Temple University, Digital Photography Course, 2024
Prof. Fabio Barilari
In questi anni, tra gli altri, sto insegnando fotografia
digitale alla Temple University di "Philly" - Philadelphia.
Si tratta di un corso di base e una buona parte degli
studenti che sceglie di seguirlo ha una conoscenza della fotografia che non va
oltre i post su Instagram: i temi sono sostanzialmente quelli legati principalmente
al settaggio manuale della macchina fotografica, la combinazione di sensibilità
ISO, tempo di esposizione e apertura del diaframma, profondità di campo e
lunghezza focale, postproduzione. Ma affrontiamo anche
una serie di temi che hanno connessioni dirette con la pittura e altre espressioni
di arte per le quali Roma presenta un contesto e un potenziale di analisi senza
confronti: composizione colore, contrasto, luce ed ombra, trasparenze e riflessi,
ritratto e gradi di astrazione.
Alla fine dei conti, si tratta sempre di processo creativo e
mezzo di espressione personale, interpretati attraverso lo strumento della
macchina fotografica invece del colore steso sulla tela.
Ho apprezzato particolarmente il gruppo di studenti di
questa classe: nei corsi si creano delle alchimie, in alcune occasioni, che non
si sa neanche bene da dove nascano, ma che si traducono sempre anche in
risultati molto interessanti.
Questi nella foto sopra sono loro e quella qui sotto è una selezione dei loro bellissimi scatti:
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In recent
years, among the others, I have been teaching digital photography at Temple
University, "Philly" - Philadelphia.
It is a
basic course and a good part of the students who choose to follow it have a
knowledge of photography that does not go beyond posts on Instagram: therefore,
the topics are essentially those mainly linked to the manual setting of the
camera, the combination of ISO sensitivity, shutter speed and aperture value,
depth of field and focal length. We also address, however, a series of themes
that also have direct connections with painting and other expressions of art
for which Rome presents an unparalleled context and potential for analysis:
color composition, contrast, light and shadow, transparencies and reflections,
portrait and degrees of abstraction.
After all,
it is always about the creative process and means of self expression,
interpreted through the medium of the camera rather than color, brushes and
canvas.
I particularly appreciated the group of students in this class: in the courses, on some occasions, alchemies see the light, we don't even know exactly where they originate, but they always translate into very interesting results.
These in the photo above are them, and this here below is a
selection of their amazing shots:
"There's something primordial in the way we react to
pulses without even knowing it.
We exist on a rhythm of seventy-two beats a
minute.
The train, apart from getting them from the Delta to Detroit, became
very important to blues players because of the rhythm of the machine, the
rhythm of the tracks, and then when you cross onto another track, the beat
moves.
It echoes something in the human body. So then when you have machinery
involved, like trains, and drones, all of that is still built in as music inside
us.
The human body will feel rhythms even when there's not one.
Listen to
"Mystery Train" by Elvis Presley. One of the great rock-and-roll
tracks of all time, not a drum on it. It's just a suggestion, because the body
will provide the rhythm.
Rhythm really only has to be suggested. Doesn't have
to be pronounced.
This is where they got it wrong with "this rock"
and "that rock." It's got nothing to do with rock. It's to do with
roll."
Postato poche ore fa, in onore del compleanno di Lou Reed. Un brano eccezionale dal disco di esordio dei Velvet Underground nel 1967.
Interpretato in una versione bellissima: personalmente aspettavo questo "incontro" da anni.
Se Keith Richards realizzasse un album di cover di Lou Reed
ne verrebbe fuori un capolavoro.
Direi lo stesso per le cover da Tom Waits, ma con lui già ha
collaborato in tante occasioni.
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To me, Lou stood out. The real deal! Something important to
American music and to ALL MUSIC! I miss him and his dog.” - Keith Richards
In
honor of Lou Reed’s birthday, Keith Richards has recorded a cover of “I’m
Waiting for the Man.” The digital single & music video are out now and
featured on the upcoming album The Power of the Heart: A Tribute to Lou Reed,
which includes newly recorded covers from Keith Richards, Joan Jett and the
Blackhearts, Rufus Wainwright, Lucinda Williams, Maxim Ludwig & Angel
Olsen, Rickie Lee Jones, Mary Gauthier, Bobby Rush, Automatic, The Afghan
Whigs, and Rosanne Cash. This special collection will be released by Light in
the Attic Records and available on Vinyl & CD at fine independent record
shops worldwide on Record Store Day (April 20th). It goes without saying that
the legendary Lou Reed was a true rock ’n’ roll pioneer. From The Velvet
Underground’s debut in 1967 all the way through the end of his days, Reed sang
truth from his heart. He lived life to the limit—and then some. The Power of
the Heart is a tribute to Reed’s freedom of expression with covers spanning his
groundbreaking years with the Velvets into his majestic solo career. Each track
is a glorious extension of the Rock ’n’ Roll Animal’s soul, ever adventurous
and avant-garde. Session footage edited by Don Fleming
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I'M WAITING FOR MY MAN
I'm waiting for my man
26 dollars in my hand
Up to Lexington, 125
Feel sick and dirty, more dead than alive
I'm waiting for my man
Hey, white boy, what you doin' uptown?
Hey, white boy, you chasin' our women around?
Oh pardon me sir, it's the furthest from my mind
I'm just lookin' for a dear, dear friend of mine
I'm waiting for my man
Here he comes, he's all dressed in black
PR shoes and a big straw hat
He's never early, he's always late
First thing you learn is that you always gotta wait
I'm waiting for my man
Oh, work it now
Up to a brownstone, up three flights of stairs
Everybody bodies pinned you, but nobody cares
He's got the works, gives you sweet taste
Ah, then you gotta split because you got no time to waste
I'm waiting for my man
Baby, don't you holler, darlin', don't you bawl and shout
I'm feeling good, you know I'm gonna work it on out
I'm feeling good, I'm feeling, oh, so fine
Until tomorrow, but that's just some other time
I'm waiting for my man
Walk it home
Oh, it's alright
Lou Reed, New York, 2 marzo 1942 – New York, 27 ottobre 2013
Questa è una versione live di Lou Reed, nel '74 a Parigi
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