My Saturday as I have previously talked about was somewhat spent attending Paris Photo, a huge photography exhibition held in the Louvre, that I got some great photo's and ideas for my own work from but overall wasn't as exciting as it was last time when I nearly planned a trip around it.
Landscapes are becoming a huge thing again as are cinema-like shots that are supposed to stir emotion in the viewer. I fell in love with a couple of photographs. First is a Brazilian photographer whose name (I remember imagery not numbers or names) who shoots the favellas outside of SaoPaulo and then alters them using a computer to ultimately make them look architecturally designed. Sorta funny but truly interesting especially since they are massive in scale. 
The other photo's that stood out is by 
an American photographer who seems to be obsessed with overly young innocent teenagers "at play." I mainly liked these not for the actual composition but for the color tones and feeling. I more looked at these as inspiration for paintings rather than I am running out to buy them.
Photos That Don't Capture Reality, but Change It - New York Times.
Held beside the Louvre Museum in the exhibition area known as the Carrousel, Paris Photo is now said by its organizers to be the largest fair of its kind, the photographic equivalent of, say, the Maastricht and Basel art fairs. From among 250 applicants this year, 90 galleries from 14 countries, including 20 dealers from the United States, were chosen to present work by more than 500 artists. "Aesthetically, this fair is the best," said Tom Gitterman, owner and director of Gitterman Gallery in New York. "The United States may be the photo center financially, but this attracts most people from all over the world." With some 40,000 visitors expected, each paying the equivalent of about $18, the fair this year has photographs on display dating from the mid-19th century to the present, with the medium's history recorded haphazardly in scores of separate spaces.
But while the greats of the past, from Roger Fenton and Edward Weston to Man Ray and Robert Doisneau, are well represented - often with familiar images and at prices ranging from $20,000 to $250,000 - today's work may make a more daring argument for photography as art. The black-and-white masters of the early- and mid-20th century set out to explore what photography could do, through experiments with technique and form, through the near-abstraction of nudes and through documenting, as Henri Cartier-Bresson put it, the "decisive moment" of everyday life. In other words, they were artistic photographers. In contrast, while today's photographic artists have absorbed this legacy, they are also influenced by advertising, fashion, video art, painting, sculpture and Conceptual art. They seem more intent on altering than on recording reality. They are also responding to an existing - and increasingly competitive - market.
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