Charlotte Cotton’s approach towards research and writing was distinctive and unique, deriving from her professional position of a museum curator. The book quickly became a popular reference point for the comprehension of art photography of the recent decades.

Ou’s photographs of mundane parties in New York are just a fraction of his responsible and affectionate work which includes coverage of the Middle East conflicts, drug addicts in Canada or African children, who are forced to take weapons into their hands.

Interview with Assaf Shoshan

Interview with Branko Lenart

Périot describes himself as a documentarist, but he also never forgets to add that he is not willing to limit himself with this definition and that he will not hesitate to use elements and proceedings of experimental cinema and fiction, or even those of animated films.

Interview with NatašaPetrešin-Bachelez, guest curator of the ParisPhoto 2010.

If there is anybody who questioned the image in its anthropological meaning connected to the body, than this is Jeffrey Silverthorne for sure.

Interview with Valentin Perko

»Performance is ephemeral – you do it now and it is gone.«

Lahko torej v tem smislu govorimo o fotografu kot o režiserju filma z enim samim posnetkom? Ali pa gre pri fotografiji in filmu za dve ločeni stvari? Režijski pristop k fotografiji, pa vprašanja razmerja svetlobe, zgodbe, filma in fotografije so tema pogovora z Alešem Gregoričem, fotografom, ki v nekem smislu stoji na vseh polih fotografije.

V čem se današnji studijski fotografi razlikujejo od tistih, ki so delovali v vaših najbolj plodnih časih? Se je stil spremenil?
Od petdesetih let pa do konca osemdesetih prejšnjega stoletja se portretna fotografija ni bistveno spreminjala. Zdaj pa je popolnoma drugače. Portret je izginil. Odkar imajo ljudje svoje fotoaparate, jim je vse dobro.

Seveda se ves čas sprašujem o smislu svojega početja. Zato se premišljeno postavljam v situacije, v katerih točno vem, oziroma imam občutek, da vem, zakaj sem tam.

Del mene, iz katerega izvirajo avtorske fotografije, živi drugačno življenje. Sam proces, ki pelje do izvedbe, je lahko podoben. Pojavi se neka ideja, navadno me obsede, hočem jo videti; razmišljam, kako bi jo realiziral, kako bi sploh sestavil fotografijo.

As full of surprises as the people who frequent these studios are the backdrops they enjoy posing against and the props they choose.

Fulgurator, kot cenena igrača dostopen vsakomur, bi s pogosto uporabo prepričal ljudi, da fotografijam ne moremo verjeti. Prepričal bi jih, da je zaupanje v fotografije nesmisel. Julius von Bismarck je v Ljubljani »fulguriral« na povabilo Aksiome, zavoda za sodobne umetnosti.

Intervju z Jožetom Vogrincem se ukvarja predvsem z različnimi oblikami in vlogami, ki jih dandanašnji zaseda amaterska fotografija. In navezavami amaterske fotografije z drugimi oblikami fotografskega ustvarjanja (npr. Dokumentarna in umetniška fotografija).

»I don’t like photographers. If I would be a painter I would probably say that I don’t like painters. But as it is I feel more sympathy with the painters and their work than towards those who practice photography.«

Umetnost sama potrebuje neko novo definicijo, fotografija potrebuje novo definicijo; toda kdo so tisti, ki jo lahko naredijo? Danes tudi še ni filozofije za fotografijo.