La fotografía, el fotógrafo y la tirada de las fotos. El valor de la fotografia. Garry Winogrand Jeu de Paume.
Es agradable e instructivo leer los dossiers de prensa de las exposiciones de fotografía del Jeu de Paume.
En este momento expone uno de los grandes fotógrafos americanos del siglo XX como es Garry Winogrand.
Pues bien este dossier informa de una cosa curiosa de este fotógrafo, actitud novedosa, por lo menos para mí.
Garry Winogrand daba valor a la fotografía, al acto de fotografiar, no a la tirada o edición de la foto.
Pour Garry Winogrand, l’acte photographique, la prise de vue priment sur le tirage (qu’il ne réalisait plus lui-même à partir des années 1970) et l’exposition des images. En ce sens, il remet en question un dogme important de la photographie : « l’idée selon laquelle la valeur d’une photographie tient à son tirage2 ».
Es decir va contra uno de los principios generales de la fotografía, o del comercio fotográfico según se quiera ver. Aquel que indica que la copia realizada por el fotógrafo, o bajo su selección, en su tiempo tiene más valor que la copia posterior.
Seguimos leyendo el texto y vemos, aprendemos, que cuando se realizó la primera retrospectiva póstuma en el MOMA el comisario decide hacer tirada de carretes de fotos que había dejado el fotógrafo sin revelar y, entre ellos, seleccionar las fotos que le parecieron mas interesantes.
Al morir dejó mas de 220.000 hojas de contactos.....
Pues bien, en esta exposición se hace de las fotos que Winogrand dejó marcadas dentro de esos contactos.
Dans cette lignée, les commissaires de la présente exposition ont décidé de réaliser des tirages à partir des annotations effectuées par Winogrand sur ses planches-contacts. Sandra S. Phillips le souligne dans son texte : « C’est là une histoire qui demande à être contée ; ce sont des images qui demandent à être vues
En fin, curioso el tema y abierto a debate.
Por una parte está la libertad del artista para decidir sobre su propia obra.
Pero, por otra, existen una serie de consideraciones curiosas, algunas de las cuales pueden ser las siguientes. ( comentarios personales, simple opinión , de un coleccionista y fotógrafo aficionado).
-Al seleccionar las fotos en su momento, tiempo de su realización, el artista sabe cual es la foto mejor, pues es aquella que "viéndola" fue capaz de captarla. Al pasar el tiempo esa memoria próxima se pierde y el enfoque es otro. Quizás sea este el deseo de Winogrand. Que la foto hable por sí sola.
-Pero no debemos olvidar que el criterio cambia con el tiempo y el criterio de cada tiempo de la carrera de un fotógrafo es importante conservarlo. Son criterios que , al final, conforman una carrera. Un criterio exterior que actúa sobre toda una carrera es un criterio que no tiene en cuenta el momento de su realización y eso, en fotografía, es básico.
-Al realizar la foto en su momento se traslada al papel según el estado de las técnicas fotográficas de ese momento.Este es , posiblemente, uno de los valores que dan los coleccionistas a las fotos que cumplen esa condición, el ser, también, documento de una época, de un proceso fotográfico.
-Por último cabe una, llamémosle así, filosofada: ¿Se imaginan ustedes que un fotógrafo de hoy que utiliza las técnicas digitales tomara la misma decisión?......En vez de dejar 220.000 hojas de contactos dejaría cientos de miles ¿millones?de imágenes sobre las cuales se debería hacer la selección.......
Es por ello que pienso, simple opinión personal, que siendo todas las fotos de su mano, de la mano de un fotógrafo es, precisamente, el artista el que debe hacer la selección de las que él considera mejores o dignas de pasar a papel.
En (google translate)
It's nice and instructive read press kits of photography exhibitions Jeu de Paume.
Currently exposes one of the great American photographers of the twentieth century such as Garry Winogrand.
Jeu de Paume Dossier
Well this dossier reports a curious thing about this photographer, new attitude, at least for me.
Garry Winogrand gave value to photography, the act of photographing, not the roll or photo editing.
Pour Garry Winogrand, l'acte photographique the prize de vue sur le tirage priment (qu'il ne lui-même plus réalisait à partir des années 1970) et l'exposition des images. En ce sens, il remet in Important question one dogme de la Photographie "selon l'idée d'une valeur laquelle the photographie tirage2 tient à son."
That is, it goes against one of the general principles of photography or the photographic trade as you want to see. That indicates that the copy made by the photographer, or under selection in his time is more valuable than the later copy.
We read the text and see, learn, that when the first posthumous retrospective was held at the MOMA curator decides to roll rolls of film left by the photographer without revealing and among them, selecting photos that seemed most interesting.
When he died he left more than 220,000 contact sheets .....
Well, in this exhibition is made from the photos that Winogrand left marked within those contacts.
Dans cette lignée, les commissaires ont the present exposition of réaliser des Tirages décidé à partir des annotations effectuées sur ses planches Winogrand pair-contacts. Sandra S. Phillips they souligne dans son texte: "C'est là une histoire qui demande à être contée; ce qui sont des images à être demandent vues
Anyway, curious and open the topic for discussion.
On one side is the artist's freedom to decide on their own work.
But then again, there are a number of curious considerations, some of which may be the following. (Personal comment, simple opinion, a collector and amateur photographer).
-At select photos at the time, the time of their completion, the artist knows what is the best photo, as it is one that "seeing" was able to grasp. As time the next report is lost and the focus is different. Perhaps this desire Winogrand. The picture speaks for itself.
But we must not forget that the criterion changes over time and the criteria for each race time a photographer is important to preserve it. They are criteria that, in the end, make a career. An external criterion that operates on a career is not a criterion that takes into account the time of its completion and that, in photography, is basic.
Photo-at make at the time he moved to the role as the state of photographic techniques that momento.Este is possibly one of the values that give collectors the photos that meet that condition, being also document of an era, a photographic process.
-Finally Be one, so let's call it, philosophized: Do you think today a photographer who uses digital techniques take the same decision you imagine ...... Instead of letting 220,000 contact sheets left hundreds of thousands Millions ? of images on which the selection should be done .......
That is why I think, simple personal opinion, that being all photos of your hand, the hand of a photographer is precisely the artist who must make the selection of which he considers better or worthy of passing paper.
En (google translate)
It's nice and instructive read press kits of photography exhibitions Jeu de Paume.
Currently exposes one of the great American photographers of the twentieth century such as Garry Winogrand.
Jeu de Paume Dossier
Well this dossier reports a curious thing about this photographer, new attitude, at least for me.
Garry Winogrand gave value to photography, the act of photographing, not the roll or photo editing.
Pour Garry Winogrand, l'acte photographique the prize de vue sur le tirage priment (qu'il ne lui-même plus réalisait à partir des années 1970) et l'exposition des images. En ce sens, il remet in Important question one dogme de la Photographie "selon l'idée d'une valeur laquelle the photographie tirage2 tient à son."
That is, it goes against one of the general principles of photography or the photographic trade as you want to see. That indicates that the copy made by the photographer, or under selection in his time is more valuable than the later copy.
We read the text and see, learn, that when the first posthumous retrospective was held at the MOMA curator decides to roll rolls of film left by the photographer without revealing and among them, selecting photos that seemed most interesting.
When he died he left more than 220,000 contact sheets .....
Well, in this exhibition is made from the photos that Winogrand left marked within those contacts.
Dans cette lignée, les commissaires ont the present exposition of réaliser des Tirages décidé à partir des annotations effectuées sur ses planches Winogrand pair-contacts. Sandra S. Phillips they souligne dans son texte: "C'est là une histoire qui demande à être contée; ce qui sont des images à être demandent vues
Anyway, curious and open the topic for discussion.
On one side is the artist's freedom to decide on their own work.
But then again, there are a number of curious considerations, some of which may be the following. (Personal comment, simple opinion, a collector and amateur photographer).
-At select photos at the time, the time of their completion, the artist knows what is the best photo, as it is one that "seeing" was able to grasp. As time the next report is lost and the focus is different. Perhaps this desire Winogrand. The picture speaks for itself.
But we must not forget that the criterion changes over time and the criteria for each race time a photographer is important to preserve it. They are criteria that, in the end, make a career. An external criterion that operates on a career is not a criterion that takes into account the time of its completion and that, in photography, is basic.
Photo-at make at the time he moved to the role as the state of photographic techniques that momento.Este is possibly one of the values that give collectors the photos that meet that condition, being also document of an era, a photographic process.
-Finally Be one, so let's call it, philosophized: Do you think today a photographer who uses digital techniques take the same decision you imagine ...... Instead of letting 220,000 contact sheets left hundreds of thousands Millions ? of images on which the selection should be done .......
That is why I think, simple personal opinion, that being all photos of your hand, the hand of a photographer is precisely the artist who must make the selection of which he considers better or worthy of passing paper.