{"title":"Valokuvakirjat","description":"\u003cp\u003eValokuvakirjoja suomalaisilta ja kansainvälisiltä valokuvaajilta. Kustantajina mm. Aperture, Steidl, Taschen ja MACK. Myös signeeratut kirjat ja ensipainokset.\u003c\/p\u003e","products":[{"product_id":"jussi-aalto-kohteena-ihminen-muotokuvauksen-opas","title":"Jussi Aalto - Kohteena ihminen - Muotokuvauksen opas","description":"\u003cp\u003eSB, 175 sivua\u003cbr\u003e\nTaide, 1999\u003cbr\u003e\nKlassikoksi muodostuneen muotokuvausoppaan toinen, päivitetty painos.\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003eIhmisten kuvaaminen on aina ollut suosituin mutta samalla haastavin valokuvauksen laji. Kohteena ihminen -oppaassa on hyödyllisiä neuvoja ihmisten valokuvaamisesta kiinnostuneille, niin harrastajille kuin ammattilaisillekin. Tekijän ottamat lähes 300 valokuvaa välittävät kirjan runsaan tietoaineksen helposti omaksuttavassa ja havainnollisessa muodossa. Jussi Aalto on toiminut vuosikymmeniä valokuvaajana ja valokuvauksen opettajana, pitänyt kuvanäyttelyitä ja osallistunut kirjojen tekemiseen. Kohteena ihminen on uudistettu laitos hänen 1984 ilmestyneestä ensimmäisestä perusteellisesta suomalaisesta muotokuvauksen oppaastaan. Jussi Aallon Kohteena ihminen on niin hyvä alansa opas kuin toivoa saattaa. Se esittelee kuvauksen eri näkökohdat selkeästi, mutta ei suistu tekniikan suohon.” “Kaikki Suomen näppäilijät, lukekaa tämä kirja ennen kuin haaskaatte seuraavan filminne!” Näin kirjoitti Seppo Heikinheimo Kohteena ihminen -teoksen ensimmäisen painoksen arvostelussaan Helsingin Sanomissa 2.3.1985.\u003c\/p\u003e","brand":"Jussi Aalto","offers":[{"title":"Default Title","offer_id":55041928298823,"sku":"9516080383","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1010\/2420\/3079\/files\/kohteena-ihminen_0512_14e_1.jpg?v=1789560982"},{"product_id":"jouko-leskela-vapaat-hetket","title":"Jouko Leskelä - Vapaat hetket","description":"\u003cp\u003eSB, 30 sivua.\u003c\/p\u003e\n\u003ch3\u003eLisätiedot\u003c\/h3\u003e\n\u003cp\u003ePublished 1986 “VALPPAANA KADULLA Street photography on pohjimmiltaan vapaata näppäilyä. Mahdollisuuksien paljoudessa katukuvaaja kohdistaa huomionsa valikoidusti. Oma tavoitteeni on esittää kuvia, joissa samanpariset tai eripariset henkilöt tai rakennetun ympäristön yksityiskohdat toisintuvat tai rinnastuvat keskenään. Katukuvani ovat järjestämättömiä tilanteita. En pyydä ketään tekemään jotakin näkemääni tapahtumaa tai liikettä uudestaan kuvaani varten. Katuvalokuvauksen koordinaatit: Katukuvauksella tarkoitetaan vapaata yhdistelyä sisältävää etukäteen järjestelemätöntä valokuvausta julkisilla paikoilla. Kuvien aiheina ovat pääasiassa ihmiset ja heidän välilleen syntyvät yhteensattumat. Katukuvaaja on nimetön toimija, joka kuvaa useimmiten itselleen tuntemattomia ihmisiä. Katukuvaaja ei piiloudu, mutta ei myöskään yleensä esittäydy ja kysy lupaa kuvaamiseen. Kiinnostavat katukuvat sisältävät pieniä merkitseviä yksityiskohtia, joita katsojan täytyy lukea kuvasta. Katuvalokuvaus on myönteishenkistä elämän tarkkailua. Pitkäjänteinen katuvalokuvaustyö voi saada dokumenttiluonteisen ajankuvamerkityksen, usein vasta vuosia kuvauksen päättymisen jälkeen. Dokumenttivalokuvauksesta katukuvaus eroaa siinä, että dokumentaristi yleensä toimii yhteistyössä kuvattaviensa kanssa. Hän on saanut kuvaamiseen luvan. Se on mahdollista kysyä, koska kuvauksen kohteena on rajattu määrä henkilöitä, ei koko kaupungin väestö. Taidevalokuvauksesta katukuvaus eroaa siinä, että näppäilijän havainnot eivät ole valokuvauksen vuoksi rakennettuja tilanteita. Katukuvat harvoin näyttävät etäännytetyiltä. Elämän merkkejä ei niissä ole eristetty alkuperäisiltä tapahtumapaikoiltaan. Lehtikuvauksesta katukuvaus eroaa siinä, etteivät kuvatut tilanteet ole suuria ja tärkeitä tapahtumia, uutisia. Kuvat voivat olla suurten järjestettyjen asioiden liepeiltä, mutta pääasian vierestä tehtyjä huomioita. Lehtien nykyisen nopean selausrytmin vuoksi lehtikuvan pääsanoma harvoin on pieni yksityiskohta. Tämän vuoksi katukuvia ei juuri julkaista lehdissä. Historian mustavalkoiset siivet: Henri Cartier-Bresson ja Garry Winogrand Vuonna 2004 elokuun toisena päivänä 95-vuotiaana kuollut ranskalainen reportaasikuvaaja Henri Cartier-Bresson oli myös katukuvauksen vaikuttaja. Hän nimesi oivaltavan huomion ratkaisevaksi hetkeksi. Hänen harmonisesti sommitellut, maailmaa eri puolilta näyttävät tilannekuvansa olivat kohteliaan herrasmiehen huomioita. Henrin kuvissa ihmiset näyttivät ilmeikkäiltä mutta silti arvokkailta. Yli 30 valokuvakirjaa julkaissut Cartier-Bresson on vaikuttanut tyylillään lukemattomiin myöhemmin syntyneisiin valokuvaajiin. Huomaamatta ilman salamaa toiminut mestari myönsi hänestä tehdyssä dokumentissa, että hän joskus tunsi itsensä taskuvarkaaksi, kun kuvasi henkilöitä heitä häiritsemättä. Keväällä 2003 Pariisissa avattiin mestarin nimeä kantava säätiö ja museo. Amerikan street photographyn uudistaja oli vuonna 1984 56-vuotiaana keuhkosyöpään äkillisesti kuollut Garry Winogrand. Hän nosti kuvissaan pääasioiksi pienet merkitsevät yksityiskohdat. Sommittelullisesti hänen usein vinoon käännetyt kuvansa näyttivät pikemminkin hallittua kaaosta kuin Cartier-Bressonin kaltaista geometrista tasapainoa. Winograndin levottomissa kuvissa elämä näyttäytyi myös monta pykälää rosoisempana, hän ei kaihtanut näyttämästä surkuhupaisiakaan tilanteita. Vauhdikas Garry jätti jälkeensä 2500 kuvattua kehittämätöntä 135-koon filmirullaa, 6500 kehitettyä rullaa ilman pinnakkaisia ja 3000 rullaa pinnakkaisineen, mutta pääosin ilman merkintöjä kuvavalinnoista. Garryn tätä aiempi, parhaiden päivien tuotanto on Arizonan yliopiston kokoelmissa, joista valitut näyttelyt kiertävät parhaillaan maailmaa. Tyylit ja tittelit uudistuvat Viime vuosituhannen lopulla street photography koki suosionsa aallonpohjan. Suora näkymä ja pysäytetty hetki valokuvissa olivat harvoin esillä näyttelyissä ja kirjoissa. Kiinnostuksen lisääntymisen ja ilmaisun muuttumisen hyvä esimerkki on Jeff Mermelsteinin SideWalk kirjan julkaisu vuonna 2000. Teoksen värikuvat ovat New Yorkin katujen elämästä. Näyttävien kokoaukeaman havaintojen tunnelma on tuokionomainen, hetket eivät ole toiminnan huippukohtia. Tärkeät täplät ovat kuvissa usein selkeästi aivan etualalla. Katukuvauksen perinteestä on jäljellä lämminhenkinen elämän monimuotoisuuden esittäminen. Jeffin toinen kirja, No Title Here, on vuodelta 2003. Korostetusti kinoruudun muotoisessa teoksessa on valikoima tilanteita New Yorkin lisäksi muualtakin USA:sta. Nyt merkitseviä yksityiskohtia on katsojan usein itse etsittävä eri puolilta kuvaa. Huolimatta ilmeikkäistä, salaman pysäyttämistä tapahtumista, kirjan esipuheen otsikko kuuluu: Ei ratkaisevia hetkiä. Kuraattorin teksti kertoo, kuinka elämän olosuhteiden tallentamiseen sitoutuneet kuvaajat siirtyvät katujen sijasta toimimaan kauppa- ja mukavuuskeskuksissa, stadioneilla, messuilla ja erikoistapahtumissa. Paikoissa, jotka nykyään kokoavat ihmisiä yhteen. Kansilehden sisätaitteessa kriitikko kirjoittaa Jeffin tittelin: näppäilytaiteilija, snapshot artist. Internetistä löytyy runsaasti lisää esimerkkejä uudistuneesta katuvalokuvauksesta. Erityisesti www.in-public.com sivuston tekijät näyttävät ja kertovat mielenkiintoista uutta street photographyn alueelta.” Tämä artikkeli julkaistiin Kamera-lehdessä 10\/2004 Arkienkelit-näyttelyn kuvieni kanssa. Jouko Leskelä “ALERT ON THE STREET Street photography is at the end of the day free snapping. In the abundance of possibilities the street photographer focuses his attention selectively. My own goal is to show images, where similar or mismatched people or elements of manmade environment reoccur or juxtapose with each other. My street pictures are unarranged situations. I don’t ask anyone to repeat anything I saw for a photograph. The coordinates of street photography: Street photography means freely composed unarranged photography in public places. The subject is mainly people and coincidences between them. The street photographer mostly photographs people he doesn’t know. A street photographer doesn’t hide but neither does he usually introduce himself or ask for permission. Interesting street images entail small meaningful detail, which the viewer has to read from the picture. Street photography is observation of life with a positive spirit. Over time, a long span street photography may gain a zeitgeist-like meaning of a documentaristic nature, often years after the work has ended. Street photography differs from documentaristic photography with the fact that a documentarist usually works together with his subjects. He has been given permission to photograph. It has been possible to acquire permission because the subject includes a certain number of subjects, not for example the entire population of a city. It differs also from photographic art, as the observations of the street snapper are not created for photography. The street photos rarely look estranged. The signs of life have not been isolated from their original scenes. From photojournalism, or editorial photography, street photography differs by the subjects not being big or important events, news. The images might be taken around arranged events, but they remain observations beside the point. Due to the fast rhythm of news, the main item in news photography is rarely a small detail. This is why street photography is not often published in papers. The black and white wings of history: Henri Cartier-Bresson and Garry Winogrand Passed away at the age of 95, on the 2nd of August in 2004, the French reportage photographer Henri Cartier-Bresson, had also an influence on street photography. He named the insightful observation as the decisive moment. His harmonically composed images, viewing the world from different angles, were the observations of a polite gentleman. In his photographs people looked expressive, but yet dignified. With over 30 published photographic books, Cartier-Bresson has with his style influenced countless photographers after him. Working unnoticeably, without a flash, the master did admit in a documentary of his work, that he sometimes did feel like a pickpocket, when photographing people without disturbing them. In the spring of 2003, there was a foundation and a museum, carrying the master’s name, opened in Paris. Garry Winogrand, who was in 1984 suddenly lost to lung cancer at the age of 56, was the transformer of the American street photography. In his images he gave a lead role to small meaningful detail. Compositionally, his often tilted images likened more a managed chaos, than a Cartier-Bresson style geometrical balance. In Winogrand’s restless images, life appeared also several degrees rougher. He didn’t shy away from showing melodramatic situations either. The speedy Garry left behind 2500 rolls of exposed but undeveloped 35 mm film, 6500 developed rolls without contact sheets and 3000 rolls with contacts, but mainly without any indication of selections. His earlier, best, work remains in the collections of the Arizona University, where selected exhibitions are now travelling around the world. Styles and titles transform At the end of the last century street photography reached a low point in popularity. A straight view and a halted moment were rarely seen in exhibitions or books. A good example of the increased interest and the change in expression is Jeff Mermelstein’s book SideWalk, which was published in 2000. The colour images in the book are from the streets of New York. The flashy full-page-spreads of observations of street life have a momentary feel to them. They are not high points of action. The important spots of the images are clearly at the front. The tradition of street photography has left behind a positive spirit in which the diversity of life is portrayed. Jeff’s second book, No Title Here, was published in 2003. In the book, which takes the form of a 35 mm frame, there is a selection of situations from different parts of the United States alongside New York. This time the viewer often has to look for the meaningful detail from all over the pictures. In spite of the expressive, flash-lit events, the prologue of the book is titled: No decisive moments. The curator’s text explains how the photographers committed to recording the conditions of life have moved from the streets to work in shopping malls, stadiums, fairs and other special events. In all the places that now gather people together. In the cover fold, a critic writes Jeff’s title as: snapshot artist. There are a great number of examples of the renewed street photography to be found on the internet. Especially the keepers of www.in-public.com show and tell interesting news in street photography.” Published in Kamera-lehti 10\/2004, with photos presented at my exhibition Arctic Angel. 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Tekijän jälkisanat.\u003c\/p\u003e\n\u003cp\u003e”Välineeni on aina läsnä valokuvissani. Sitä ei niissä useinkaan nähdä, mutta ilman sitä ei mitään nähtäisi. Jos kirjallani olisi alaotsikko, se olisi Rakkaustarina.” – Antti Nylén\u003c\/p\u003e\n\u003cp\u003eLUOVA PHOTO BOOKS on valokuvakirjasarja, jossa julkaistaan taiteilijoiden pienimuotoisia teoskokonaisuuksia. Kirjat kustantaa ja tuottaa luova.info. Kluuttikantiset valokuvateokset toteutetaan digipainotekniikalla. Lisäksi jokaiseen niteeseen sisältyy museolaatuiselle paperille tehty signeerattu pigmenttivedos, jonka voi halutessaan irrottaa kirjan välistä. Editiot on rajattu 300 kirjaan.\u003c\/p\u003e\n\u003cp\u003e© Antti Nylén 2019 for reproduced works and text\u003c\/p\u003e\n\u003cp\u003e© Luova 2019. Published by Luova. Design Juha Nenonen. Production Mikko Raatikainen. Paper Scandia 2000 Smooth White 150 g. Typefaces Dolly \u0026amp; Auto by Underware. 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