I officially approved zine two today! The zine has 34 photos all shot with my lomo LC+A. Printed on 80-lb cover stock paper which really gives it a flip book feel. The photos I consider to be my travel snapshots. My dad said it well as he looked through the mocked up zine last week, “this isn’t your best work.” I explained that they are throw away photos. I haven’t sleeved or archived any of the film, I see them as sketches. I’ll put up a paypal button next week when the zines are here. They’ll be 22.50 this time. I can’t wait for you to see it!
So, the other day I cranked through 145 websites in about 3 hours for the consultation demo and then I had a conversation with a magazine art director friend about how we look at photographers websites in obviously different ways (design vs. photo) and I realized something: Design and layout has a powerful effect on me. Right off the bat, before I even look at the first picture, the design is working on my brain.
Richard Barnes has three interesting projects on his website. I absolutely love Murmur, which I originally came across on Mrs. Deane. It reminds me of Nicolai Howalt and Trine Søndergaard’s series Dying Birds, but I like how Barnes has captured the mysterious patterns that the birds make.
I flew up to the Baltic Centre for Contemporary Art in Gateshead to do the last bit of filming for Picture This, a Channel 4 series about six young photographers competing for the chance to mount a solo exhibition (I was one of three judges). The winner was Elizabeth Gordon, a former alcoholic who made a set of photographs re-enacting her days as a drinker. They’re a good example of what photography can do well: she shows great vulnerability, and that’s very engaging. I chatted to her about hanging her show at the top of Baltic and then caught a train to London, where I crashed in my office in Clerkenwell (I’ve got a bed there).
For years she has photographed the rich and famous but kept her own life strictly private. Now a new film opens the shutter on Annie Leibovitz’s drug addiction, love life and delayed motherhood. Andrew Johnson report
Why can’t you make it through the checkout line without flipping through page after page of pregnant celebs in Us magazine? Alison Jackson knows why. In her work, she photographs the people you think you recognize doing what you really want to see. And in the process, she’s questioning our shared desire to get personal with celebrity culture. Funny and sometimes shocking, Jackson’s work contains some graphic images. (Recorded July 2005 in Oxford, UK. Duration: 17:36.)
If Beverly Hills has a Main Street, it’s Rodeo Drive—three blocks of palm trees and designer boutiques with names like Armani, Gucci, and Louis Vuitton. Impossibly expensive cars—Ferraris, Rolls-Royces, Lamborghinis—cruise down the strip. Paparazzi stalk red carpets and limousines.
From the balcony of a brand new Chanel Boutique one evening this past December, Minneapolis photographer Alec Soth, an invited guest at the store’s glamorous opening party, surveys this scene, clad in a black blazer and black slacks he bought with the help of an former intern—”a real fashionable dude.”
Inside, in an oversized dressing room intended for the private shopping of the elite, hang three large photographs of a Paris fashion show snapped by Soth. Mingling throughout the store are Hollywood starlets (Hilary Duff, Angie Harmon) with flawless bodies wrapped tight in extravagant clothes. Standing near Soth on the balcony is the young actor Chris Klein (American Pie). It occurs to Soth that Klein’s suit looks much better than his own does.
I chose not to photograph people smiling in portraits. I too am always searching to reveal the inner silence within a subject. Posed smiling is a learned reaction and does not provide insight to subject’s being. Instead it blocks the viewer from studying a vulnerable face.
I ask a lot of the people I photograph. I ask them to trust me. Trust my vision as an artist. Trust me to make an image as honestly as I know how to. Sometimes they do not like the image. Sometimes they hate the image. I don’t always know how to feel about that. It is an intimate process. I almost always feel a bond between my subjects both during and after.
Even if you’ve never heard his name, chances are you know the work of David Rubinger. For roughly six decades he worked as a Time-Life photographer, documenting Israel’s tumultuous history. Some of his photographs, such as the 1967 shot of Israeli paratroopers reaching the Western Wall, have become icons. In 1997 he was awarded the Israel Prize, the country’s highest award for achievement in the arts and sciences. Rubinger has now written a memoir, Israel Through My Lens, Sixty Years as a Photojournalist, just out from Abbeville Press.
Over the past couple of months, I spent quite a bit of time thinking about this, and I now want to offer portfolio reviews. Needless to say, I have no idea how much interest there is in something like that, so this is going to be quite interesting. Also with time there might be modifications to the whole process, we’ll see.
So if you are interested have a look at the description first and then send email to the address given there.
Sensitive, reflective, intimate. These are not words normally associated with the oeuvre of Pablo Bartholomew, best known for his stark World Press Photo award-winning images: morphine addicts shooting heroin up gnarled forearms in cheap Paharganj hotels, and the glassy-eyed dead baby that came to symbolise the Bhopal gas tragedy in 1984. But it was the feeling of having become “a hard-boiled egg” inured to historic images”this riot, that PM”that prompted Bartholomew to dredge up 35,000 black-and-white negatives of his “personal, collective history” that had gathered dust over a quarter of a century. And are now on exhibit at the National Museum as part of India Photo Now ’08, the French Embassy festival coinciding with French president Nicolas Sarkozy’s India visit.
Lots of buzz online about the termination of editor Dave Seanor over this cover, which refers to a thoughtlessly stupid remark by golf anchor Kelly Tighman.
It’s worth noting that the controversy over this cover is inextricably wrapped up in its conceptual quality. The insipid stock image brings nothing to the package that isn’t explicit in the headline. The noose may be a loaded cliché, but that doesn’t mean it’s not just as tiresome on a magazine cover as any other over-used icon.
Photography is a medium that feels natural to me. Once you place the camera in front of the eye, it constructs the world. The camera foregrounds the power of temporal and spatial affectivity as seen and thought. In fact, you could say that what I do is create frameworks. I frame the space within each image but also within the installation space. I devise a spatial montage that marks a rupture with the single moment in time and the one-point perspective.
Photographic artist and gallery mate, Chris Jordan, has been making the TV circuit of late to promote his new Running the Numbers series. He has been seen on the Colbert Report, Bill Moyer’s Journal and now the Rachael Ray Show.
today we had a few free minutes so jaclyn and i headed out to do a mini maternity session before she pops 🙂 we drove over to an industrial park, stopped on the side of a road and shot all of these in about a 100 square foot area in a half an hour before it started pouring rain. i may be biased, but jaclyn is hands down the most prettyest pregnant woman i’ve ever seen…in fact, that probably has something to do with why she is prego in the first place…enjoy 🙂
Pop Photo blogs about the case of amateur photographer Bogdan Mohora who was jailed in Seattle last year after he took photos of police that they didn’t want him to take during an arrest.
Although Mohora was only briefly detained he pushed the issue and worked with the ACLU to get an $8,000 settlement for his arrest. The two officers involved in the incident James Pitts and David Toner, pictured above, were discilplined with written reprimands for a lack of professionalism and poor exercise of discretion.
Ian Macky says: “Published in 1935, the Secret Museum is a mystery book. It has no author or credits, no copyright, no date, no page numbers, no index. Published by ‘Manhattan House’ and sold by ‘Metro Publications,’ both of New York, its ‘Five Volumes in One’ was pure hype: it had never been released in any other form.”
Three million cheers to Macky for not only scanning all 564 pages of this treasure of a book, but for cleaning up the images, transcribing the text, and adding thumbnail galleries and a copy of a 1942 magazine ad.
Pale Fire: Interview: Photographer Brad Troemel expounds on the virtues of giving ups to artsits while they are still alive.: “Brad Troemel is not dead, nor is he a character in a perversely metafictional narrative entirely of my own creation. He is a young and talented photographer currently based out of Chicago. From what I can see he is also very busy. Aside from school and producing new work he also maintains a website where you can browse through archives of his previous projects and a relatively informal blog where he habitually hypes the artists he loves and occasionally self-promotes (though usually by association.) Carrying on along those lines, Brad curated a show of some of his favorite photographers at the Satin Satan Gallery (for details see poster below.) Additionally, ‘Glacier’, his upcoming solo show about ‘land displacement and the suburb’s relationship with the natural world’, will open at Reuben Kincaid Project Space (3219 S Morgan, Chicago, IL) on March 8th and carry on through April 12th. It will feature never before seen work.
I contacted Brad because his work, even apart from its aesthetic quality, almost always seems to hint at an engagement with aspects of the ‘artistic persona’. In our correspondence he never raised any major objections to my interpretation, which is not to say there were no surprises in store. I sent him groups of questions, he responded, and we even bonded in a touching montage sequence (not depicted here.) These are the results:”