I'm currently with out my laptop and it's associated software, stay tuned for updates
I'm currently with out my laptop and it's associated software, stay tuned for updates
Now here's an idea
... and yes; I have a laptop again
I've been involved in a variety of capacities education and photography since the late 80's from student to educator and back.
Photography competition flyers seem arrive almost on a daily basis, at my work these days. Is this a growing phenomenon? Why do companies chase student images? As an educator I have mixed feelings about these competitions.
Sure the right competition, can have benefits for both *all* concerned, but i still feel that the students are the under dogs in these situations. and winning a new camera is a nice incentive, but surely the company running the competition saves more on chasing down stock images by offering up a prize to struggling and wide eyed students.
This competition, [exposeyourworld.com] for example is run by a company called the roving eye, and strikes me as nothing more than a
cheap lazy grab at building a stock library of images?
Here's rule #6.9 from the competitions website.
6.9 A condition of the holiday prizes for the Overall Winner of the Photo Essay, Overall Winner of the Single Shot and Overall Winner of the Young Australian Photographer of the Year, is that all holiday experiences are required to be photographed for RovingEye, and will be made available at no charge for once-only future editorial publication within Australian Traveller magazine, Outer Edge Magazine and A&K Magazine. All photographs will be credited to the photographer. The photographer will receive a 50% royalty payment on any future sales.
Does anyone know of anybody who has used a competition to advance their careers?
Yesterday I blogged about what I thought was an unauthorised use of one of my images.
Needless to say my fears were unfounded. The authors of the video that was used to market the book, was the only place that my image was used, and I've been attributed for my image so it's all fair and square.
This is in my mind the right way to behave in the digital era.
One of my teachers from my under-grad years is having a show. I found out through facebook of all places. Here's his description of the show.
'Some feeling' explores the act of an emotionally driven exploration of the landscape at night as a documentation of things that can’t be seen, but instead felt. Instead of searching for a location that would evoke a specific feeling, I have allowed the way I feel emotionally to direct me toward a landscape that I recognise as being representative of a certain emotion. Some Feeling is the result of documenting external representations of internal feeling states.
"Opening night - Tuesday 30 September, 5.30 - 7.30pm"
Tuesday, September 30 at 5:30pm - Saturday, October 11 at 5:00pm
First Site - RMIT Union Gallery, Storey Hall Basement
This just in, my inbox [from Photospace in Collingwood]
The spring exhibition program at PhotoSpace starts with an exhibition in September titled "In a Moment".
This is an open entry exhibition of original work by artists who enjoy the unexpected quality and playfulness of instant film such as Polaroid or Fujifilm. If you would like to be involved in this exhibition please email the gallery asap.
Also during September Lynette Zeeng will be running a workshop at Gold Street studios in Polaroid transfer. For more information please visit www.goldstreetstudios.com.au or ring Ellie Young on (03) 5424-1835
'In a Moment' runs from 3 to 20 September 2008.Viewing hours: Wed to Sat 12 to 5pm, Sun to Tue by appointment
34 Dight Street, Collingwood
PO Box 1612, Collingwood VIC 3066
Contact details: Veronica Hodgkinson
T: (03) 9415-6139
As a consequence, I've revisited roid rage from a couple of years ago, and now am in the process of editing the set down to 4, currently, I'm at 9, pretty surprised I managed to get it to that so quickly really.
"The social role of sport is to provide an outlet for intelligent people to behave like brainless people"
... Nothing is achieved outside the game; noone is wiser or can add a benefit to the world beyond the fury of the struggle.*
Here here, Robert Nelson.
Thursday's Age has a review of an exhibition, the Basil Sellers Art prize, where Robert Nelson eloquently describes the function of sport in Western Culture. I'm still trying to find and online reference that I can link to. But he very eloquently describes the middle classes fascination with gladiatorial contests.
I dream of the day when art and sport get equal footing in our media.*Robert Nelson, page 16 the Age 13.08.2008
A review of a show of work by Hiller & Becher at MOMA, this is a rarely seen pictorial landscape that gives some context to the whole body of work, that unexpectedly ceased recently, with the death of Becher
[From Industrial-Strength Art]
These two photographers are secondly only to robert adams in my Photography Book collection.
I read about this Friday morning, in The Age's odd spot.
Nice to see flickr acting as a kind of visual reporter.
Today's quote comes from the New York Times
“If you can’t have the perfect family,” she added, “at least you can Photoshop it.”
This quote, is almost as good:-
It’s a Western sense of reality that what is in front of the lens has to be true
Micheal David Murphy, over at 2point8, recently postulated that, infinitely reproducible prints, ie digital prints have lowered the value of photography and prints in general and completely defeats the purpose of creating limited & numbered 'editions'. He equates ease of use, as a driving force for many photographers who decide to print.
While I agree that, choosing a medium based on it's ease of use is wrong, I disagree that making prints is the 'be all and end' all of photography. I also disagree that making a colour print in a darkroom is somehow inherently better than making a print on a screen.
Before I proceed, let me make myself clear, I have made prints in a wet darkroom context now for more years than I ever dreamed possible, the 'look' of a well made print, is a sight to behold. The number of those prints I've seen is a percentage of a fraction of the total I've looked at. [Ira Glass' vlog that I blogged a few days ago is a perfect explanation as to why.]
Notice I said, making a print on a screen. What this means is that I will give an image as much time and effort on a screen in a post production tool like photoshop, [but usually Live Picture], as I would in a wet darkroom. Using the same ideas on a global but in particular local scale, as I would in ANY darkroom. And given that these digital tools allow me a greater degree of control, than I could ever imagine in a colour wet darkroom context, I prefer that approach now, [mainly for colour or large scale work, mind you].
Let me give you an example. Masks in Photoshop and many editing tools are often easily made, they require you to know where to push a button or two and they add a great deal of flexibility, sophistication and control to the image manipulation process. The analogue equivalent requires that you be able to make a registration mask using either engineering or chemical means. I have not the skills nor the tools to do this, and in fact few do. All this to make a 'beautiful' 8 x 10 print. Forget much bigger; the bigger the print the more amplified your errors become. Good quality large prints are made possible for most people by digital*.
So BIG prints are made possible by digital tools, but I still need a high level of understanding & control over the process, to produce the results I desire, and my own understanding of the shortfalls of digital. Colour management is the big issue for most photographers, even if they deal with labs, or print at home. Matching your vision, to your screen, to the labs screen or your home printer, adds a level of complexity to the process that few people have the inclination and temerity to deal with. Let alone even know exists, or can see, or feel is important to 'the process'.
But really what I think that Michael is missing, is the ways that screen based work can be used to add another layer of complexity and context to the way an image is viewed.
A series of prints on the wall, or in a book, can only be read in a certain order. Text can be added of course to add some meaning or context to the image, or even distort the image, but it's all still pretty linear.
When I first started on flickr all those years ago, the idea of this extension of linearity was a deciding factor in me throwing myself into the process. I could add context to an image by simply putting it in 2, [or more] sets, or multiple groups. What I find the most interesting idea about a photograph when exhibited or in a book, is the connections between each image and the way that can be used to tell a story or evoke a respones. Images used this way become more like a performance than a 'picture'. These days anyone can make a good picture, given time and little and a handful of technical skills, but to apply that over an extended period of time, to produce a body of work that says something, now that's not so easy, but not impossible either. Ultimately though, I have NO CONTROL how the viewer sees or finds the image, but that, to my mind just adds to the charm of it all. It is one of the driving factors behind my mophone blog, and, my neo-documentary set. Digital, also, allows me to 'publish' books of my work. None of this would be feasible without digital, playing some part in the process.
*More people can make 20 inch prints now than ever before, are they good prints though, well that's a whole other kettle of fish.
A few days ago I posted a mention about an exhibition review in 'The Age', it seems the author, Robert Nelson found my article and sent me it, in it's entirety. So with much fanfare, here is the article.
‘Basil Sellers Art Prize’, Ian Potter Museum, University of Melbourne, Parkville, until 26 October
The social role of sport is to provide an outlet for intelligent people to behave like brainless people. Everyone knows that there’s no intrinsic point in shifting a leather ball from one post to another, no matter how energetic or invested the contest. Nothing is achieved outside the game; no one is wiser or can add a benefit to the world beyond the fury of the struggle.
Intelligent people also recognize the costs of sport, severe and permanent injuries, which burden our hospitals every weekend. But sport is a sanctioned release from responsible thinking, and all these scruples are put aside. The whole point of sport is to insulate you from things that matter.
The habit of getting excited and screaming for no good reason creates a momentary dome of ignorance; it’s a hallowed asylum of folly, a carnevalesque institution of mania against the onus of wisdom. Important and urgent questions should be discussed, like global warming; but the clamorous distraction of sport assures even the brainiest people that they too can enjoy the mind of an idiot.
I was therefore skeptical of the ‘Basil Sellers Art Prize’. Why conceive a lucrative prize around sport? Sport is the antithesis of art, because art is all about a purpose beyond the work.
Art engenders speculation, a portal to new insights and imaginative growth. Like music, science and philosophy, art promotes an intoxicating wonder for where the mind can reach. Sport offers no similar transcendence, because it lacks any admirable purpose beyond its own arbitrary exertions.
Once inside the show, however, I had to admit that some of the works are brilliant. The masterpiece is ‘Bicycles’ by James Angus, which should have won the prize. The sculpture is a track-bike that merges three separate frames, with three tyres, train-drives, handlebars, pedals and spokes. The machine is throbbing with a sense of immanence, as if growing through speed. As its form is replicated, the bike is caught in its own vibrations, as if each shudder and thrust in a stressful ride causes the bike to reproduce itself, to project more versions of itself as tremors of staggering zeal.
The craftsmanship of this sculpture matches the concept. I hope that the artist can gain one of Elvis Richardson’s trophies, which amount to a gaudy army, like a field of slayers, such as little boys might play with. So many wins! The copious ripper victories, represented by a horde of trinkets, makes you reflect on the utter futility of winning, unless you get financial reward (in which case you could do something valuable with the prize money).
Elsewhere, Richardson’s trophies reveal their own entropy, as her noble cups are rotting away, just as they deserve. It’s the neglect to which all sporting victories are destined, because they’re essentially trivial and ultimately give history nothing to remember.
Kate Daw & Stewart Russell celebrate a marvellous moment from the Olympics in 1968 when Peter Norman rose to the podium, performing a black power salute with a black athlete. You feel that Norman really earned the beautiful monument that Daw & Russell create for him. Tellingly, Norman’s brave political action completely displaces any memorableness of his athletic achievement.
Some of the works are cheeky, such as Scott Redford’s hilarious video, which shows men spraying the word ‘dead’ onto surfboards only to cut them up. On another monitor, two young women in bikinis come into a luxurious apartment to perform this morbid office. Laying the boards between the floor and foot of the bed, the beach-babes clumsily hack the wobbling boards with a saw, which sticks and jambs the further they get into it. The bodies of the women convulse erratically in this sacrilegious castration of surfing prowess.
I felt that the winner, Daniel Crooks’ video, ‘Static no. 11 (man running)’, maybe deserved eleventh place. It shows a man on a running machine in a gym. But something odd happens. The integrity of the filmed image is stretched across a vertical gulf, which yields a slippery fill of reciprocal flows, as in an irregular mirror. The director of the Potter, Chris McCauliffe, gives a clever analysis of the work, “like an eerie photo-finish caught up in a time warp”.
It made me reflect that maybe this “abstract ballet” deserves to win after all, because it’s the closest to sport and the furthest from art: it doesn’t reveal a purpose beyond its own tricks, an electronic banality striving for hermetic excellence.
robert.nelson @ artdes. monash. edu. au
Interesting to see/hear this guy muse over hardware.
[From NOTIFBUTWHEN #2: Tech Time]
Must get back into the habit of watching rocketboom.
This page contains all entries posted to musings from the photographic memepool [the shallow end] in August 2008. They are listed from oldest to newest.
July 2008 is the previous archive.
September 2008 is the next archive.