Ricardo Bloch Launches Amphibious Andromeda

Amphibious Andromeda is not your ordinary book. It's like taking a walk through the artist's mind as he walks through Paris.  Think of it as an Accidental Tourist Guide to Paris... and what could be more gorgeous than that?


What he calls a "journal of everyday life," kept between July 24 and October 20th of 2007, Amphibious Andromeda is Ricardo Bloch's way of disassembling and reconfiguring a unique daily walk through his Paris world. Visually stunning, the photos are intimate and telling, funny and revealing; combinations on the page in spreads add another layer to meaning, making volume from the artist something of a beachhead in a brave new world.

The full color book (printed by Lalande Digital Press Paris) consists of 200 photographs "made under the pressure of feeding a daily image/sound blog called Amphibious Andromeda," says Ricardo. "This is the first in a series of four or five books, which will end with photographs made in March of this year when I stopped posting on my blog. The 589-day archive of Amphibious Andromeda’s images and sounds is still online at:

http://ricardobloch.blogspot.com/ ... "

Amphibious Andromeda Book 1 is "a free-flowing record of what the my eye encountered during that period of time," adds Ricardo, "and the photographs are presented here in the strict chronological order in which they were made. Compared to the blog, where the determinant factor in the choice of an image was the success of its juxtaposition with a sound, here, it is the successful construction of a double-page spread. Consequently, there are many photographs that appeared in Amphibious Andromeda which are absent here and vice versa."

You can flip through a number of the pages of the book, by logging on to:

http://ricardobloch.com/docs/shandybooks.htm

Amphibious Andromeda Book 1 has been printed in a limited edition of 100 copies. It is soft-cover, 24.5 x 16.5 cm, 102 pages.

PRICE: Only 24€ plus shipping, via PayPal (or check). (Contact the artist directly to purchase).

Ricardo Bloch's work has been exhibited in Europe and the United States and is collected publically and privately throughout the world. The artist most recently exhibited his Happy Days photographs of Denver, Colorado circa 1973 at the School House Gallery in Paris. When visiting Ricardo's web site, you may also enjoy a web-specific work: Sharon’s Wars. Oh and while you're there, ask Ricardo where the name Amphibious Andromeda comes from...
 

Steve Wells Takes On 2009 With Limited Edition Polaroid Calendar

"I was looking for an original way to say thank you and happy Christmas to my clients," said Paris-based New Zealand photographer, Steve Wells. "So I created a limited edition 'polaroid' calendar." 

Wells has curated years of his work for striking effect. April is a pile up of mannequins, July is an intimate kiss, while other months are exquisite fashion (semi) nudes and sleek architecture. The polaroid design, a salut to the "good old days" of analog photography in today's modern digital world. The calendar is perforated at the top so each month is peeled off and the image ready to post. April is called 'instinct' and represents a moment when instinct prevailed; taking a certain path through the streets of Paris, Steve stumbled upon this collection of headless mannequins, and creating one of his most talked about images. 

The project represents a broad spectrum of Steve's photographic work, from fashion and beauty to film stills, product shots and art pieces, with each photo a significant moment in Steve's photographic journey. While the calendars are destined for his clients, Steve is offering a limited number to the public. Each calendar is only 10 euros (plus 2 euros for postage). Contact him via his web site. See his VRV Gallery Page and Interview here.

Lalande Digital Art Press Paris helped Steve with the format and execution. Interested in producing a 2009 calendar for your clients or friends? Get in touch for a free estimate.

Carole: By Danielle Voirin

In October a calf was born on a farm in Normandy. The French family named her Carole. Danielle Voirin, the ex-pat Paris-based photographer was visiting her friends on the farm and she began photographing Carole. She learned the calf was specially bred for veal. "I met her on day two of her life, knowing she was destined to be meat," says Danielle. Carole was tethered to a rope in a small room her entire life. She drank only milk. And from her place in the small barn she could only see one view – another little barn, some bales of hay, the sliver of sky, a tree. She would be slaughtered in the spring for meat for the family.

Danielle returned many times to the farm to see her friends and to photograph Carole. "My intention was to be her witness, follow the transformation, link a life and a face to what I see on a plate, and eliminate the disconnect," she says. Then, this past March, Carole, having reached the optimum size, she was scheduled to be killed. Danielle, who had since bonded with the calf through half a dozen photo sessions, asked the abattoir if she could be there to document Carole's death. "At first they said yes, but the morning I showed up – at 5:30 am – they turned me away, telling me it was impossible." Danielle stood her ground but the bouchers closed the door and only allowed her in once Carole had been butchered and placed in boxes.

"Carole" is Danielle's one-page-book homage to the calf. Designed in an A3-format for Danielle as she makes her way to Rencontres Arles Photographie, in Arles, France (8 juillet - 14 septembre). Lalande Digital Press's unique one-page-book format provided an excellent way to tell Carole's story in a mini-catalog. Carole is also available here for free download in A4: DOWNLOAD "CAROLE" BY DANIELLE VOIRIN.

Do you want your own one-page-book? CLICK ICI : for a free estimate/devis et on peut commencer toute de suite! [e-mail: MATTHEW.ROSE.PARIS AT GMAIL.COM]

Behind the Gare Saint-Lazare

Behind the Gare Saint-Lazare
Originally uploaded by Balakov

Sometimes Lego outdigs Digital, as in this recreation of Henri Cartier-Bresson's classic "Behind the Gare Saint Lazare." Well, some Photoshop work was performed to remove the cotton suspending the figure and convert the image to black and white. The photographer is Mike Stimpson (Balakov). He's produced an entire set of classic photos using Legos that are worth seeing. (Click on the image, right, to see the flickr page with the full set, along with others).

Nu

Paris-based, Dutch photographer Jeremy Stigter exhibits his black and white nude portraits at 45 rue Babylone, 75007.  Vernissage vendredi 25 avril à paritir de 17h. 

Lalande Digital Art Press Paris has produced this announcement card for the exhibition. Need annoucement cards for your next exhibition?  Get in touch.  

"45" is owned and operated by Gérard Katz, who also runs our favorite cave à vin, La Cave des Papilles, 35 Rue Daguerre, 75014 Paris.  Natural, vins-bios.

Bernard Matussière : A La Mode & Undercover

Photographe français, Bernard Matussière a commencé sa relation avec la photographie à l’age de 12 ans lorsque sa mère lui a donné son propre Rolleiflex.

A 16 ans Bernard travaille comme apprenti au laboratoire du journal ELLE à Paris. Deux ans plus tard il entre chez un photographe parisien, Emile Muller, ou il a fait plein labo, tirages géants, prise du vue en tous genres (viande, chausses, livres, voitures, tableaux) pour quelques années et ensuite il part pour le Japon. Il restera 2 ans à Tokyo en tant qu’assistant du photographe japonais Yoshiro Tatsuki. "J'ai fait plutôt la mode et les nues. C'était encore l'époque du kimono. C'ést un japon qui n'existe plus."

De retour à Paris (chez Muller), et après quelques tâtonnements, Matussière se spécialise dans la photo publicitaire ou il rencontre un certain succès: Les campagnes publicitaires se succèdent, travaux pour Levis, Peugeot, Renault, Chanel, Jourdan, Aubade, TF1, Canal+, Barbara, Dim, Interflora, EDF, Compaq etc... Depuis peu, Matussière partage son temps entre la publicité et des travaux plus personnels: expositions et reportages à travers le monde pour une ONG de chirurgiens “La chaîne de l’espoir," un livre qui sortira au printemps 2008.

Matussière a publié plusieurs livres: “Photographe,” en 1993 et “Mésaventures du Paradis,” livre sur Cuba avec l’Academicien Erik Orsenna. "Nue," chez Fitway Editions en 2005. Plusieurs expositions ont été consacrées à son travail: "La Corderie Royale" à la Rochelle, FNAC Paris; Edward Carter Gallery en 2002 à New York. Dernière en date, 2005, Galerie Track à Paris.

SIX QUESTIONS POUR BERNARD MATUSSIRE :

Quand as-tu commencé de travailler avec la photo numérique? Quels sont les advantages?

"D'abord je voudrais dire que la numérique n'est pas une évolution de l'invention de Daguerre – c'est une chose entièrement nouvelle qui fait des images, et c'est révolutionnaire.

J’ai commencé avec la numérique il y a quatre ans," dit-il. "Les avantages sont multiples : fini d'acheter des films, fini de developper les films dans des labo très chers, plus de polaroids et aussi rapidité – le labo ne ferme pas à 18 h et le numérique est ouvert le dimanche! On fait tout chez soi, d'abord, et ensuite la transmission est vraiment extraodinaire. C'est ça la nouveauté principale. On peut les envoyer de n'importe ou à n'importe quelle heure. C'est un monde complétement nouveau."

Tu utilise quel genre d'appareil de photo numérique?

"J'utilise le Canon EOS 1N, que j'ai acheté en 2005. Il y a 12 megapixels, et ça suffit pour tous genres de photos. Ça donne un fichier à peu près 9 mega en raw. Il y a des cartes mémoires qui portent 8 giga."

Dis-nous, comment la photographie a changé depuis le debut de la photo numérique?

"La photo a changé avec le numérique dans le sens ou tout le monde est photographe (Lagerfeld, Sliman, etc). On apprend plus la photo, on fait des photos tout de suite! Après on va dans un labo digital qui arrange tout sur l’ordinateur avec des heures de travail. Sur les téléphone mobiles, on peut avoir ou faire des carnet de notes en photos... c'est pas vraiment la photo, mais ça y ressemble... C'est une autre façon de s'exprimer. Ç'est de l'image, mais pas vraiment de la photo."

Pour l'impression, qu'est-ce qu'il faut savoir pour mieux imprimer les photos numériques? Papier, machines, tirages (ratio pixels - taille), etc.

"C'est pour les spécialistes comme vous, Lalande. On peut imprimer sur tas de supports différents, et des imprimates et des encres qui donnent des résultats multiples."

Dis un peu sur tes compagnes de publicité... Aubade... ça faisait arreter les voitures dans les rues de Paris!

"Aubade, j'ai commencé vers 1986 la série noir et blanc des femmes sans têtes habillées en souvêtments... un nouveau manniére de parler et vendre la lingerie. J'ai fait les prémieres 12 leçons d'Aubade. La numero un, par exemple, c'est... "Lui offrir un peu d'ivresse." C'était toujours sympas de rouler dans Paris et de voir mes images dans les abris bus! Et surtout de voir les gens les regarder."

Raconte-nous tes derniers projets...

"C'est la fabrication du livre sur mon O.N.G : La Chaine de l’Espoir qui sort en Avril 2008 – 250 pages de photos qui racontent en noir et blanc le monde qui n'est pas du côté des projecteurs."

Click here to see more work by Paris-based French photographer Bernard Matussière.

Blue Ceiling at 59 : Danielle Voirin

Looking up: "Blue Ceiling at 59" by Danielle Voirin a new print by Lalande Digital Art Press is now available. The edition is unlimited and signed by Voirin; the work measures 60 cm x 80 cm, and is printed on 192 gram weight Epson Enhanced Matte paper.

BUY THIS PRINT
Price : 100 euros HT. You can purchase using Paypal: Order here: LALANDE PRINTS. (This image by Voirin is © 2006-2007 and reproduction in any form, printed or used on the web is strictly prophibited unless permission is granted by Danielle Voirin).

59 Rue de Rivoli was one of the most well-known artist squats in Paris. The large hotel particulier along one of the busiest axes in Paris housed up to 30 artists at its peak and served as a hothouse for artistic invention for years. But the City of Paris wasn't terribly pleased with the situation and after a massive struggle moved the artists to another building in the 18th arrondisement.

Danielle Voirin befriended a dozen artists at 59 Rue de Rivoli and documented the interiors, exteriors of the squat and many of the artists who spent years there. "The 'Blue Ceiling' was taken when I spent two weeks photographing the squat and artists as they were moving across town," says Danielle. "The City of Paris had by then decided to close the building for 15 months of renovations starting last November. I don't know if the artists will ever move back. In anycase, that era is gone."

The blue-celinged room with its bare lightbulbs drawing lines across the molding is one of Danielle's favorites from the hundreds of photos she took of the squat. "I don't remember anything else about the space where I took this; I was always looking up at that Mediterranean blue."

"Blue Ceiling at 59" was exhibited at the Carrousel du Louvre, through IVY Paris, and at Labo Photo Melco in the 19th where it was part of a portrait of 59 rue de Rivoli that paired black and white images of the artists with colorful shots of the building's interior. To order this print by Pay Pal or other means, contact Danielle Voirin directly.

Steve Wells Photography: A Kiwi in Paris

Photographer Steve Wells is living out a dream. He was born in Zambia, moved to New Zealand when he was 10 and then crossed over to Australia in 2001 where he worked as a musician and then a professional photographer. But in Sydney in 2006, the Kiwi fell in love with a French woman – "at a pyjama party" – and therefore, France, where he moved less than a year ago.

"For a number of years I had been thinking of exploring France and Europe, so i decided to sell everything, and come too. After a few months in Lyon with family, we moved to Paris," says Wells. "I love it here, there is a gritty energy I adore."

Wells has spent years shooting fashion, film stills, music/club documentaries and has just arrived in Paris, ready to take on the Gallic capital. Lalande is helping Steve put together his marketing portfolio, printing up cards and other materials to help him hit the ground running.

The photographer is currently working on Paris, but avoiding classic tourist spots, and attempting to see Paris from a new point of view. A tall order as Paris is one of the most photographed cities on the planet. But Wells does have a fresh take. His photos of Rikka, a dancer, in Lyon is but one example (above). "We had the luxury of time for this particular shoot," he says. "We played with red - lipstick, shoes, a towel, a tomato. She was staying in a great apartment in lyon, so we explored the space, and with minimal direction, I simply documented what I saw. This is one of my favorite images from the shoot." Another fashion shot of raw coffee on a model's lips makes you want to rush for the expresso bar! (below, right).

Lalande asked Steve about the basics for shooting digital these days. Here's the Steve Wells Bible:

1. Get it right in camera: Use a grey card for the color temperature, clean your sensor & clean the image before you take it.
2. Always shoot raw, it's the most flexible format. 3. Push the exposure, there is more information recorded by the sensor in the 'bright half'. 4. Don't spend too much of your shooting time looking at the preview. Once you are happy with the levels, etc, get on with shooting - like you used to with film. 5. Most important: Always always back up your work. I have 40 gigabyes of photos sitting in a corrupted disc. That's 40 gigabytes of nudes, portraits, an entire trip through New Zealand... Can anyone help? Contact : Steve Wells.

The Fairer Sex : A Private View

What do six women do on a Friday night in Paris? Compare notes? Yes! And photos. Projected on an atelier wall, images by six women photographers will be viewed by a private, invitation-only group in a show entitled "The Fairer Sex" this Friday, 28 September. Organized and hosted by Danielle Voirin, (she took my profile photo), the idea came to her when someone recently asked her if she knew many women photographers in Paris. "No," she said, much to her own surprise. Then a friend from Planet Waves, out of the blue, offered her a slide projector destined for storage and the concept of a small, intimate show took shape. Through word of mouth and loose associations, she selected the five other photographers from France, the U.S., Italy and Finland: Vilma Pimenoff, Anne-Sophie Jal, Aurelie Prissette, Elena Rossini, and Sue Rynski.

While sex is the subject, it is not always the object with these photographers. The feminine eye these women cast on the world about them, opens up not only on fashion details (rings, nails, shoes), but architectural details as well (concrete edges, bricks, rain on cobblestones) and the female body in corporeal and incorporeal form. Visit their web sites to take a closer look at the breadth of their projects. And please feel free to comment below.

Lalande Digital Art Press helped out producing a card and invitation to mark the event (above). The Fairer Sex is also supported by Susie Hollands, Lalande friend and artist, and her Paris-based artist association, IVY PARIS.

PHOTOGRAPHERS: Top row : Aurélie Prissette, Anne-Sophie Jal, Sue Rynski; Bottom row : Vilma Pimenoff, Elena Rossini, Danielle Voirin