In further commentary on CNN’s controversial edit of Stacy Kranitz’ series on Appalachia, Joerg Colberg writes, “If we wanted to know what a place looked like we would need an infinity of photographs, taken from all possible angles excluding nothing, seeing everything at the same time,” a notion he thinks antithetical to the practice of photography, but increasingly possible, not only as Parr points out through the proliferations of cameras, but with the help of the Google Street View car, profiled by the Times here. Check out art made with photos pulled from the Street View service by Aaron Hobson, Jon Rafman, and Michael Wolf of the monograph Transparent City (Aperture 2008). And stay tuned for the upcoming re-issue and expanded edition of A New American Picture by Doug Rickard coming from Aperture in fall 2012.
Perpetual shooting brings us to the post on APhotoEditor asking, “Is It Time To Eliminate Stills From Your Shoot?” due to the ease and success with which quality still images may be pulled from video footage as a result of the recent proliferation of HDSLR cameras on the market. Now with no need to pick the decisive moment, soon no need to pick where to focus, who’ll need photographers? Have a look through SFMOMA’s page “Is Photography Over?” and read about the dialectical relationship of aesthetics and distribution/media on Fotomuseum Winterthur’s blog Still Searching.
On a different note, watch this great video from Feature Shoot, “Inside the World’s Only Tintype Photography Studio,” a photo gallery and walk-in commercial tintype portrait studio. Owner/photographer Michael Shindler says, ”I think what people seem to be looking for now is a kind of photography where the process itself is going to impart its own flavor to the finished image, a little bit of uncertainty.”
LENS blog profiles the opening of “Gordon Parks: 100 Years” at the International Center of Photography, celebrating the centennial of the legendary photographer’s birth with an exhibition of his work presented not inside the center, but in their windows, on view to the street. Parks was featured in an essay by David Campany on “Precedented Photography” in Aperture issue 206. His writing also appears in the requisite volume, Photography Speaks: 150 Photographers on Their Art.
Fototazo posts Part II of their three-part interview with Oregon-based photographer Blake Andrews of the popular blog B. During this exchange, they invite him to create a competition for photographers to rank and sequence famous photographs, and predict the most popular sequence. The results of the contest will be published on Fototazo and Andrews’ blog. Part III of the interview will be published on Fototazo May 24, 2012.
The New Yorker‘s PhotoBooth shares brilliant photos from the eight night performance run of electronic music and Krautrock pioneers Kraftwerk at MoMA last week– those shows that sold out in a blink of an eye, crashing ticket servers. The featured photos were taken not by concert photographers, but audience members with their cell phones who shared on Instagram, Facebook and Flickr, including one by their pop music critic Sasha Frere-Jones, who wrote for the magazine this week on the band’s legacy.
Ben Lowy, the “Hipstamatic Journalist,” an ardent defender of cell phone photography according to a New York Times profile and Q&A on LensBlog, also won an Infinity Award this week for his work in photojournalism. Soon, the Times reports, Hipstamatic will release a Ben Lowy Lens filter. This week, software developer jag.gr also released the 645 Pro camera app for the iPhone, Rob Galbraith reports, which appeals to advanced photographers and can capture TIFF images, features real-time shutter speed and aperture readouts, a live histogram, a choice of spot or multi-zone metering, as well as focus, exposure, and white balance lock. PhotoShelter Blog shares a lengthy post on “Why Instagram is Terrible for Photographers, and Why You Should Use It,” while APhotoEditor explores some of the many licensing issues with the social media sites through which these images are shared.
MediaStorm share two videos this week that live up to their column titled, “Worth Watching.” First, watch Ian Ruhter’s SILVER & LIGHT clip about his–literally–truck-sized traveling camera. Then watch Jeff Harris’ sometimes-heart-wrenching video on his project collecting 4,748 daily self-portraits–and counting. MediaStorm also draws our attention to Aday, “a unique photographic event,” scheduled for May 15, 2012, in which countless people from all different backgrounds use any camera they can get access to and submit photos to create a massive historical document–”A Day in the World,” which will be published as a book in October 2012. Sign up today.
Andy Adam’s Flak Photo is teaming up with Tom Griggs’ fototazo next week to host an online community conversation focused on essays from Gerry Badger’s recently published The Pleasures of Good Photographs(Aperture 2010). We’re looking forward to Monday, May 7, 2012, which is when the discussionkicks off with the essay, “Literate, Authoritative, Transcendent: Walker Evans’s American Photographs.”
Aperture aggregates the best posts from this past week in the photography blogosphere.
The New Yorker‘s Photobooth, APhotoEditor and many others track Magnum’s latest expedition, “House of Photos,” an archival collaboration by photographers Martin Parr, Alex Webb, Larry Towell, Bruce Gilden, Jim Goldberg, Alec Soth and five others, similar to their recent “Postcards From America” series. Eleven Magnum photographers have been exploring Rochester, NY, the birthplace of Kodak on the eve of the company’s demise, each in their own particular style, posting regular updates to Tumblr, Twitter, and Facebook. Find more background on the project in a Q&A with Martin Parr.
On Tuesday, the NYC Department of Records announced the official debut of a public online archive containing an astounding 870,000 photographs of New York City. Unfortunately, “due to overwhelming demand,” and server maintenance, we didn’t get to see the images just yet, but Associated Press did. The Atlantic‘s Alan Taylor did too, and culled through the archive posting 53 of their favorites. While they work out the kinks in their system, you can still check out the work of Eugene de Salignac in New York Rises (2007), a copublication with the Municipal Archives (now part of the Department of Records). This book offers a peek into one small part of the City’s amazing archive — a selection of images de Salignac shot while working for NYC’s Department of Bridges/Plant and Structures from 1906 – 1934.
This week in commentary: LPV Magazine digests Instagram articles by Om Malik, the New Yorker’sIan Crouch and New York Magazine’s Paul Ford, finds out, “Facebook Buys Instagram, Some Photographers Sad.” APhotoEditor reads Paul Melcher‘s poignant article on La Lettre de La Photographie alongside Marc Andreessen‘s WSJ piece “Software Will Eat The World,” and explores “how a company with 13 employees and no profits [Instagram] can replace a now bankrupt company [Kodak] that once employed over 120,000 people with annual sales of $10 billion as the ‘manufacturer’ of a device to bring photography to the masses.” In related news, NPPA opens a mobile phone photo contest, calling for entries through Sunday, April 22, 2012, while Magnum Photos has deployed another team to Rochester to document the once-vibrant home of Kodak as part of their Postcards From America series.
Poynter investigates the controversy over the Pentagon delaying the LA Times from publishing photographs of US soldiers posing with the body parts of Afghan corpses, a story which has since elicited over 2000 comments on the Times’ website.
Sophie Calle, featured in Aperture issues 191 and 142, talks to the Guardian about her best shot from the series Voir La Mer, in which she “took 15 people of all ages, from kids to one man in his 80s, to see [the sea] for the first time.” She photographed them from behind so as to not obstruct their initial encounter, and she captured the entire process, including their reactions, on video. Her current exhibition, Historias de Pared (at Museo de Arte Moderno Medellín through June 3, 2012) is reviewed on Fototazo.
In honor of Albert Hoffman’s infamous Bicycle Day (April 19), LIFE Magazine shares a number of never-before-published dream-like photographs that were to accompany an original 1966 article titled, “New Experience That Bombards the Senses: LSD Art.”
Aperture aggregates the best posts from this past week in the photography blogosphere.
Time magazine’s Lightbox features Manish Swarup’s photograph of a Tibetan exile self-immolating during a demonstration in New Delhi in their Pictures of the Week, reminding of Malcolm Brown’s iconic image of a Buddhist monk who set himself aflame in protest in 1963, and the photojournalistic ethical issues that go with it.
Conscientious explores the challenges of still portraiture and points to a new study published by the British Psychology Society which finds that “the same people are rated as more attractive in videos than in static images taken from those videos.”
The New Yorker‘s Photobooth commemorates Edward Steichen’s would-be 130th birthday with a slideshow of the seminal photographer’s images published in their magazine across the years. Several limited edition prints from his early work are available at Aperture.
“Taking a photograph is a response… it’s a pre-rational response, it’s an intuitive emotional response, it’s spontaneous, it’s immediate,” says Alex Webb of The Suffering of Lightin Part 4 of 6 of the Q&A session with Alex Webb and Rebecca Norris Webb by David Chickey of Radius Books at The National Museum Of Singapore on March 9, 2012, now all posted on Invisible Photographer Asia.
APhotoEditor suggests, “Perhaps Most Photographers Don’t Understand the Value of Usage,” posting a reader-submitted story in which an “ex-student lied about having [her] permission and gave the image to the college, which then used the image on a billboard advertisement that wraps around a 20 story building on a very busy road in the city.” How was this resolved and did she get paid?