Slow photo sets the tempo

Time remains, in its complexity, the central actor in photography. It directly impacts the light, the exposure and the final rendering. In this new issue, we wanted to question the practices of slow photography, a movement with ill-defined contours born in opposition to immediacy, fulgurance, immediate sharing and total ubiquity. Practices that emphasize the photographic experience, the materiality of the media and the recording of time rather than moments. With photographers who favor silver photography, large format cameras, pinhole cameras, Polaroid or old processes such as ambrotype or Fresson prints. At the dawn of its third year, Fisheye is growing fast and, as we announced, we are inaugurating the Fisheye Gallery in June, in the 10th district of Paris. A space to present the views, the authors, the people we believe in since a long time. A new adventure that will extend the focus on photographers in the print edition, our website and social networks. We are preparing new surprises for the summer issue which will be resolutely placed under the sign of the Meetings...

The automated image, authors take on machines

Images that are made without any human intention are growing and proliferating around us. Photomatons, surveillance cameras, satellites, drones... If these images could lead one to believe at first sight that the authors have disappeared, the latter turn the paradox around by using them as material to regain their authority. The development of techniques always reveals the concerns of a society and its technological unconscious, and these new photographs tell us something of our time. We therefore ask the question of these images without author. What do they bring? What do they tell? What are their uses? How do artists take possession of them? The subject is vast and touches the borders of freedom. With this mass of photos, the reflection is now on their analysis and their exploitation in this "marvellous" set that is the Big Data. Each automated image contributes to a system that is questionable, to say the least, and yet no one refutes it. As a society magazine about images, we had to open the debate. In this issue, you will also find a report on phototherapy, an investigation on photography in China, a portrait of Eileen Gittins, the founder of Blurb, and of course portfolios such as the one by Géraldine Millo on young people in training, or the one by Estelle Hanania which features funny characters conjuring up the evil spirits of winter. With also David Burnett's view on sports, and many other things...