PHILIP LORCA DI CORCIA

青头一

PHILIP LORCA DI CORCIA

这个城市摄影家是个使用闪光灯的高手，他拍的照片很多使用到闪光灯，去强化人物的脸部表情的特征，他还来过上海，日本，等其他亚洲国家。

Philip Lorca Di Corcia was born in 1953, in Hatford, Connecticut. He studied with Jan Groover who taught him a new approach to photography that included not only the recording of reality, but inventing another way for expressing his point of view. At the beginning Lorca Di corcia portrayed his family and his friends. He has never been a prolific photographer, he takes about a dozen shots a year. After graduating at Yale, in New York, in the 80s he worked for travel and fashion magazines. Di Corcia learned from those commissions to represent reality like fiction, in a more fascinating way than the truth. When the N.E.A. awarded a Grant to Lorca Di Corcia in 1989 to recognize his works, there was full debate on Mapplethorpe\'\'s explicit photographs. Di Corcia, as others photographers too, was forced to limit his sharpness not to interrupt the fund he received.
Santa Monica Boulevard was the next stage to perform his pictures, a place where male transvestites, prostitutes, loafers take the scene. He chose the scenes and the persons before shooting photographs. He focused his attention on lights and details. The location were built in every details. The set being created like a cinematic stage set using many artificial lights and directing the persons as a filmmaker would do. Later he continued to look at the street life in big cities like Tokio, New York, Berlin, Mexico City and other cities, remaining coherent to his work and his poetic. Di Corcia doesn\'\'t look at the events with irony, but with cynic eyes, and returns us the images he has felt part of, consciously. The reality for Di Corcia is always an unknown that astonishes in positive or in negative. Photography for him is an elusive medium and a discloser at the same time, which renders the viewer active witness, narrator of what they are looking at, and free to be led by the events recorded by the camera towards the other side of the truth.
Loretta Zaganelli

"In the sense that the part represents the whole I am interested in society at large... The most consistent conclusion I have drawn in my travels is that no one really knows what’s going on -it is apathy and self- preservation which define the socio-political aspect of the cities and their societies. Subjectivity becomes a conforting trap. It obsessively focuses on the self as a strandard for an exterior reality , which exists only in the mind. Psychology is reality for many people. I try to show this. It may not, in fact, be the actual psychology of the subject that I portray, but it is played out in the image and the projection of that psychology into the surrounding space. The street does not induce people to shed their self- awareness? They seem to withdraw into themselves. They become less aware of their surroundings, seemingly lost within themselves. Their image is the outward facing front belied by the inwardly gazing eyes." (1) "Streetwork" has been featured in solo exhibitions at international venues including the Museo Nacional Centro de Arte Reina Sofia, Madrid; The Photographer’s Gallery, London; the Nikon Salon, Tokyo and at the 1997 Withney Biennal Exhibition, also at the Museum of Modern Art in New York. (1) Taken from "Reflections on Streetwork", 1997.

青头一

苏文祥

这个人我也挺喜欢的，
原来的老论坛和现在的论坛都发有很多他的东西。。

赵罡

多年来,菲利浦·洛卡·迪柯西亚一直在纽约,东京,加尔各答,墨西哥的街上拍摄行人, 他把聚光灯投到人群中。 以这种方法，被引起拍摄的对象被提高的一种严肃而神圣的的气息。  象那样传统街道摄影者，迪柯西亚的拍摄对象都是即时和随机的, 但是，他采用户外聚灯投射到人群的方式,使都市的人群象时尚人物或电影画面。街道,现实空间都成了他的摄影棚.  最近，diCorcia朝这个方向进一步工作, 他的新的肖像系列作品,以隐藏的灯光和照相机拍摄具体的单个肖像, 那些精密控制强度的设备，可以严格掌握景深的范围。 照片被打印4 ×5 英尺，中心的主题脸是象在一幅巴罗克风格的画里或在一个广告栏影星一样。各种不同的身份和表情被从日常中自然而又孤立的挖掘出来. 所有的作品场面更带戏剧色彩.














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鄢醒

乖，怎么像是LOMO照的？

朽瓣

恐怕还是比lomo要hi-fi得多哦

赵罡

从技术还是设备上看。都高级很多！