongside to an investigation of digital influence on photographic imagery.

Yigal received a B.F.A in photography,
from the Bezalel Academy of Art and Design and his work 
has been shown in solo exhibitions in
Israel and France. His great grand father had the first color Lithography printing
house in Israel, based in Jerusalem.
Today Yigal lives in Haifa and has a digital printing studio 
which specializes on the photographic
print. Yigal is married to Shirie and father
to Yuval, Gil and Ariel.

As married professionals with a family, my serving
in the army reserve service once a year is a unique Israeli experience. I serve with of a group of men of
different ages who are defined by the army as an organic tank

unit . We are detached from our daily routine, our place
in society and our families. We put on a uniform, live together in the same conditions, eat the same food
and work together at the same activity. In our hearts we share the same naïve hope that the next
generation will not go through the same training each one of us needs to burden, and simply live their daily lives
without fear.

War Games
The photographs show the incongruity of our lives
in which we must take part in this kind of activity.

The photographs show men from a combat unit of
which I am a part. At my side are veterans that finished their duty and now they volunteer, assisting young
soldiers for whom this is their first reserve service. A mixture of ethnic groups, social classes, thoughts
and beliefs blend into one structure that has its own dynamics which enables it to function.

Juan Manuel Castro Prieto at Galerie VU’ in Paris

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Sud-Est de l’thiopie, 2005 – Sheik Hussein, lieu de plerinage des musulmans
Juan Manuel Castro Prieto / Galerie VU’

Now we see Ethiopia through Spanish eyes and the virtuoso large-format tilt-shift compositions of Juan Manuel Castro Prieto. On show currently at Galerie VU’ in Paris, his photos are like metaphor-soaked visions from mysterious dreams. article writing submission . Almost surreal in their vividness of color, highly-selective focus, and unusually sharp details his mural-size images seem immediately like long-forgotten memories with which one yearns to linger and to imagine the story of what happened just before and just after these moments were captured as memories on film.

He started in the 1970s as a self-taught enthusiast. Blog Submission . Influenced by Gabriel Cuallad and Paco Gmez, whom he met at the Real Sociedad Fotogrfica of Madrid, Castro Prieto makes a distinction between photography as a window onto reality, and photography as a mirror in which the author with all his obsessions, memories and imagination fed by myths and literature is reflected in what he portrays. Thus, for Castro Prieto, photography is a tool for connecting to the world, on his terms, and an excuse for a philosophy of life (interview with Alejandro Castellote, 2003).

In Ethiopia, on several extended visits between 2001 and 2006, he found “an ancestral memory of humanity” that “converses with the objects, signs and behaviors of the modern world.”

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thiopie, 2002 – Etip Juan Manuel Castro Prieto / Galerie VU’

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Ethiopie, Arbaminch, 2005 Juan Manuel Castro Prieto / Galerie VU’

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thiopie, 2008 – Homme Afar Juan Manuel Castro Prieto / Galerie VU’

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thiopie, 2005 – Jeune fille Surma Juan Manuel Castro Prieto / Galerie VU’

Beau Comeaux

New York photographer, by way of Texas and Louisiana, Beau Comeaux, manages to make the ordinary into imagined realities. His new exhibition, Implied Fictions, opens at the B. Hollyman Gallery in Austin, Texas on July 9th and runs through August 20th.

A presence, felt but not seen, emanates from the shadows, from around corners, and from behind structures. Psychologically inhabiting these images, one can become unnerved and uncertain about exploring the spaces and their ominous overtones. As much about definitions as exclusion, their voyeuristic implications are undeniably tempting. Perspective shifts, color mutates… lighting and focus – seemingly self-aware – further heighten disorientation…

Growing up in the lush and exotic landscapes of southern Louisiana, Beau’s childhood imagination allowed him to transform his neighborhoods into other worlds, and he has continued those explorations using nocturnal approaches and selective focus . “The process of transforming a negative captured hours/days/weeks prior into his current memory/imagination of the scene of immense fascination to him”, and led to an MFA in Photography from the University of North Texas. He currently resides in New York, where he is an Assistant Professor at Sage College of Albany and has exhibited world wide.

Implied Fictions’ are a mix of exploration and examination, existing at a point where art and science intersect. This body of work consists of large, contemporary color photographs driven by the photographer’s curiosity and imagination. Working with a digital camera, Beau begins his process by shooting long exposures at night, capturing an empty street, a house on the corner, a construction site, an open field. Alone in the solitude of the night he becomes the collector of raw materials, surveyor of the land and its artifacts. Post-shoot, he continues his creative process and transforms focus, light, and perspective to sculpt what his imagination envisioned. The result is a distorted reality encapsulated in an image that transcends the everyday. These surreal, dream-like scenes provoke a deeper examination of the spaces depicted, allowing the viewer to participate. The process of transforming a negative into his current realization of the scene was an early fascination to Comeaux. A switch to digital technology around 2004 led to new avenues of creativity by bringing the darkroom transformation experience to his color work.

I practice the art of discovery during exploration under the quiet cover of the still night. The pace is slowed, the mood settled, and the liminal spaces normally unattainable are made available. A presence, felt but not seen, emanates from the shadows, from around corners, and from behind structures.

I take ownership and control of domestic and semi-domestic spaces through acquisition and manipulation of digital captures. Focus, light, and color are twisted beyond their quotidian existence in order to transform the spaces depicted into fantasies wrapped in spatial ambiguity. Pulled into the fantastic spaces depicted, one often finds oneself unnerved and uncertain about exploring the spaces and their ominous overtones.

As much about definitions as exclusion, their voyeuristic implications are undeniably tempting. Perspective shifts, color mutates and lighting and focus, seemingly self-aware, further heighten disorientation, provoking a deeper examination of the spaces depicted.

Within the confines of the image, the observer becomes both servant and master; contributing to meaning and narrative. By using the photograph as an extension of the imagination, I provide a framework in which the viewer can operate, supplying his or her own particular narrative to my suggestive imagery.

The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.”
—Marcel Proust

Photographer #279: Claudio Edinger

Claudio Edinger, 1952, Brazil, is a photographer with a long history in the photographic world. He started with photography in the 1970’s and hasn’t stopped since then. Since 1983 he has released an amazing number of monographs covering images of the famous Chelsea Hotel (1983), Venice beach (1985), Brazil’s Carnaval (1996) and São Paulo (2009) amongst others. Madness covers images of Latin America’s largest insane asylum. It took him several years to find a publisher who was willing to publish it in 1997. Today Claudio works with a large format camera. He uses selective focus and an experimental use of color. With this technique he has focused on architecture, landscapes, cityscapes and portraiture. He has created impressive portraits of Paris, the Amazon region, Homeless people sleeping in the streets and recently on Downtown LA. Claudio has received the Leica Medal of Excellence twice amongst many others. The following images come from the series Downtown LA, Rio de Janeiro and Madness.

Website: www.claudioedinger.com
(Video in Portuguese)