nocturnal attack

delusion

the pond

accident

tolerance

impulse

Cornel Gingarasu Photography: Technorati Profile

Cornel Gingarasu Photography: <a href="http://technorati.com/claim/d3mfzgi8jh" rel="me">Technorati Profile</a>

Technorati Profile

France-old countryside road

France-old countryside road

portrait

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Laurentiu

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story of our future past

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Henri Cartier bresson quotations

Above all, I craved to seize the whole essence, in the confines of one single photograph, of some situation that was in the process of unrolling itself before my eyes. Henri Cartier-Bresson Actually, I'm not all that interested in the subject of photography. Once the picture is in the box, I'm not all that interested in what happens next. Hunters, after all, aren't cooks. Henri Cartier-Bresson During the work, you have to be sure that you haven't left any holes, that you've captured everything, because afterwards it will be too late. Henri Cartier-Bresson

Cornel Gingarasu Photography

Cornel Gingarasu Photography

old beggar woman and her son

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anatomy of a winter day

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Sartre-about being

As Sartre outlines in the conclusion to his work, perhaps the most essential characteristic of being is its intrinsic absence of differentiation and diversity. Being is complete fullness of existence, a meaningless mass of matter devoid of meaning, consciousness, and knowledge. Consciousness enters the world through the for-itself and with it brings nothingness, negation, and difference to what was once a complete whole of being. Consciousness is what allows the world to exist. Without it, there would be no objects, no trees, no rivers, and no rocks: only being. Consciousness always has intentionality—that is, consciousness is always conscious of something. It thus imposes itself on being-in-itself, making consciousness the burden of the for-itself and of all being. On a similar note, the for-itself at all times depends on the in-itself for its existence. In Sartre's ontology, consciousness knows what it is only through the knowledge of what it is not. Consciousness knows it is not a being-in-itself and thus knows what it is, a nothingness, a nihilation of being. Yet, to Sartre, despite the fact that the for-itself is nothing, it exists only in its relation to being and thus is its own type of is.

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Henri Cartier-Bresson was right when he said that “Your first 10,000 photographs are your worst.”

to watch over us

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LAURA

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Birth

alienation

horses

about surrealism in photography

Photography is rarely mentioned in the art history books on surrealism. These have focused primarily on painting and drawing. Few question this interpretation as surrealism and photography do seem to be incompatible.
Surrealism and photography do seem to make strange bedfellows. The former, springing from Dada and Freud's descriptions of the subconscious mind and inner, subjective life, is otherwise to a photography rooted in the visible, material world. And surrealism was also deeply critical of the camera as a mirror of the world that records a moment of reality as it appeared.
This view was challenged by the major exhibition L'Amour Fou: Photography and Surrealism (Abbeville Press, 1985, curated with catalogues she curated and produced catalogues by Jane Livingston and Rosalind Krauss. This text concentrated on the constructed nature of surrealist photography----ie., those made by surrealist artists such as Man Ray.
Photography could be used to express the unconscious, intoxications/hallucinations and the dreams of the city of interwar Paris. A classic example is Atget's photos of the streets of Paris.
This image of corsets in shop window can be given a surreal interpretation.
This interpretation would focus on the bizarre or the strangeness of the image.
It is in the strangeness of the subject matter----the corsets---- as obects of repressed desire that the moment of �surreality� lies.
It is not necessarily in the effect of the constructed photo of the visual artist.
That strangeness of subject matter can also be highlighted by situating Atget's photographs in surrealist texts; or through a surrealist editing process which juxtaposes his images in a meaningful way.
There was a wide range of photographic material in surrealist journals beyond the standard appropriation of the work of Atget, eg:Jacques Andre Boiffard, Untitled, Big Toe series, for Documents, 1929
So surrealism in photography exists. You could make an argument to wrest attention away from painting (and Breton) and towards photography (and Bataille.
Two more examples from the constructed strand of surrealist photography: Andre Kertesz, Distortion #88, 1933
The distorting perspective challenges the dominant understanding of straight photography as a window on the world.
And then this: Dora Maar, Portrait of Pere Ubu, 1936

Picasso said...

Every act of creation is first an act of destruction. Pablo Picasso Every child is an artist. The problem is how to remain an artist once we grow up. Pablo Picasso Every positive value has its price in negative terms... the genius of Einstein leads to Hiroshima. Pablo Picasso

photos from my best friend and photography mate, Cristian Radulescu

Have no fear of perfection - you'll never reach it.

Beauty is truth, truth beauty-that is all ye know on earth, and all ye need to know(John Keats)

...with no return

Photography is the only language that can be understood anywhere in the world.

I have often thought that if photography were difficult in the true sense of the term -- meaning that the creation of a simple photograph would entail as much time and effort as the production of a good watercolor or etching -- there would be a vast improvement in total output. The sheer ease with which we can produce a superficial image often leads to creative disaster.
Ansel AdamsUS nature photographer (1902 - 1984)