Julien Legrand was born in France in 1979. He started as graphic designer. Passion to photography came to him later. On that time he was shooting everything: portraits, landcapes, travel photo e.t.c. Slowly Julien began to shoot only on the streets. Most of Julien Legrand’s pictures explore the chance moments of everyday life, with a focus on pedestrians. For him, streets and public spaces are inexhaustible sources of inspiration. He always has a camera with him and takes pictures almost every day, anywhere, at any time. He operates spontaneously, instinctively, creating a visual record that does not seek to relate or denounce anything; he prefers to let the imagination run free. The idea of being suffocated by a repetitive and impersonal daily life frightens him, so shooting on the street is his way of constantly keeping in touch with the world around him. Julien Legrand is a member of Street Photographers collective.
Julien always been more drawn to black and white but today we are featuring another side of him and his photography – color.
Henri Cartier-Bresson visited the Soviet Union in 1954 to document daily life under communism, the first foreign photographer to photograph “freely” in the post-war since Stalin’s death a year earlier. The presentation combines photographs dating from that year with those from a journey in 1972, when he personally observed the development of a country that was still very inaccessible. After this first trip to Russia, a second one came 19 years later for Cartier-Bresson. He was looking forward to it with the expectation to see the changes. “There is nothing more revealing than comparing a country with itself by grasping its differences and trying to discover the thread of its continuity,” he said. In fact, there is an important difference between his ’54 and ’72-’73 pictures of the Soviet Union. Togel Singapura
Herve All born in 1976, Lyon, France. Graduated from the Academy of fine art, Perpignan (France) and residing and work in New York. Herve All works on perception and consciousness through new narratives and focuses on the thin line between dream and reality. He, a lucid dreamer, doesn’t feel like a photographer: through he works with medium of photography, each picture is the result of a performance where he uses a torch. His thin beam of light not only focuses on details but goes beyong the surface, exciting the body’s cells and giving a new glimpse into reality. He uses light not just as a tool or for aesthetical effect, but to explore the fine line between light and dark, flesh and soul, body and space, conscious and inconscious perception.
Filled with light, the body (Women Lightscape’s serie) or the plant (Dancing Leaves serie) vibrates and rolls out in a time revised by the artist. Indeed, the exposure time often lasts several minutes to see the magic happen. By fragmentations and transparencies, the subject goes beyong the fugacious moment and leaves long-lasting trace. It’s not the question of any photographic moment, but it’s a way to explore an interval where we can rethink our existence, or our consciouness to be into the world.