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Hungarian-born photographer Gabor Szilasi has lived in Montreal for half a century. Over the decades he has documented the Quebec countryside and its towns and people, artists in their homes and, more recently, urban and architectural views in his native Budapest and in Montreal.
Some of the photographs you’ve taken have become iconic. Are you ever surprised at which images people respond to?
Sometimes. One was the motorcycle [Motorcyclists at Lake Balaton, 1954]. I thought I missed that shot because the figures are going out of the picture. Their heads are chopped off. And only 10 or 12 years later did I realize that that fact makes the image: it’s very spontaneous. When I took that photograph it was right at the beginning. I didn’t know anything about photography; it was totally intuitive.
Were there also moments when sometimes you knew?
When I photographed people, I would stop if I felt the second or third photograph was the right image. But when you work with film you don’t see it right away. After you develop the negative you can discover things that you may not have seen in the moment — things in the background, or a fleeting expression.
Can you give an example in your work?
The photograph of Madame Tremblay standing in her room [Mme Alexis (Marie) Tremblay in Her Bedroom, Île aux Coudres, Charlevoix, September — October 1970] is a good example. On the chest of drawers there was a picture of her as a young girl. I used artificial light because there was no light in that room. I bounced the light off the ceiling. And it was only when I developed the negative that I noticed that the old photograph was tilted slightly towards the ceiling and washed out a little bit, so that rendered the photograph in the distance when she was young, and I thought that worked very well.
Stephane Couturier: patterns geography
Stéphane Couturier's photographs hinge on a Gordian knot: their hyperreal quality is inextricably entwined with a dissolution of form. This seemingly contradictory principle, at the heart of each of his pictures, is also a thread that runs through more than twenty years spent scrutinizing the surface of the visible, from the first series dedicated to abandoned industrial interiors, like the Renault factories in Boulogne-Billancourt (1993), to the organic and fluid volumes depicted in « Meltings », a series initiated in the mid 2000 that marks a shift in Couturier's work towards the digital, as well as beginning of his use of im
Raymond Depardon: Grisaille Vision of Glasgow
In 1980 French Magnum photographer Raymond Depardon was commissioned by The Sunday Times Magazine to photograph Scotland’s largest city: Glasgow, on the River Clyde. The city has long been known for its architectural heritage – from its majestic Victorian squares to stern rows of tenements and brutal industrial giants – much of this building being the product of the city’s great Victorian-era wealth. However, in spite of this prosperous past and the city’s pivotal role in Britain’s industrial and cultural development, numerous areas of Glasgow were – at the time of Depardon’s visit – pover
Paul Buscato: Playful Photography
Bitter failure is a vital part of Barcelona-born, Oslo-based ex-architect Pau Buscató’s photography. He takes playful pictures of people, animals, and objects overlapping in amusing ways. They look Photoshopped, or at least staged, but aren't. Busctaó takes hundreds of attempts, and sometimes years, to snap the perfect shot. The results are like a good joke. As soon as you understand what's going on, you get butterflies.
Buscató got his first serious camera in 2010, and almost immediately quit his nine-to-five to take photos full-time. He regularly spends seven hours a day walking the streets, and snaps his shutter 400 t
Ernst Haas: color correction
Ernst Haas (March 2, 1921 – September 12, 1986) was an Austrian-American photojournalist and color photographer. During his 40-year career, Haas bridged the gap between photojournalism and the use of photography as a medium for expression and creativity. In addition to his coverage of events around the globe after World War II, Haas was an early innovator in color photography. His images were disseminated by magazines like Life and Vogue and, in 1962, were the subject of the first single-artist exhibition of color photography at New York's Museum of Modern Art. He served as president of the cooperative Magnum Photos, and his book The Cr
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Photo second from below is not his work. It is Herbert List's "Munich", 1950.