PDN says:
This past April 23–26, reviewers and photographers gathered in Portland, Oregon, for the 2009 Photolucida Portfolio Reviews. Over the course of four days, reviewers saw work during 50 20-minute reviews with photographers, at a portfolio walk at the Portland Art Museum, and in informal reviews requested by photographers.
FRED LUM says:
Before heading down, I had to decide what gear was making the trip. Went with a bare bones kit of one D3, 24-70 and a 28-200 zoomer. This was a ‘just in case crap happens down here’ kinda outfit. The D3 ended up staying in the bag for pretty well the entire trip.
For most of my shooting, I used a Leica rangefinder with 21 and 35 lenses for street stuff and a Mamiya medium format camera with 43 and 85 lenses for rocks,trees and water. I also had a panoramic adapter for the Mamiya but funny enough, I picked up an Hasselblad Xpan down there for a pretty nice price. And the box was originally marked as a Canadian import, who’da thunk.
lenscratch says:
Charles Grogg’s images of Bonsai trees and flowers are “platinum/palladium, handcoated on handmade Japanese gampi. Each piece of the nine-piece image is individually exposed under sunlight, washed, dried, and then sewn with cotton thread onto a larger piece of Japanese washi. Each print is then float mounted in a walnut, maple, or kiaat espresso-stained artist’s frame.”
I asked my favorite graphic designer for some insight and I was startled by what I heard. She said, “It’s faster and easier to get my ideas down on paper. It’s also less sterile. When I try to concept on the computer it seems to me that the machine gets in the way. The presets push you to conform. The screen makes you filter in assumptions about how things will ultimately look on paper. Designing on paper just feels right”.
All this “regression” in the arts mirrors what I hear from more and more photographers. We were so enthusiastic about the promise of “no cost” digital that we swallowed the program “hook, line and sinker.” In retrospect we’ve done one of the stupidest business moves imaginable. We moved from a mature, repeatable and robust system of making images that yielded exquisite quality (and which most practitioners had already paid for the infrastructure and amortized ) into a system that gives us only one advantage: We can do all this stuff quicker than ever before!
From PDN:
Beginning in December 2006, Balog and a group of scientists, photographers and cinematographers positioned a total of 27 Nikon D-200 cameras at 18 locations in Greenland, Iceland, Alaska, the Rocky Mountains and British Columbia. Carefully boxed and sealed to withstand the elements, the cameras are powered by a combination of solar panels, batteries and other forms of electronics and are programmed to photograph once an hour as long as there is available daylight.
From burn magazine:
i thought: why not turn the Kibbutz loft into a BURN gallery for the photographers here??…sell your prints from selected work….
From Style.com:
The other quality that characterizes Steven Meisel’s work is a strange kind of precision. “The thing that looks like Steven is an obsessiveness with an almost chilly perfection,” says Koda. “Even if the models are meant to look tousled, they are perfectly tousled,” he says. “There’s never a moment where there isn’t this intrusion of the photographer into a very controlled image.”
via Andrew Hetherington.
