Born in 1978 in Lubumbashi (Congo), Sammy Baloji is a visual artist and photographer, co-founder of Rencontres Picha, a photography and video biennial in Lubumbashi. Sammy Baloji participated in the African Photography Meetings in Bamako in 2007, the Lyon Biennale in 2015, the Venice Biennale in 2015, the Photoquai Festival at the Quai-Branly Museum in 2015, the Dakar Biennale in 2016 and the 14th edition of Documenta in 2017. His…
The Eye Photography: World Photography Art History, Latest News and Photography Events
The Eye of Photography is the ultimate digital magazine where everything about photography art is published daily, highlighted, discussed and archived for all professionals and amateurs, in English and French. Its Agenda compiles the most comprehensive selection of photography events in the world (photography exhibitions, art fairs, awards, lectures, workshops…).
Today's Photography Headlines
- ¡ Viva Villa ! 2020 : Samuel Gratacap
- ¡ Viva Villa ! 2020 : Benjamin Mouly
- ¡ Viva Villa ! 2020 : Isabelle Le Minh
- ¡ Viva Villa ! 2020 : Pétrel / Roumagnac (duo)
Photographer of de-industrialization, socially engaged lecturer Born on the Isle of Man, halfway between Ireland and the UK, Chris Killip decides to become a photographer at the age of 18. He moves to London where he becomes an assistant to the advertising and portrait photographer Adrian Flowers (1926 - 2016). Around 1969 he radically changed course; he focuses on the reportage & gallery owner Lee D. Witkin was one of…
On the occasion of the five-year anniversary of the attacks of November 13, 2015, in Paris and Saint-Denis, the association 13onze15 - Fraternité & Vérité, created by the victims and families of victims, entrusted Laura Serani with the curating of an outdoor photographic exhibition. Produced in partnership with the City of Paris and the town hall of the 11th city district this exhibition brings together 42 artists (French and international)…
Les vies minuscules: 2020 edition of the ¡VIVA VILLA! festival at the Lambert Collection in Avignon
¡ Viva Villa ! 2020 - Collection Lambert à Avignon
5 rue Violette, 84 000 Avignon, France
from October 24th, 2020 to January 10th, 2021
Los Angeles Center of Photography’s 5th Annual Fundraising Gala & Online Benefit Auction
Los Angeles Center of Photography (LACP)
from October 24th, 2020 to October 24th, 2020
We want the United States of the World, Alberto Magrin
FOTOFEVER - Carrousel Du Louvre - MAGREEN GALLERY (Booth B10)
99 Rue de Rivoli, 75001 Paris, France
from November 13th, 2020 to November 15th, 2020
Huawei Next-Image Award 2020 Grand Prize Winners
Huawei Next-Image Award 2020
from October 12th, 2020 to December 12th, 2020
Tracehumance: Photographic journey of Jacques Pugin
Musée gruérien - Bibliothèque de Bulle
Rue de la Condémine 25, 1630 Bulle, Switzerland
from October 4th, 2020 to January 31st, 2021
Josephine Sacabo: Those Who Dance
A Gallery For Fine Photography
241 Chartres St, New Orleans, LA 70130, USA
from October 3rd, 2020 to January 2nd, 2021
Masterclass: “Developing a photographic project. Inventing your own language” with Margot Wallard
Zoom Up - Masterclass Photo
from January 9th, 2021 to June 20th, 2021
Latest Photography Videos
Frank Horvat is dead! One of the last giants of French photography just disappeared. We devoted a whole day to him in 2013: here it is, with a great video by Philippe Abergel made a few months ago. You will find in our archives ten other subjects or so on Frank Horvat, this extraordinary photographer! Jean-Jacques Naudet Born in 1928 in Italy to parents who were doctors, Jews and from Central Europe, Frank Horvat lived successively in Switzerland, Italy, Pakistan, India, England and France, where he settled at the end of the 1950s. , while traveling regularly to the […]
His name: Philippe Abergel. He is a Parisian-based photographer for about thirty years and organizes workshops with Les Gobelins and the EFET schools. He also makes documentaries about photographers. Today, here is Frank Horvat!
To coincide with the release of his new book, we decided to dedicate today's edition to Frank Horvat, a photographer whose work continues to be neglected. We would like to thank Myrtille Beauvert and Jonas Cuénin for putting together this tribute.
At the end of the 1980s, you didn’t hesitate to explore digital technology. What led you to this exploration? I was lucky. I had stopped shooting fashion photography by then. A guy from Stern in Hamburg told me that with digital you could alter skin and wrinkles, take things out.
Throughout his career, Frank Horvat has exchanged photographs with friends and fellow photographers. Over time he has built up a “little museum” representative of a certain history of photography, with works that move him and illustrate his conception of the medium. He’s agreed to speak about a few of them and share what they mean to him. Here is what he had to say.
When I was young, the woman of my dreams was tall and slender, and certainly not an intellectual. In fact, someone the exact opposite of my mother. (Sigmund Freud wouldn’t be surprised.) So the world of fashion was a kind of Promised Land where every model I photographed seemed to have come from the same mold. Alas, they were covered in dresses, coats, hats and other junk rarely to my taste. But that’s what they were paid to wear and that’s what I was paid to shoot.
Photography, as everyone knows, means “writing with light.” What Niépce and Daguerre started out doing almost two centuries ago, and what a billion people today do with their mobile phones. But as for myself, I’m almost more sensitive to light than to what it illuminates. To the point that I almost avoid using a flash, and I often will refuse to shoot an interesting subject if the lighting doesn’t bring it to the fore.
In a strict sense, the voyeur is someone who seeks sexual pleasure with their eyes. In a broader sense, it is someone who want to possess with their eyes, not necessarily for sexual ends. In this sense, every photographer is a voyeur, and voyeurism is one of the “keys” to my house.
Calling a photo dumb requires an explanation. But I’d like for you to find that explanation yourselves. All that I’ll say is that if some of these photos make your smile, you’re on the right track, and you’ll be able to recognize a “dumb” photo when you see it.
New York up and down was the third project of what I like to call my triptych. To begin with, this meant simply that the three are nearly contemporaneous: both Very Similar and New York up and down were begun in 1982 and concluded in 1986, Portraits of Trees was a little earlier. But choosing this word was also a kind of challenge: because, contrary to what the term triptych suggests, the three projects don’t have much in common, to the point that some people find it hard to believe that they are by the same author, and most have a preference (or a dislike) for at least one of them, as if - from whatever standpoint they are seen - there was always one that didn’t quite fit with the others.