I have been spending some time with Joseph Campbell lately and keep nodding my head in agreement. The best artists take us closer to the intangible, the unknown. And often it happens when the maker had no such intentions, when you get out of the way of yourself, it sometimes just happens.

Hello David you old hedonist and shaman.

and here you can see a video (3:01 in spanish with portuguese sub-titles) where Emílio Morenatti, president of the jury 2012 Photojournalism Prize Estação Imagem/Mora explains the doubts and the discussions in the process of choosing the best stories/essays.

http://videos.publico.pt/Default.aspx?Id=6d7c2920-1c28-4f5c-9ec2-2a4d0dac04db

um forte abraço,
carlos filipe

news from Portugal…
the winners of the third edition of the 2012 Photojournalism Prize Estação Imagem/Mora were announced last week.
the contest, with six other categories in addition to the main prize, debuted in 2010 and for this third edition, the organization received 147 entries from photojournalists, who submitted 452 essays (not singles) involving more than 4,500 photographs.
this prize was open to portuguese photojournalists and also to photojournalists from african portuguese speaking countries and Galicia.
António Pedrosa, a portuguese freelancer photojournalist with an essay on a neighborhood in northern Portugal inhabited by a small gipsy community won the main prize (€3.500). this story, as many others who were distinguished here, was never published before.
in news category the first prize was João Carvalho Pina, with ‘Egyptian Revolution’.
besides all the prizes (€1.250) in different categories – news, daily life, art and entertainment, environment, portrait and sports – there was also a grant (€3.500) awarded to Nelson D’Aires to develop a project in Alentejo entitled “The Family Album – Mora memory, as it takes the picture.”

check http://www.estacao-imagem.com/ (click on the photo and follow the titles on the left) where you can see the best essays, a slideshow, the jury, a (photo) making of, the submission portfolio for the 2012 grant. And the work already done with the 2011 grant.
and you can also spend more time, and see 2011 and 2010 editions of the prize.

um forte abraço,
carlos filipe

Congrats on your sale Frostfrog!
General thanks for all comments, always a thought provoking conversation and a longer to do list every time…
looking forward to Richter documentary (off topic but Anselm Keifer: Over Your Cities Grass Will Grow is also a really great one)

Gladdy: I just watched that Robert Hughes BBC special. So amazingly spot on. I was blown away by the force of his intellect and structuring of the argument he was making.

THODORIS

Sure thing – chuck me a mail or something and let’s hook up. My address is at http://saratrula.com/?q=contact

Tried looking for yours but no luck.

Time not to be condescending it doesn’t suit your writing style ………

Ahhhh, thanks for setting us all straight. Until now I was unaware of the “heaps of shots of dead soldiers from all nationalities” being offered for high prices in the higher class galleries. I guess I never really did understand fine art photography. Be sure to send us some links.

And goodness, I do need to lighten up, always good advice, especially coming from someone who’s comments are always light hearted and positive. You just get out there and have a great day!

Cheers

muchas gracias!! intenso.

Photographing ones dead or dying loved ones is a whole other issue. This is done out of respect, love, a desire to hold on, and an attempt to make some sense of the event. One of my best friends 17 year old son was on life support after a car accident. His 12 year old sister climbed up on to the bed beside him and insisted he take a picture for her. Avedon photographed his fathers final days partly to try to come to terms with a difficult relationship. I visited my father on his death bed after seeing him only a few times in the previous forty years. I could not bring myself to make a photograph, but wish now that I had.