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Se toma la idea de la semana anterior pero se lleva a un ambiente unificador para mostrar las diferencias las características de un alimento en descomposición. Se busco poner como foco aquello que se desecha en contraste con la envolvente del material plástico que es invariable con el tiempo. Para esto se toman referencias de la pintura y fotografía de naturaleza muerta, tomando una aproximación más cercana al sujeto.

En cuanto a la fotografía el desafío es lograr mostrar el detalle de las hortalizas mientras no se sobreexpone y se ven los matices de luces y sombras de la bolsa.

Como conceptualización de la serie y posibles títulos se piensa en este contraste antes mencionado con ideas como: "Envolvente de descomposición" "Preservando la trasformación" con una basada que vaya más al tema especifico de: Las trasformaciones orgánicas de las hortalizas que conservamos

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50 mm ISO 100 f/4.5 1/500 s

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telefono

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Camara

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18 mm

iso 100

f/20

2'' velocidad

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18 mm

iso 100

f/32

6'' velocidad

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https://fotocolectania.org/uploads/5yja9etyzeza8evama9a5ege7epe7e2y4urapadeqyhasy3ydajaru3u3uheregaty4yny4une4usyqy9uhe6aza4y7esemane5a1477676591.pdf

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The Hollywood blockbuster Kong: Skull Island (2017) portrays a group of explorers on a swampy island inhabited by giant, hostile creatures. A photojournalist, played by Brie Larson, often pauses to take a snapshot of the action. As she holds up her camera, we see the scene through her lens, tightly framed. And as the shutter clicks, the film freezes into a still picture. The message is clear: Photographs stop time, transforming the flux of experience into a fixed image.

"The size of the work affects its reception, offering two different experiences: One immersive, one intimate." -Andreas Gursky

"Let's start from the beginning again, Jeff. Tell me everything you saw. And what you think it means." -Lisa Fremont, Rear Window

In 2003 the art historian Michael Diers wrote an essay comparing Gursky's iconic Paris, Montparnasse (1993) to both Alfred Hitchcock's Rear Window (1954) and Miracle of the Relic of the Holy Cross in Campo San Lio (1494) by Giovanni Mansueti. All three artworks depict a world of windows and multiplicity.

Architecture is, of course, one of Gursky's favorite subjects. Taipei (1999) has an atmosphere of condensed space, with just a few figures visible, while May Day V (2006) features hundreds of revelers (including the artist himself) dispersed across the gridded façade of the high-rise building. For Diers, the overabundance of windows and frames in Paris, Montparnasse and Rear Window offers an example of what the Russian literary theorist Mikhail Bahktin called "chronotopos," or "spacetime." Diers then introduces art historian Wolfgang Kemp's notion of "narrative architectures," an adaptation of Bahktin's theory, which describes the presence of parallel narratives and simultaneous scenes in a single picture.

Gursky's monumental new photograph Kreuzfahrt (Cruise) (2020) is a vision of the twenty-first century sublime. The cruise ship, still in the process of being constructed, is unimaginably huge, a world unto itself. Yet there are worlds within worlds, a vast "narrative architecture," and there are even figures visible in the windows, as is the case with Paris, Montparnasse or May Day V. Likewise, each window creates a frame, a lens through which passengers can view and comprehend the outside world. If, as Goethe famously observed, architecture is frozen music, Kreuzfahrt (Cruise) allows us to experience architectural space as a spatial form that moves through time, like a piece of music. Linger in the details and there are pictures within pictures, notes within bars, chords, melodies and intimate moments. Repetitive, polyphonic and rhythmic, the pictorial space unfolds in time like a minimalist symphony.

"My 'decisive moment' sometimes stretches on for days or months and appears to be reproducible at any given moment, appears to stop time or, one might say, to stretch it into infinity." -Andreas Gursky

"The film has long since inscribed itself in our cultural memory. And this goes far beyond individual film quotations, but concerns our aesthetic perception in general. But alongside the classic cinema format, new forms have also developed; films and clips are streamed to smartphones, which also changes the way we see. That's why the smartphone is increasingly serving as a source of inspiration for me, and I'm getting more and more involved with this medium." -Andreas Gursky

"Recently, I've been working with unsharpness. I was on a road trip with my wife, driving to Utah. Like any tourist, I was impressed by the landscape. One day I took pictures with my iPhone as we drove. I liked them. When we arrived at the hotel, I said to my wife: 'OK, tomorrow you drive and I'll try to get similar images at a higher resolution with my professional equipment.' The resulting image-of a flat, dry landscape with mountains in the distance-is mostly out of focus, though the resolution is high. It has a completely different perspective to my earlier works, which are sharp throughout." -Andreas Gursky

As Gursky's anecdote about how he made Utah suggests, the smartphone has become a kind of sketchbook for the artist. Utah has all the blurriness of a casual snapshot, yet at a scale to match his panoramic vision, the picture offers a rich tapestry of the American west. What we might normally consider a weakness of amateur photography-a shutter speed too slow to capture the image clearly-is here transformed into a new conception of visual experience. Ralf Rugoff, in his essay for Gursky's Hayward retrospective, argues that " Utah is not just a somewhat painterly epic landscape ... but a trenchant reflection on the medium's changing relationships with the world of forms and the forms of the world."

Königsbergerstrasse, diptych (2020) may not immediately bring to mind a work by Andreas Gursky. Instead of an expansive view of a landscape or a building, we see two pictures of a woman playing a game in a domestic space. Moreover, the photographs resemble the kind of private snapshots uploaded onto social media platforms. Look closely, however, and you might discern a few of Gursky's key themes: Architecture, duration, entropy, frames, the tension between pictorial space and the potential for narrative. But here the artist introduces a sense of playfulness, even absurdity. A woman, with a box over her head, stands on a sofa, reaching to the peak of a toy construction that resembles the Tokyo or Eiffel towers. In the second picture (if we read left to right), she leans forward, attempting to place a block of wood atop the structure. Is this a metaphor for the precarious state of the planet? What happened before the first picture, and what will happen next?

We will never know. There is no before or after. Part of the pleasure of pictorial art is the information it withholds. For all its apparent simplicity, Königsbergerstrasse, diptych (2020), opens up an infinite "spacetime" for the viewer's imagination. Only the viewer can complete the tower, or bring it crashing down to earth.

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Andreas Gursky - Space is Time - Sprüth Magers

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The Hollywood blockbuster Kong: Skull Island (2017) portrays a group of explorers on a swampy island inhabited by giant, hostile creatures. A photojournalist, played by Brie Larson, often pauses to take a snapshot of the action. As she holds up her camera, we see the scene through her lens, tightly framed.

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18 mm

iso 100

f/8.0

0''3 velocidad

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La idea inicial del primer avance de poner el foco en elementos de la naturaleza se lleva a mostrar elementos de la naturaleza en la vida cotidiana y su trasformación. Se busca poner la mirada en el sujeto por lo que se elige fotografiar a una distancia cercana con un campo de foco menor.

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Se experimento con el tamaño de la entrada de luz y con las distancias del telón además de con los tiempos de exposición de la cámara en conjunto con el iso.

Si bien una imagen más cercana produce una nitidez mayor, es importante considerar el factor tamaño de entrada para poder ubicar la pantalla de manera tal que se logre mostrar el encuadre y contenido deseado.

Otro factor relevante es la capacidad de mantener la cámara quieta durante los periodos de larga exposición y encontrar ese tiempo preciso en que la imagen alcanza a ser visible por la cámara sin que se difumine por una apertura demasiado prolongada.

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En en esta primera aproximación se experimento con las cercanías de los objetos a capturar, generando imágenes lejanas en donde todo esta a foco y tas con mayor cercanía en la que en campo focal es menor y sólo aquello que esta en un primer plano quedo nítido.

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Molds belong to the kingdom Fungi. They’re kin to more friendly fungi like the yeast that leavens your pizza dough, and the mushrooms atop your pizza. This great kingdom of life spans the gap between microorganisms and macroorganisms (like us). In fact molds and other fungi are the closest relatives of animals; of people. We have a lot in common, including our love of pizza. The earth already has all the carbon atoms it will ever have; they are the very stuff of life. Plants use their superpower, photosynthesis, to extract carbon from thin air using sunlight. They fashion that carbon into new molecules, like carbohydrates and proteins, that are the building blocks of the beets, the potatoes, the turnip, you and I, and all life. In the end, the special task of molds is to dismantle what once lived, and exhale that carbon back into the air again. To recycle life.Recyclers don’t get much glory, but clearly there’s an underappreciated beauty here. Because of recyclers like molds, there is life after life.For more photos and information you can order a book

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Perish the thought, photos on decomposition - Ilva Beretta

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Perish the thought, photos on decomposition - Ilva Beretta

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Fine Art: Other - honorable mention - Ilva Beretta (Italy)

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title Perish the thought, photos on decomposition

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Noble Rot: When Decay becomes Art – GADCOLLECTION

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According to a UN study one third of the world’s food goes to waste - the largest part thereof in the industrialized nations of the global north. Equally, 925 million people around the world are threatened by starvation. The series ‚One Third‘ describes the connection between individual wastage o

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Pichler retrata los procesos de descomposición de múltiples tipos de alimentos a través de fotografías de estudio. Su composición teatral y el uso de las luces y sombras logran dar un sentido de importancia e urgencia a sus fotografías, efecto que el artista quiere generar para denunciar la realidad de perdida de alimentos en el mundo. Esta serie, más que explorar la realidad física del proceso de descomposición, busca impactar y logra generar una sensación de incomodidad a la vez que se comprende la intención de traer a la mente esa imagen idealizada que pudo ser.

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Este artista, realiza realistas pinturas al oleo que exploran la realidad visual y lumínica de los alimentos, en especial la fruta. El uso del color y su acercamiento al detalle te invita a reparar en las sutilezas y detalles de aquello que comemos, llevando lo cotidiano a lo sumblime.

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7 December 2013 - 4 January 2014 at Albemarle Gallery, London.