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Ciekawych opinii o współczesnym fotodziennikarstwie jest coraz mniej. Tym bardziej warto się dowiedzieć, co na ten temat ma do powiedzenia Jean-François Leroy, dyrektor kultowego festiwalu Visa Pour l'Image, którego 24 edycja rusza we wrześniu.
Wywiad w całości TU, poniżej interesujący fragment o potrzebie edycji zdjęć:
Olivier Laurent: In recent months, I've talked to the judges for World Press Photo and the Sony World Photography Awards, among others, and they've been telling me the quality of the edits submitted has been terrible of late. Is it something you've found as well?
Jean-François Leroy: Twenty-five years ago, photographers were working with real partners. I'm talking about picture editors and producers. If you're looking at the work of photographers such as Nick Nichols, Erika Larsen and Pascal Maitre, you can tell right away that they're working with pictures editors at National Geographic. They have a real partner who follows them along the way. They have picture editors who tell them, "You're too far away. You need to get closer."
Now, with digital photography, you get people who take 25 images in three seconds and send in all 25 images without editing them. We're missing this precious interlocutor. In a lot of newsrooms, picture editors are gone. But photographers need them. Arnaud Brunet edited all of Rémi Ochlik's images. Alexandra Boulat was a pitiful editor, she needed Jérôme Delay and Noël Quidy.
Olivier Laurent: Can't Visa Pour l'Image help these photographers?
Jean-François Leroy: That's what we're trying to do with Transmission Pour l'Image. I would advise all photographers to work with others. They need to collaborate with someone who can bring an outside point of view to their images. But not everyone understands this.
czwartek, 19 lipca 2012, cwiczeniazpatrzenia