dis – -Translation – Keybot Dictionary

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  Zineland par Antoine So...  
Dis, quand reviendras-tu ?
So when are you coming back?
  Arto Pazat - L'Œil de l...  
L’ être humain dans sa dimension d’insaisissable, d’incompréhensible. La dimension de langage de l’humain. La beauté ( je dis beauté car je n’ai jamais pu ni photographier ni conserver une image de quelque chose d’horrible ou de dégradé / dégradant ).
The human being as elusive dimension, incomprehensible. The size of the human language. The beauty (I say beautiful because I have never been able either to photograph or keep a picture of something horrible or limp / degrading). The light.
  Martine Franck: Regards...  
"Elle aime le soleil, Shakespeare, la beauté des êtres et des lieux, la comédie, la tragédie, la Commedia dell'Arte. Elle hait la justice, la bêtise, la prétention. Qui est-ce ? Vous avez certainement deviné, c'est Ariane Mnouchkine. Je la connais depuis que nous avons 17 ans. Elle n'était pas encore metteur en scène et moi je n'étais pas encore photographe. Elle a crée le Theatre du Soleil et j'ai voulu y participer mais je ne savais pas jouer, alors j'ai trouvé une autre fonction, celle de photographe. Mes premières photos tournaient toutes autour puis petit a petit je me suis dit que je voulais aussi photographier ce qui se passait dans la vie réelle. Je dis toujours aux jeunes photographes que le theatre c'est une très bonne école car c'est peut-être un des seuls lieux ou une scène se répète, ou un événement se répète, et ou on a l'occasion d'essayer d'améliorer une photo, car dans le theatre on peut prévoir la scène suivante. C'est vraiment la meilleure école, je trouve, pour apprendre la photo."
"She loves sun, Shakespeare, beauty of beings and places, comedy, tragedy, Commedia Dell'Arte. She hates justice, stupidity, pretension. Who is she? You have certainly guessed; it is Ariane Mnouchkine. I've known her since we were 17. She was not yet a theater director and I was not yet a photographer. She established Le Theatre du Soleil, and I wanted to be a part of it. I didn't know how to act though, so I found another role: being a photographer. My first photographs were all about theater. Then little by little I felt that I wanted to photograph what was happening in real life. I always say to young photographers that theater is a good training ground because it is one of the only places where a scene or an event repeats itself and where we have the chance to reshoot a photo for we can predict the following scene. It is really the best school, I think, to learn photography."
  Espagne : Miss Maier pa...  
Depuis qu’une très grande partie de ses plus de 100 000 clichés photographiques a été dévoilée en 2007, le public s’est pris d’enthousiasme pour les « deux vies » de Vivian Maier (1926-2009), pour le « mystère » et la « solitude » de cette femme, nourrice et artiste inconnue qui avait – oh mon dieu – un talent rare pour la photographie de rue. La pétulante Maier était sans doute – je le dis avec respect – « inapte à la vie », comme le personnage complexe de Macabéa dans le court roman de Clarice Lispector,L’Heure de l’étoile (1977).
I have sometimes thought that a woman’s nature is like a great house full of rooms: there is the hall, through which everyone passes in going in and out; the drawing room, where one receives formal visits; the sitting room, where the members of the family come and go as they list; but beyond that, far beyond, are other rooms, the handles of whose doors are perhaps never turned; no one knows the way to them, no one knows whither they lead; and in the innermost room, the holy of holies, the soul sits alone and waits for a footstep that never comes.
  Génération Sipa : Pierr...  
Voilà un an que je suis entré à Sipa. Je photographie stars et têtes couronnées, dont Caroline et Stéphanie de Monaco, à une époque où les photographes discutent – en les tutoyant – avec les people qu’ils suivent.
I had joined Sipa the year before. I photographed stars and royalty, like Caroline and Stephanie of Monaco, at a time when photographers talked to the people they followed as equals. On that day, in an alley off the Avenue Foch in Paris, my colleagues and I were waiting for Christina ONassis. Suddenly, we hear gunshots. A few guys and a girl are caught in a shootout. Total confusion. The bullets don’t seem real at first, but the car they turn into swiss cheese convinces me they mean business. Everyone dives into the bushes. But I’m 23 years old and tell myself, that’s not why I took this job. I venture out and find myself in the middle of the firefight.
  LIFE: Henry Moore’s She...  
Je me suis dit que la neige pourrait produire un effet intéressant en s'accumulant pendant la nuit. Je dis à Todd Brewster, un écrivain qui était avec moi : « Revenons à l'aube ». C'était merveilleux.
The sculptor Henry Moore was in his 80s in 1983. At four o'clock I was at his estate outside London, it started to snow. It was getting dark. I thought the snow might pile up gently over the night. I said to Todd Brewster, a writer who was with me, “Let's come back at dawn.” It was wonderful. Snow was still falling, and everything was pristine. Moore kept several statues in his fields. Neighbor’s sheep grazed about them and gave them scale.
  La photo de mode par Ka...  
De ces circonstances imprévues est née une des photos de mode les plus célèbres de l’histoire de ce « genre ». Je ne dis pas de cet art, car les plus grands (Penn. Avedon, Newton et Guy Bourdin) n’utilisaient pas ce mot pour parler de leur travail.
in 1975. Vibeke was featured in the entire issue dedicated to haute couture during that summer since Vogue was having some disagreements with the modeling agencies who were at the time boycotting Conde Nast France. From these unforeseeable circumstances was born one of the most celebrated images in the history of its “genre”. I do not say of this art, as the biggest names (Penn, Avedon, Newton and Guy Bourdin) did not use this word in speaking of their work. Helmut often said that he could never make a photo if he had to think of everything people said and wrote in regards to his photos, without mentioning all of the supposed intentions while he was doing his work.
  Festival International ...  
Cette bouffe qui dans tous les pays du monde, loin des lambris et des nappes blanches des palaces, exprime la culture, l’histoire d’un peuple, ses rituels et la notion de partage, loin des fusions confuses. « Dis-moi ce que tu manges… dans la rue, je te dirais d’où tu viens ».
Jean-Pierre PJ Stephan, the founder and soul of the culinary photography festival, has chosen the theme “Street Food” for this year’s festival. Far from the tablecloths and snooty waiters, street food expresses the unvarnished culture and history of a people and its rituals. “Tell me what you eat in the street, and I’ll tell you were you come from.” From the most commonplace to the most sophisticated, all types of flavor, color, presentation, and packaging are on display.
  Kristina Shook  
Née dans le Lower East Side de Manhattan, je suis un mélange de différentes culturelles. Quand les gens me demandent ce que je suis, je dis simplement “je suis faite de toutes les pieces qui sont la ville de New York.” (…)
Born on the Lower East Side of Manhattan, I am a mix of different cultural identities. When people ask me what I am, I simply say “I am made up of all the parts that are New York City.” I was photographed from 1-18 by photographer Melissa Shook (my mother). During college, I was photographed by Elin O’Hara Slavick. I have been an art model for several prominent painters.
  Picasso dans l'œil de W...  
Arrivé à la dernière, il les essuie. La chèvre, la colombe, les bonnes femmes nues… “Je ne peux pas laisser ça, mon agent va me tuer.” Je lui dis : “Laissez-m’en une au moins.” Il a tout effacé. Pendant vingt minutes, je me suis vu milliardaire.
The master began to draw. He made twelve slates, and they were mine. It was very nice and very lovely with chalk, and we had quite a funny time. When he arrived at the last, he wiped them all out. The goat, the dove, the naked women … “I can not leave that, my agent will kill me.” I said, “Leave me at least one.” He cleared everything up. For twenty minutes, I saw myself a billionaire. It’s a strange effect, especially since I was about 20 years old. Today only photographs of these ephemeral paintings remain.
  Martina Zanin, rinnegat...  
Disown /dis•own/ Verbe transitif Réclamer, dire faussement, ne jamais avoir connu personne, rejeter la relation de dévotion ou d’affection qui nous unit à lui; renier. “Je n’ai pas d’enfant et je n’ai pas envie d’en avoir.” (Les mots de mon père) Martina Zanin
Disown /dis•own/ Transitive verb To claim, saying falsely, to have never knew anyone, rejecting the relationship of devotion or affection which unites us to him; disown. – rinnegato – (Italian for – disown -) is an autobiographical project about the complicated relationship, now non-existent, between father and daughter. An inconstant father who tried to be present, the teachings and events […]
  Portfolios des Lecteurs...  
J’adore les chats, je peux difficilement le cacher. Lorsque je les photographie, je suis hypnotisé par leur regard et c’est par pur réflex que j’appuie sur le déclencheur. Je dis…
I love cats, I can hardly hide it. When I photograph them, I am hypnotized by their gaze and it is by pure reflex that I press the trigger. If…
  Portfolios des Lecteurs...  
Je ne me souviens pas de mon fils comme il était auparavant, pour moi c'est mon fils, comme il est maintenant. Je l'embrasse, je lui dis "mon amour" et il…
I have always had a weakness for used or damaged goods and a real fascination for the marks, the stigmata left by the passage of time. What we call garbage…
  Portfolios des Lecteurs...  
Disown /dis•own/ Verbe transitif Réclamer, dire faussement, ne jamais avoir connu personne, rejeter la relation de dévotion ou d’affection qui nous unit à lui; renier. “Je n’ai pas d’enfant et…
Disown /dis•own/ Transitive verb To claim, saying falsely, to have never knew anyone, rejecting the relationship of devotion or affection which unites us to him; disown. – rinnegato – (Italian…
  Portfolios des Lecteurs...  
L' être humain dans sa dimension d'insaisissable, d'incompréhensible. La dimension de langage de l'humain. La beauté ( je dis beauté car je n'ai jamais pu ni photographier ni conserver une…
The human being as elusive dimension, incomprehensible. The size of the human language. The beauty (I say beautiful because I have never been able either to photograph or keep a…
  Articles par pauline-au...  
La maison d’édition Jean-Boîte continue sa collection FOLLOW ME, collecting photography today en sortant l’ouvrage Artselfie. En 2012, le collectif new-yorkais DIS lance un Tumblr reprenant toutes les photos Instagram affublées…
The publishing house Jean-Boîte continues its series, “Follow Me, Collecting Photography Today,” with the publication of its new book, Artselfie.…
  La galerie Agathe Gaill...  
« Cette fois c'est vrai . C'est moi qui vous le dis. La galerie Agathe Gaillard, c'est fini !
« This time it’s true. It’s me who’s telling you this. The Agathe Gaillard Gallery is finished!
  Philémon Shivar - L'Œil...  
Lorsque je les photographie, je suis hypnotisé par leur regard et c’est par pur réflex que j’appuie sur le déclencheur. Je dis parfois pour m’amuser que si je devais être réincarné, ce serait dans un corps de chat.
I love cats, I can hardly hide it. When I photograph them, I am hypnotized by their gaze and it is by pure reflex that I press the trigger. If I were to be reincarnated, it would be in a cat’s body. When people watch my pictures of cats, they are sometimes admiring the beauty of the feline and as […]
  Instagram -par Jonas Cu...  
Fred Ritchin, professeur et auteur de plusieurs livres théoriciens dont After Photography (2008) livre ainsi un avis sur l’évolution de nos pratiques de traitement d’images : « La question est la suivante : comment filtrer toutes ces sources ? Qui va regarder 10000 images et en choisir 50 ? Nous devons changer la manière dont nous fonctionnons. Je dis toujours à mes étudiants qu’il est bien de devenir photographe mais que nous avons aussi besoin de gens pour filtrer les nombreuses images qui existent. Vous pouvez aussi étudier cette pratique et essayer de comprendre comment nous aider. Nous n’avons pas encore ces mécanismes, mais nous en avons sérieusement besoin. Nous avons aussi simplement trop d’images : parfois c’est un peu inhumain.»
Imagine what would happen if the attacks of September 11, 2001, were to happen in 2013, and that no professional journalist were present in the immediate aftermath, as was the case in 2001. Images from the event would flood social networks like Instagram. In the interest of speed and providing information, would the world’s newspapers rely on their reports? “For a major news event,” says Kathy Ryan, “if it gives you a speed advantage, I would say ‘Sure, why not’. Here, there are two things going on simultaneously. One, seeing these thousands of pictures that people are instagramming each other, which is interesting for the historical record. Two, therefore if there’s thousands of images, we, as a magazine have the responsibility to take the dialog beyond that. And that’s the reason why you should send a photographer with a special eye. I would say these thousands of images couldn’t replace the traditional way to cover news event, it would be an added material. But when it’s the only way to get pictures from a scene where no professional photographer was present, you’d be crazy to reject this material because it was made with an iPhone.If it offers an on-the-ground point of view and fills a hole in the coverage. It’s problematic. The minute I say that, I know as a journalist that the fact checking responsibilities go up dramatically. If you’re getting in images from citizen journalists, from people who have no training, no understanding of the larger rules and context of what we do, then an editor has to determine and prove that this is what we think it is. The land mine might be there. But it can possibly be done.”