kottke.org posts about photography
Born into wealth, Jacques Henri Lartigue got his first camera at age seven and began documenting the world around him: his friends and family at play in the world. His work presaged the “prolonged adolescence” of the “leisure class” readily on display on Instagram these days.
Taking pictures gave Lartigue a hobby and a purpose. His immediate surroundings and leisure class milieu provided the subject matter and Lartigue, a native user, wielded his camera with technical mastery almost from the beginning. He also brought a child’s whimsy to photography’s staid practice of posing and composing. Lartigue had a low vantage, a wandering eye, and a loose frame that was far ahead of his time. He also had the resources and time to experiment. Lartigue continued photographing prolifically into his teens and early adulthood, finding muses in his wives and mistresses and the diversions of prolonged adolescence.
Lartigue’s photography was an influence on director Wes Anderson, particularly in Rushmore and The Life Aquatic. If you can’t see Rushmore’s Max Fischer in the top photo of the homemade go-kart, you certainly can in this one:
And the kid in the tire boat in the other photo? That is Lartigue’s older brother, Maurice. Everyone called him Zissou. (Curiously, none of this is in The Wes Anderson Collection. Come on! The photo of Zissou’s mentor Lord Mandrake in The Life Aquatic? That’s a self portrait of Jacques Henri Lartigue!)
Errol Morris’ documentary about portrait photographer Elsa Dorfman is coming out in early June and the first trailer was just released.
Errol Morris’s surprising new film is simplicity itself: a visit to the Cambridge, Massachusetts studio of his friend, the 20x24 Polaroid portrait photographer Elsa Dorfman, who specifies on her website that she likes her subjects “to wear clothes (and to bring toys, skis, books, tennis racquets, musical instruments, and particularly pets…).” As this charming, articulate, and calmly uncompromising woman takes us through her fifty-plus years of remarkable but fragile images of paying customers, commissioned subjects, family, and close friends (including the poet Allen Ginsberg), the sense of time passing grows more and more acute.
Matt Haughey comes not to bury Flickr, but to praise it.
Flickr represents one of the very best of things in the history of the internet. It was the first popular way to share photos in a social way instead of photos lingering in private accounts online and in the real world in shoeboxes under beds. It brought millions together and helped kick off first the digital SLR revolution, then it was eclipsed by the mobile photography revolution. Flickr—despite being a big corporate entity—embraced open licensing and took on the ambitious goal of being a mirror and gallery for oodles of museums around the globe.
Those values that drove Flickr during its influential peak can be seen in its Explore page, which still knocks your socks off. Matt calls it “an entire year’s worth of epic shots from National Geographic, generated each day, automatically by algorithms.”
Lots of wondrous shots from places I’ve never heard of. Lots of “how’d they even get that shot?!” photos of animals… Instagram has an explore tab but it’s popular music and tv stars and their dogs or it’s brand advertising-driven shots cooked up to sell something. There’s something so completely boring about Instagram’s explore page that makes me ignore it and go back to my friend feeds, whereas Flickr is the opposite: my friend feed is largely silent, but the best of the best page is truly awe-inspiring and at least one photo each day is going to take my breath away.
It is bizarre to think now that Flickr was only active for about a year before it was acquired by Yahoo. For those of us who were on the site then, that year felt like everything.
Jason’s first post that mentions Flickr is from March 2004. He wonders whether Flickr could be used as a universal login (much like Facebook, Twitter, and Google accounts are today). Annotation quickly followed. Then calendar view. RSS feed splicing. Organizr. A public API. The interestingness algorithm. Prints. It was step-by-step, bit-by-bit, but every new feature was a milestone. It excited people, and got them thinking and working on what was next.
Jason even has a remarkable post from August 2004 where he imagines an entire web-based operating system linking different services together:
To put this another way, a distributed data storage system would take the place of a local storage system. And not just data storage, but data processing/filtering/formatting. Taking the weblog example to the extreme, you could use TypePad to write a weblog entry; Flickr to store your photos; store some mp3s (for an mp3 blog) on your ISP-hosted shell account; your events calendar on Upcoming; use iCal to update your personal calendar (which is then stored on your .Mac account); use GMail for email; use TypeKey or Flickr’s authentication system to handle identity; outsource your storage/backups to Google or Akamai; you let Feedburner “listen” for new content from all those sources, transform/aggregate/filter it all, and publish it to your Web space; and you manage all this on the Web at each individual Web site or with a Watson-ish desktop client.
Think of it like Unix…small pieces loosely joined.
That last part didn’t come true; the pieces didn’t join so much as fuse together into something new. The companies listed either took over the world, faded into relative obscurity, or stopped existing (at least for a little while). And then there’s Flickr — which didn’t do any of those things, but changed how we use the web forever.
I usually say that platforms stop being vital, even if they continue to have lots of users, when the platforms stop getting better. It’s a tricky thing: sometimes a ham-handed “improvement” can actually ruin a lot of what made a platform special. Flickr was extraordinarily vital, for years. It still has so much to offer. Sometimes there’s something reassuring about a tool that’s still much the same.
Photo by Tom Hall, via Flickr. Used under a CC-BY license.
For a project called Aleutian Dreams, photographer and fisher Corey Arnold has documented the lives and landscapes of the fishing industry in Alaska’s Aleutian Islands.
Fifteen years ago, I wrote a job-wanted sign and hung it outside of a bathroom near Seattle’s Fisherman’s Terminal. It read: “Experienced deckhand looking for work on a commercial crab or halibut fishing boat in Alaska — hard worker — does not get seasick” I was 24 years old, energetic and ambitious, with a few years of salmon fishing experience but naive to the world of high seas fish-work. After a few shifty respondents, I was hired by a seasoned Norwegian fisherman and flew on a small prop plane past the icy volcanos and windswept passes of Alaska’s Aleutian Islands, eventually slamming down onto the short runway in Dutch Harbor. The experience would forever change the direction of my life and shape my identity as both a fisherman and photographer. Isolated from the mainland by some of the world’s roughest waters, Dutch Harbor is a thriving, working-class commercial fishing port surrounded by steep mountains and lonely windswept valleys. It’s a place where industry and nature collide in strange and beautiful ways, a place where people harvest seafood on a massive scale, and share their meals and their refuse with local wildlife — from rapacious bald eagles to curious foxes.
(via the guardian)
The X27 camera takes videos in darkness that looks like they were shot in the daytime. And they’re in color…none of this black and white, thermal, or infrared stuff. The camera was developed for military use, has an effective ISO rating of 5,000,000, and has a comically long name: “X27 Reconnaissance Day/Night high Fidelity true real time low light/low lux color night vision Imaging Security / Multi Purpose camera system”. Pricing information is not available, but I bet you’re paying for every single one of those words. (via digg)
That’s Linda the Llama, photographed by Inge Morath for Life magazine. I have seen this photo many times in various contexts, but until today, I’d never really stopped to ask who photographed it or how a llama came to be riding through Times Square in a car. Perhaps it’s the context of the location, but it looks almost like something a tourist would have snapped…until further inspection reveals the perfect composition of a great photographer at work.
The caption read the llama was enroute to make a television appearance, but Morath recalled differently in her notes: “Linda, the Lama [sic] rides home via Broadway. She is just coming home from a television show in New York’s A.B.C. studios and now takes a relaxed and long-necked look at the lights of one of the world’s most famous streets.” Her contact sheets showed that Morath was already photographing the llama inside the studio, and the Inge Morath Foundation suggests the photographer might have acquainted herself with the llama and the trainer at least a year ahead of their photo-session.
Morath was a member of Magnum Photos, joining the collective a few years after its inception. She initially joined as an editor and researcher but after taking up photography herself and assisting Henri Cartier-Bresson, she became a full member as a photographer in 1955.
I think that in studying [Cartier-Bresson’s] way of photographing I learned how to photograph myself, before I ever took a camera into my hand. […] It was instantly clear to me that from now on I would be a photographer. As I continued to photograph I became quite joyous. I knew that I could express the things I wanted to say by giving them form through my eyes.
I love this story about Morath from her Wikipedia profile (originally from a piece in Time):
In 1959, while photographing the making of The Unforgiven, starring Audrey Hepburn, Burt Lancaster, and Audie Murphy, Morath accompanied Huston and his friends duck hunting on a mountain lake outside Durango, Mexico. Photographing the excursion, Morath saw through her telephoto lens that Murphy and his companion had capsized their boat 350 feet from shore. She could see that Murphy, stunned, was nearly drowning. A skilled swimmer, Morath stripped to her underwear and hauled the two men ashore by her bra strap while the hunt continued uninterrupted.
A poster of A Llama in Times Square is available for sale on Magnum’s website.
Rolf Olsen recently took this amazing photo of the Orion Nebula using a home-built telescope.
The Orion Nebula is one of the most studied objects in the sky and also has a significant place in the history of astrophotography. In 1880 it was the first ever nebula to be photographed; Henry Draper used the newly invented dry plate process to acquire a 51-minute exposure of the nebula with an 11 inch telescope. Subsequently, in 1883, amateur astronomer Andrew Ainslie Common recorded several exposures up to 60 minutes long with a much larger 36-inch telescope, and showed for the first time that photography could reveal stars and details fainter than those visible to the human eye.
Thanks to Phil Plait for the link…he’s got much more to say about the image and the nebula here.
Also called M42 (the 42nd object in a catalog kept by comet hunter Charles Messier in the late 18th century), it is a sprawling star factory, a gas cloud where stars are born. It’s a couple of dozen light-years across, and sits well over a thousand light-years from Earth. That’s 10,000 trillion kilometers, and you can see it with your naked eye! It’s so bright because of a handful of extremely massive hot stars sit in its center. They blast out ultraviolet light that energizes the gas in the nebula, causing it to glow.
It’s actually a small section of a much larger dark cloud, what’s called a molecular cloud, that we cannot see directly. Stars were born near the edge of that cloud, not too deeply inside it, and when they switched on their fierce light and stellar winds blew a hole in the cloud, popping it like a bubble. The Orion Nebula is a cavity in the side of that cloud, carved by the newborn stars.
Tabitha Soren, who you may remember as a reporter for MTV News, has for the past number of years been working as a photographer. One of her projects began more than 13 years ago as she accompanied her husband Michael Lewis on his visits to the Oakland A’s while working on Moneyball. After the book was published, Soren kept returning to photograph the up-and-coming players Lewis had profiled, following their careers as they either made it in the big leagues or didn’t.
Since then, she has followed the players through their baseball lives, an alternate reality of long bus rides, on-field injuries, friendships and marriages entered and exited, constant motion, and very hard work, often for very little return. Some of the subjects, like Nick Swisher and Joe Blanton, have gone on to become well-known, respected players at the highest level of the game. Some left baseball to pursue other lines of work, such as selling insurance and coal mining. Others have struggled with poverty and even homelessness.
The culmination of the project was a gallery show called Fantasy Life, which is now being released as a book.
Back in the days before the US bankrupted the Soviet Union with the space race and the nuclear arms race, the Soviets spent lavishly on some public works…like these amazing metro stations built in the Stalin era. Photographer David Burdeny got special middle-of-the-night access to these stations in Moscow and St. Petersburg and came away with these great photographs. Could you imagine an NYC subway station with chandeliers? Or even moderately clean walls? (via petapixel)
Using real images of Mars taken by the HiRISE camera on the Mars Reconnaissance Orbiter, Jan Fröjdman created a 3D-rendered flyover of several areas of the planet’s surface.
In this film I have chosen some locations and processed the images into panning video clips. There is a feeling that you are flying above Mars looking down watching interesting locations on the planet. And there are really great places on Mars! I would love to see images taken by a landscape photographer on Mars, especially from the polar regions. But I’m afraid I won’t see that kind of images during my lifetime.
It has really been time-consuming making these panning clips. In my 3D-process I have manually hand-picked reference points on the anaglyph image pairs. For this film I have chosen more than 33.000 reference points! It took me 3 months of calendar time working with the project every now and then.
Watch this in the highest def you can muster…gorgeous.
Aydın Büyüktaş has continued his Flatland project with more of these photographic panoramas folded over on themselves. Looks like he’s gotten better at picking good subjects and stitching these together…love these. (via colossal)
Photographers from more than 60 countries submitted almost 230,000 entries for the World Photography Organization’s 2017 Sony World Photography Awards and they recently announced the top 10 (as well as the commended top 50) photographers in several different categories. Some fantastic work in here.
From top to bottom, a school of fish by Christian Vizl, the Shaolin Wushu school of martial arts by Luo Pin Xi, and a landscape by Tom Jacobi. (via in focus)
The Wellcome Image Awards 2017 recognize the best images related to healthcare and biomedical science taken during the past year.
The Wellcome Image Awards are Wellcome’s most eye-catching celebration of science, medicine and life. Now in their 20th year, the Awards recognise the creators of informative, striking and technically excellent images that communicate significant aspects of healthcare and biomedical science. Those featured are selected from all of the new images acquired by Wellcome Images during the preceding year. The judges are experts from medical science and science communication.
From top to bottom, there’s Mark R. Smith’s photo of a baby Hawaiian bobtail squid, neural stem cells growing on a synthetic gel photographed by Collin Edington and Iris Lee, and Scott Echols’ image of a pigeon’s blood vessel network. (via digg)
When you perfectly match a video camera’s frame rate to the rotation of a helicopter’s rotors as it takes off, it looks like it’s magically floating away on the breeze. Here’s an older video of the same effect that I probably posted back in the day. Here’s an explanation of the effect:
Since each frame has to ensure the blade is in the same position as the last it therefore needs to be in sync with the rpm of the rotar blades. Shutter speed then needs to be fast enough to freeze the blade without too much motion blur within each frame.
Here the rotor has five blades, now lets say the rpm of the rotor is 300. That means, per rotation, a blade is in a specific spot on five counts. That gives us an effective rpm of 1500. 1500rpm / 60secs = 25.
Therefore shooting at 25fps will ensure the rotor blades are shot in the same position every frame. Each frame then has to be shot at a fast enough shutter speed to freeze the blade for minimal motion blur.
This is basically the same technique used by John Edmark for his strobe light sculptures.
In the early 1970s, Camilo José Vergara trained his camera on scenes of everyday street life in New York City. His photographs captured kids playing on the street, subway cars before graffiti, sections of the Bronx that look bombed out, and the construction of the World Trade Center in progress.
See also his Tracking Time project, specific locations around the US photographed repeatedly over periods of up to 40 years. Vergara was awarded a MacArthur Genius Grant in 2002 for this work.
In Focus is featuring some of the winning shots from the 2017 Underwater Photographer of the Year awards. The top one is Dancing Octopus taken by Gabriel Barathieu and the bottom one is by Qing Lin, who took the photo near Lembeh, Indonesia, which is home to some of the strangest marine life in the world.
If you look at Lin’s photo of the clownfish for more than a second or two — pay attention…this is the nightmarish side to living on the reef that Pixar kept from you in Finding Nemo — you will notice not just three pairs of eyes but six pairs of eyes. In the mouth of each clownfish is a parasitic isopod looking right at the camera. The isopod enters the fish through the gills, attaches itself to the fish’s tongue, feeds on the blood in the tongue until it falls off, and then attaches itself to the tongue stump. And the fish uses the isopod as a replacement tongue! Cool! And gross!
For his new book, Evolution: A Visual Record, photographer Robert Clark has collected dozens of images that show the varying ways in which plants and animals have adapted to their changing surroundings.
Evidence of evolution is everywhere. Through 200 revelatory images, award-winning photographer Robert Clark makes one of the most important foundations of science clear and exciting to everyone. Evolution: A Visual Record transports readers from the near-mystical (human ancestors) to the historic (the famous ‘finches’ Darwin collected on the Galapagos Islands that spurred his theory); the recently understood (the link between dinosaurs and modern birds) to the simply astonishing.
The photo above is of a southern cassowary, a flightless bird that is particularly dinosaur-esque in stature and appearance.
Philippe Halsman was a renowned portrait photographer who was particularly active in the 40s, 50s, and 60s and most famous for his iconic photos of Salvador Dali and Albert Einstein. For a period in the 1950s, Halsman ended his portrait shoots by asking his famous subjects to jump. The results were disarming.
When you ask a person to jump, his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears.
Halsman got all sorts of people to jump for his camera: Richard Nixon (above), Robert Oppenheimer, Marilyn Monroe (above), Aldous Huxley, Audrey Hepburn (above), Brigitte Bardot, and the Duke & Duchess of Windsor (above). He collected all his jump photos into the recently re-released Philippe Halsman’s Jump Book.
I’ve featured the work of photographer Michael Wolf here before, particularly his series of photos taken in Hong Kong called Architecture of Density, photographs which capture the immense scale of the city’s apartment buildings and the smallness of the apartment they contain. Another of his projects is 100x100, interior photographs of 100 Hong Kong dwellings that measure 100 square feet or less in size. (See also Hong Kong Cage Homes.)
In this pair of videos, Wolf discusses these projects and a couple of other ones I hadn’t seen before.
In Tokyo Compression, Wolf captures the boredom and despair of Japanese train commuters, smushed into cars dampened by the heat of humanity. For Back Door, he ventured into the alleys of Hong Kong and witnessed people using the infrastructure of the city for storing, sorting, and drying all sorts of things, from after-work clothes to mops to lettuce. (via craig mod)
From Timeline, a collection of photos of video arcades in the 80s.
The years between 1978 and 1983 are generally considered the golden age of video games. Most recognize Space Invaders as the original, arcade game to reach mass audiences, quickly followed by Asteroids (1979), Centipede (1980), and Pac-Man (1980). Space Invaders was such a hit it was rumored that Japan suffered a shortage of ¥100 coins in its wake. But Pac-Man was the real game changer. Stateside, reception of the ground breaking character-driven game was ravenous, and by the end of the 20th century it was estimated that Pac-Man’s total gross consumer revenue had hit $2.5 billion (or 10 billion quarters).
I have an odd nostalgia for video arcades. They were very present in the media when I was a kid, but growing up in a small town, I never had the opportunity to actually visit a proper arcade in their heyday, aside from the one tucked into a corner of roller skating rink in a slightly larger nearby town. The best we had was a single Ms. Pac-Man machine in the entrance way of our local grocery store and the occasional Donkey Kong or Mr. Do machine we stumbled across in pizza places when we travelled later in the 80s. I was an arcade-era kid who had to wait for the Nintendo and Game Boy.
Brexit, climate change, Trump, Syria, white nationalism, Turkey, racism and police violence, the Flint water crisis, natural disasters, terrorist attacks, drowned migrants. I was tempted to just post a photo of a burning dumpster or the this is fine dog and leave it at that. But professional photographers and the agencies & publications that employ them are essential in bearing witness to the atrocities and injustices and triumphs and breakthroughs of the world and helping us understand what’s happening out there. It’s worth seeking out what they saw this year.
Several sites, publications, and agencies have published lists of the best and most newsworthy photos of the year. Among them are In Focus’ Top 25 News Photos of 2016 as well as their three-part 2016: The Year in Photos (part 1, part 2, part 3), National Geographic’s The 52 Best Photographs of 2016, Time’s Top 100 Photos of the Year 2016, AFP’s Pictures of the Year (part 1, part 2, part 3), 2016: The Year in Photos from CNN, Pictures of the Year 2016 from Reuters, the AP’s Top Photos of 2016, some of the top images from the World Press Photo exhibition, which “highlights the best photojournalism of the year”, The Top Photos of 2016 from Maclean’s, and The Best Weird and Wonderful Photos of 2016 from totallycoolpix.com.
I’ve selected five of my favorite photos from these lists and included them above. From top to bottom, the photographers are Jonathan Bachman, Brent Stirton, Kai Pfaffenbach, Anuar Patjane Floriuk, and Mahmoud Raslan. The top photo, by Bachman, pictures the arrest of Ieshia Evans while protesting the death of Alton Sterling by the Baton Rouge police and is just flat-out amazing. In a piece for The Guardian, Evans wrote:
When the armored officers rushed at me, I had no fear. I wasn’t afraid. I was just wondering: “How do these people sleep at night?” Then they put me in a van and drove me away. Only hours later did someone explain that I was arrested for obstructing a highway.
There’s so much fear in that photo — institutional fear, racial fear, societal fear — but none of it is coming from Evans. Total hero.
Update: Buzzfeed shares The 46 Most Powerful Photos of 2016 and the BBC has the 15 finalists in the 2016 Art of Building architectural photography competition.
Update: The NY Times offers up The Year in Pictures 2016.
Update: From Artsy, The Most Powerful Moments of Photojournalism in 2016.
Update: World Press Photo announced the winners of their 2017 Photo Contest (of photos taken in 2016).
As part of Time magazine’s recent selection of the 100 most influential photos of all time, art historian Christine Roussel talks about the story behind the iconic Lunch Atop a Skyscraper photograph of a group of construction workers on their lunch break. Interestingly, no one knows for sure who the workers were and who actually took the photograph.
For a photo project called Women’s Work, Chris Crisman made portraits of women who have jobs not typically done by women in the US. In an interview at aPhotoEditor, Crisman explained the why he did the project:
I am a father of two — a 4 year old boy and a 2 year old girl. I was raised to believe that I could do whatever I wanted to when I grew up. I want pass down a similar message to my children and without caveats. I want to raise my children knowing that their dreams have no limits and that they have parents supporting them to dive into anything they feel passionate about.
Crisman shot a short film of Sadie Samuels, the Maine lobster fisherman1 pictured in the photograph above.
Over a number of recent summers, well-known portrait photographer Mark Seliger has been documenting the transgender community that gathers on Christopher St in the West Village. Since Seliger’s website is slow and bloated, I’d recommend checking out coverage of the photos on The Advocate, The New Yorker, American Photo, and PDN. I lived on Christopher Street for several years1 and definitely recognize a couple of people in Seliger’s photos.
It was in the Village, on Christopher Street and the nearby piers, where many trans and queer people first shared space with others like them. For generations, these places provided mirrors for those who rarely saw reflections of themselves. On Christopher Street, there were multitudes of potential selves: transgender, transsexual, non-binary, genderqueer, femme, butch, cross-dresser, drag king or queen, and other gender identities and sexual orientations that challenge social norms.
Seliger has collected the photos into a book, On Christopher Street: Transgender Stories and the photos will be on display at 231 Projects in Chelsea until early January.
Time Magazine has selected the 100 most influential photos of all time, from the first permanent photograph taken (in 1826) to the heartbreaking photo of the body of a 3-year-old refugee washed up on a beach from last year. As you might expect, many of the images are tough to view, but history and our good conscience compels us not to look away.
I was pleased to see Josef Koudelka’s photo Invasion of Prague included (it’s the one above with the wristwatch); it’s one of my favorites.
Josef Koudelka, a young Moravian-born engineer who had been taking wistful and gritty photos of Czech life, was in the capital when the soldiers arrived. He took pictures of the swirling turmoil and created a groundbreaking record of the invasion that would change the course of his nation. The most seminal piece includes a man’s arm in the foreground, showing on his wristwatch a moment of the Soviet invasion with a deserted street in the distance. It beautifully encapsulates time, loss and emptiness — and the strangling of a society.
The photos are also available in book form.
Photographer Chris Porsz has been taking candid photos of people on the streets of the English city of Peterborough since the 1970s. Recently, he tracked down a bunch of his subjects — many of them strangers — to recreate photos taken decades before, often in the same location. See also The Up Series, I should think.
You can order a book of the photographs directly from Porsz’s website.
Alan Taylor has compiled a bunch of satellite photography showing how humans have altered the landscape of the American Southwest.
Humans have lived in what we now call the American Southwest for centuries, making a wide impact on the land, much of it visible from aerial and satellite photography. Nuclear detonations, housing subdivisions, oil exploration, hydroelectric facilities, solar power facilities, roads, mines, farms, ranches, cities, and towns have altered much of the land over the years.
The photos, from top to bottom: a road cuts through White Sands, NM, a former nuclear testing site in NV (those are craters left from nuclear explosions), and a housing development south of Denver.
In the wake of the election, Matthew Chavez, who goes by “Levee” and is the instigator of Subway Therapy, encouraged New Yorkers to share their post-election grief on Post-it Notes stuck to the wall of the tunnel between the 6th and 7th Ave subway stations on 14th St. Joe Holmes visited the tunnel and took photos of people interacting with the wall. (All photos above by Joe Holmes.)
The tire tracks in this parking lot make a tree pattern in the snow, a self-producing infographic of the cars’ collective pathway to their parking spaces. It’s fun to trace individual tracks — I’m fascinated by the one that comes in, starts right, turns back to the left, then heads back down before turning toward the left again into a space.
The photo was taken in a Shell Centre parking lot near Waterloo Station in 1963. Photographer unknown. (via @robnitm)
Update: Nicholas Felton shared an annotated single-car version of a car’s tracks in the snow.
Update: A reader randomly picked up a copy of a book recently called The World From Above, “a pretty brilliant collection of aerial photographs, mostly black and white, published in the mid 60’s” and the parking lot photo was in it. No photographer listed, but the photo is credited to dpa, the German Press Agency. (thx, david)
Photographer Helena Price, who you may recall from the Techies project earlier this year, has created a project called The Pussy Project about “women’s perspectives on the significance of this election and its ramifications on society.”. Photos of women are paired with each person’s thoughts on the election. Price explains how the project came about on Medium:
The name is a trigger for all of us. For many it represents the moment in the Trump campaign that incited so many women to finally get angry, get involved and speak out. That shift — the sudden activation of women across America to vocalize their feelings about this election — is what I set out to explore with this project.
Happy to see several women I know and admire interviewed for this…plus Jessica Hische did the logo and Maggie Mason edited the interviews.