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Digital Diaries (public averti)
PDF gratuit Digital Diaries (public averti)
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Détails sur le produit
Relié: 256 pages
Editeur : Taschen; Édition : 01 (17 février 2000)
Collection : Taschen's photobooks
Langue : Anglais
ISBN-10: 382286398X
ISBN-13: 978-3822863985
Dimensions du produit:
16,7 x 2,7 x 23,1 cm
Moyenne des commentaires client :
3.7 étoiles sur 5
2 commentaires client
Classement des meilleures ventes d'Amazon:
549.596 en Livres (Voir les 100 premiers en Livres)
des petites photos couleurs pour un grand livre qui a pourtant beaucoup de mérite...-Mais je crois que le logo " public averti" n'a rien a voir dans ce livre-aucunes photos sulfureuses, on reste dans le soft si ce n'est dans le flou pour bon nombre de cliché !!!-pourtant Natacha Merritt a déjà donnée beaucoup de clichés excellent sans pour autant tomber dans la pornographie ( ce qui ,d'ailleurs, n'était pas le but recherché...)-le texte ,traduit en Français, n'est guère plus attirant
Une grande artiste que cette jeune Natacha. Enfin une démarche artistique digne de ce nom, enfin un vraie place pour la photo digitale. La fin des tabous, la fin des barrières entre la vie, l'érotisme et la pornographie, ici le tout ne fait plus qu'un ou plutôt une ! Bravo.
I was curious to read this book, mainly because I thought it was some sort of photographic diary in the early days of the internet. Instead, its a photographic collection of a woman's sexual adventures using various digital cameras. I guess I was expecting to see more than just the sex encounters and a little more on the regular life of the artist. Although the books explains on the artistic ideas behind all this photography, to me it borders on exhibitionism more than artistic expression. As for the photographs, there are some very striking images with interesting angles, but the majority are average at best and would not stand alone without the rest of the images.
Certainly not for everyone. This book WILL offend...and that's got to be part of what Natacha Merritt was going for. A better question is not "why was she compelled to document her sex life in a book?" but rather "why are people upset about it?" That's the question no one wants to really answer, the deeper, more challenging debate that's sure to crop up whenever a work like this is published. Any art that forces the audience to think about themselves has some kind of merit, and the raw handheld photographic style lends an intimacy--certainly no studio sheen here--that is altogether appropriate for the material. If you are to look at this book, be warned that not only will you be looking at Merritt; you'll be looking at yourself--your own attitudes towards sex. May you be fortunate enough to like, or at least accept, whatever it is that you see. If you hate books like this, I submit that you may be afraid of the possibilities in the mirror they present.
Though it'd be easy to lump Natacha Merritt with the rest of the webcam/internet exhibitionists, it took only one examination of this book to make me see otherwise in Merritt's digital photography.With a maverick's audacity and technical disregard (one interviewer made the humorous remark that Merritt "can't tell an f-stop from a bus stop"), Merritt has somehow managed to discover a visual style all her own that fuses strange angles, simple lighting, unusual placement of her subjects, and introspection into one. The more explicit photos oftimes threaten to de-humanize Merritt herself and her subjects, but those are counterbalanced by some very tasteful, evocative shots that convey the subjects' internal drama.Merritt makes a better subject than any other person in this book for her own camera. It doesn't hurt that she's gorgeous, but she has two things to her advantage: Expressive eyes, and the unique dynamic of photographer-as-subject. Is she simultaneously empowered and scrutinized by the camera? How often does she know what exactly the image looks like? And which photos are staged? Which ones are taken as a fly-on-the-wall snapshot? Merritt is always interesting as her own subject, and it is telling that the best set of pictures in this book, the "self search" series, focus much less on sexual acts than on self-discovery, examination, and Merritt's relationship to the camera and to her own body. Most of these are close-ups from wildly imaginative angles, shadowy, and intriguing -- the crowning picture is Merritt looking at her own hand in a mirror, contemplating. These pictures tell many stories about the young woman both in front of and behind the camera, and they're beautiful and revealing in a way far beyond the sexually explicit pictures. Most of those do manage to achieve a degree of honesty and spontaneity as well, making them erotically charged.Accusations of narcissism can't be avoided and Merritt can probably be said to be guilty of it sometimes. But what she produces from her unique work methods is so intriguing, and her revelation of herself as photographer (a rarity in photography) so far-reaching, that this book remains a great fascination. It'd be a shame if it were to be lumped with the usual erotic photography and exhibitionistic endeavours. Digital Diaries has much more to offer.
This is a book created entirely of pictures of the author having sex with various men and women or posing nude for her camera. Many of the images remind me of pictures I have painted and photos I have taken. She says in her book that she lets her photographic projects dictate her sex life. According to my calculation of dates in the book she started this at 15 in San Francisco and is now about 22 and lives in New York. One of the oddest things she has done is find a model in NYC who looks so much like her that she says she can't tell the images of the two of them apart except when they are both in the shot. This made me realize how much this book is about the process of taking the images and the direct feedback of the digital process. If artistic exhibitionism is of interest to you, either as a viewer or as an image maker, this book is great. The "look inside this book" images give a good idea of the book's style.
Natacha Merritt has gained a fair amount of notice for this collection of photos. The attention is well deserved, as she is clearly one of the first truly "native" digital photographers to emerge. Her images care nothing, really, for the traditional light/focus/depth of field of film photography, but just exist to capture a moment in time and the quick feelings of the subject. That her photos are explicit sexual images is almost secondary to her emergence as a unique artist. However, the raw power of many of the potraits also provides a thrill to the viewer. The images are very strong, and this is a book for only those that appreciate the craft of digital photography tightly coupled with raw and unposed images of sexuality.
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