Results tagged “photography”

A quote

"Man is the actual medium of expression not the tool he elects to use as a means. Results alone should be appraised; the way in which these are achieved is of importance only to the maker. To the extent that the completed work realizes depth of understanding, uniqueness of viewpoint and vitality of presentation, will the spectator respond and participate in the original experience. This premise, restricting too personal and therefore prejudiced interpretation, leads to revolution---the fusion of an inner and outer reality derived from the wholeness of life sublimating things seen into things known."

From "A Contemporary Means to Creative Expression, by Edward Weston,"
The Art of Edward Weston (1932, p.7)

Taken from; the Frederick Sommer Website

A short Video about Garry Winnogrand

His style and approach has been a major influence on my work and methods.

Arcane Imagery

I guess I'm not the only one who has an interest in arcane imagery such as this one post of on this is not cod by Annene

Check List

Frederick Sommer often used found articles and books in his work, and they are as intriguing and beautiful as any art object could hope to be. Perhaps while in Ballarat this weekend, I'll find something worth buying and using in an appropriation ideas, who knows?

New Flickr Feature

Flickr has introduced a new feature, allowing each person to take another's work and "curate' it into a cyber-show all on it's own. The implications are far reaching, I for one am excited, _barb_ has an example of a great series of street photography.

Exhibitions, I'd wish I could have seen

Eastman House is not only re-running the New Topographics: Photographs of a Man-altered Landscape, from 1975; but this exhibition, entitled, Nature as Artifice: New Dutch Landscape in Photography and Video Art

The description “Dutch landscape” may evoke an idyllic vision reminiscent of Dutch landscape paintings, but today the Netherlands is known for its planned, manipulated landscape. In the last two decades a number of Dutch photographers and filmmakers have taken contemporary Dutch landscape and nature as their point of departure. George Eastman House presents a major survey of this new work, titled Nature as Artifice: New Dutch Landscape in Photography and Video Art, on view June 13 through Aug. 16. It is a companion show to the Eastman House summer exhibition New Topographics, originally mounted in 1975, illustrating the profound influence of that exhibition on the generations that have followed.

The tyranny of distance lingers.

News, that's not really news

I follow Photojojo on twitter, they claim something, I've been suspecting all along, the most commonly used camera on flickr, is no longer a DSLR. No surprises for me, but what strikes me as the most intriguing is,

"Now that many of our phones have cameras that take photos that really are good enough for most situations, and our capacity to take photos (without worry for film cost or memory space) is nearly limitless, expect our usage of photography to continue to shift in this direction — from dedicated cameras to always-present devices. From special occasions, to everyday documentation."

Can digital photography be made art?

We have reached a certain point here in the history of western art, where history seems to be somewhat insignificant, or perhaps less significant. My training in the arts, had a heavy emphasis on what had gone before it [In all the arts]. The path was/is to an extent linear, but not in a mathematical/chronological sense. The great/new artists of the past, tried/explored/created something that had not been seen/heard before; more importantly though 'borrowing' and sometimes even outright theft was not uncommon, that, 'theft' was then re-invented.

Now we are so far down this slightly linear path albeit curved, twisted, and modulating, path that Modernist Art History is hardly taught at art school.

We can give beginners directions about how to use a compass, we can tell them stories about our exploration of different but possibly analogous geographies, and we can bless them with our caring, but we cannot know the unknown and thus make sure a path to real discovery"1
It is as if the past prior to the turn of the century, the one before the last, matters not a fig.

What then for young people starting out? Who do they emulate, copy ridicule; other post modernists? Any wonder few people feel they understand modern art.

For me, part of this whole history of art, was the materials, concepts, & techniques explored by all artists, often in combination of all three. Not like the idea alone, as Duchamp said:-
"I am interested in ideas, not merely in visual products"2
However; for some myself included, it is difficult to reconcile the quality of brush strokes, in a Caravaggio to the day to day rumblings/ramblings of my own highly digitalised life. Image making in particular using a camera, has become a single point perspective about the moment. Millions worldiwde are participating. With so many 'creators' is anyone a 'consumer', should there be, will there ever be again, does there need to be?

Part of the difficulty in trying to be both an artist and a business person is this: You make a picture because you see something that is beyond price; then you are to turn and assign to your record of it some cash value. If the selling is not necessarily a contradiction of the truth in the picture, it so close to being a contradiction—and the truth is always in shades of grey—that you are worn down by the threat.3

If 'art' is materials, processes, concepts, techniques, how then does digital photography one of the least tactile processes known in the history of art, fit in to this equation? Given that the process of Digital photography is even more removed from the average person's ability to control and manipulate results to match their own emotions and ideas does this make it less of an art-form. Or does it? Photographic prints are still able to be manipulated to match vision and emotion, by more people more easily and more often than in the history of the medium so far. But do people want to, how many stories can be told ultimately? Stories that are expressed iin a unique way; exploiting medium's unique characteristics?

For me Digital photography, is the most cerebral it has ever been. It far more removed from the tactile wet process than many imagine, music too has always been non-tactile, in the sense of appreciating it and responding to it. Therefore being non-tactile like, music, does this make digital photography more art like, only with it's own rules in terms of speed.

In my own mind, I keep coming back to speed; digital almost instant, comparatively speaking. For many it is the 'act' of making an image that is paramount, eg barb, and pw-pix. Caravaggio had no say in the idea of speed, each brush stroke was deliberate and carefully considered.

For digital photography to real art, modern art, it needs to be freed from the constraints of it's birth and development in the last century, it needs to embrace the speed and connectivity that the internet allows, the culture jamming that is being conducted out there as well as loose any connection to the idea that it alludes to truth, or evidence.4

References

  1. Roberts Adams, 'Why People Photograph' ISBN 0-89381-597-7, pg 39,
  2. thinkexist.com
  3. Roberts Adams, 'Why People Photograph' ISBN 0-89381-597-7, pg 43
  4. For a more detailed and complex exploration of this idea, see Fred Ritchin's 'After Photography' ISBN 978-0-393-050240

Organising My Archives

archive lablels

Getting organised for the collection of Broadcast Media, using my eyeTV, and g5, I decided my archived CDs needed re-organising, it turns out I've been using a digital camera of some shape or form since 1999, 10 years folks, 10 years! I've been scanning longer of course, but as negatives, they need not be archived via CD. If you count 1998 as my start year in serious photography, this means over half of my time making images have been spent using a digital camera!

Of course 1/2 way though 2008, I got my 'DET leased' laptop that actually has a DVD burner, so that'll slow things down.

Not sure where external drives are going to fit into the equation, nor 'the cloud'.

This just in in my inbox.

PolaPremium is more than delighted and proud to announce the opening of the very first pure PolaPemium Shop in Berlin. This is our first step into the challenge of presenting our beloved analogue products not only online at PolaPremium.com, but offline as well. On our continuing mission to celebrate the magic of instant photography, we take our first baby-steps to develop and build a worldwide network of selected authorised PolaPremium partners. The new shop in Berlin is the shining starting point of our offline adventures and based on the experiences we collected and will collect there, we will soon start to search for more retailers and partners all over the world. So please stay tuned.

Things are looking up for Polaroid products, eh.

Canon Eos 40D

Currently testing a new camera for work.

Current list of likes at the moment:

  • two, yes 2 types of histogram available, being a 2 mere button presses away
  • fast, AND quiet
  • thumb-wheel at the back of the body for aperture and separate one for shutter at front of camera, can be used to over and under expose in Av & Tv modes
  • simple menu set up
  • weight/feel, this is a real camera.
Current dislikes, not many at the moment
  • focusing/focus lock, I had to read the manual to work out how to use it, not bad, but not good in my opinion.
  • Lens, light and plastic feeling, focus seems too, touchy and fine, crucial at wide aperture.

After using the camera on and off, over the last few weeks, I'm very impressed, it seems simple to use and operate, I guess if I had some spare cash, I'd buy one. When trying to make some teaching aids for a class about exposure I did notice however some differences between [in density] 1.8 and the other apertures I used, but never got to the bottom of it.

Looking Back

Two Years; today:-


pink

One Year today:-


Sunshine Melbourne Victoria Australia 2008:04:13 16:28:19

It's been a while since I did this.

It's no coincidence that I uploaded 2 mophone shots. Looking at my 'organiser' on flickr, I see a few shots, around April 2007, where I remember beginning to think about using a phonecam in a more concentrated and excuse the pun focused way.

But the real reason I did this today I feel, is because I picked one of my books of Robert Adams' essays, and felt inspired to look back and see where I've been and think where I could possibly go.

In the past I have talked at length about why, what and how I do what I do, Mr Adams, sums it up far more succinctly than I ever could.§

*Attention only to perfection, however, invites eventually for urban viewers — which means most of us — a crippling disgust; our world is in most places far from clean. Photographs that suggest an Arcadian landscape are recognisable from the city dweller's perspective as partial visions, and they make us uneasy. We feel defencelessness against what we will encounter on the street. How can trees in a National Park save us from the concrete-and-glass brutalities of a BIG city? The answer is, in simple emotional terms at least, that they cannot; to be reminded of the trees makes city streets seem worse.

*page 104, 'Beauty in Photography Essays in Defence of Traditional Values'

§ The actual place names have been changed/removed, to better contextualise it, both were recognisable as American.

Robert Adams, Hasselblad Award

One of the major influences on my photographic direction has been justly awarded the Hasselblad prize. His influence stems not only from his photography as subject matter, but his writings as well. I have bought and read many of his books over the years, 2 of the most influential are,

Completely unfashionable in today's post modern world, but an ongoing inspiration for me no less.

This is my favorite quote regarding, the job I do to pay the bils.

"We can give beginners directions, about how to use a compass,we can tell them stories about our exploration of different but possibly analogous geographies, and we can bless them with our caring, but we cannot know the unknown and thus make sure the path to real discovery"1

1 Page 39, Why People Photograph.

How quickly we forget... how quickly.

V&A and Photography

The Victoria & ALbert Museum in London has a wonderful photography collection, when I was in London in 2004 I visited the gallery, looks like I need to to return, who says the tyranny of distance doesn't exist?

Walker Evans & Postcards

Another Exhibition at the Met I would like to see.

This exhibition focuses on a collection of 9,000 picture postcards amassed and classified by the American photographer Walker Evans (1903-1975), now part of the Metropolitan's Walker Evans Archive.

The picture postcard represented a powerful strain of indigenous American realism that directly influenced Evans's artistic development. The dynamic installation of hundreds of American postcards drawn from Evans's collection will reveal the symbiotic relationship between Evans's own art and his interest in the style of the postcard.

This is also demonstrated with a selection of about a dozen of his own photographs printed in 1936 on postcard format photographic paper. Accompanied by a publication.

At least there is a slide show.

I like that The Met's Website, offers extensive background material on their artists too, along with a wealth of other information that is relative. Including a historical timeline

Postcards and books I've always found interesting, there's something delightful about an image designed to sit on your fridge, or just dash off a quick note to friends elsewhere.

OBSCURA GALLERY

Soon to show Sony 2008 Photography Awards. Opening night, 14th of April, 7:30 -9:30pm, runs for 2 weeks

[From Obscura Gallery]

My apologies, as this is a flash driven site I can only link to the front page. Once there, click on either the right hand panel or the exhibitions link.

Thanks to "sergemarx" on twitter for the heads up.

CCP Online

The CCP has joined the 21st Century, and now publishes it's quarterly online. Complete with blogging, feedback and track backs.

They even have RSS links, and an option to subscribe via e-mail, another reason to open my RSS reader more often.

Well done CCP.

Helen Levit Dies Aged 95

Missed this in my news reader last month,, Helen Levit has died age 95, here is the obituary in the NY Times

Visualistion, Art , Photography


The Key to a Photograph from Ansel Adams from SilberStudios.Tv on Vimeo.

My favourite part is where Ansel Adams, says, and i paraphrase, " once you have done your homework, practiced and have enough craft, you can MAKE the image."

Worldwide Pinhole Photography Day

Not really news, but hey.

[From Worldwide Pinhole Photography Day - home]

Maybe this year I'll see if my students want to get involved?

I sometimes wonder, how much digital photography has played a part in the resurgence of these techniques and ideas?

Toshihiro Oshima & Velco Dojcinovski present:
CONVERSATIONS - a three part series of photographic dialogue.

Part 1: The Absinthe Dream (Melbourne, Australia)

CONVERSATIONS is a three-part series of a photographic visual dialogue between photographers Toshihiro Oshima and Velco Dojcinovski. The complete series of visual dialogue will be progressively shown in 3 different cities around the world over 3 years, each highlighting a different photographic story. Overlayed with a bonding and comforting mood the photographs of the series glimpse into the similarities and differences of the cultures and styles of both photographers, aiming to weave a visual symphony of moods and tales

.

Part 1: The Absinthe Dream is the opening chapter of the series and follows the green dreams of a woman at the end of a long city night. The photographs depict her disturbed and abstract glimpses of memory and subconsciousness, the city she lives in and the people she's been with, breaking away into a bright daydream. Photographed in Melbourne, Tokyo and throughout Asia and Europe in 2008 and 2009, the photographers exclusively used traditional and analogue equipment and a wide range of mediums.

CONVERSATIONS Part 1: The Absinthe Dream will be showing at
McCulloch Gallery, 8 Rankins Lane Melbourne,
Friday March 13th - Sunday March 22nd

More information? http://www.conversations-project.com

Velco, is one of the Melbourne Flickrati, and a contact of mine. I will visit the show, and possibly report back.

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