The slow individualization of re-inhabited Circle Ks caused by years of choices and actions caught my attention. These buildings do not show a linear progression of the corporatization and homogenization of suburbia, but rather serve as evidence of a more circular system — a system driven by a delicate negation between same and different, between complicated sets of actions and choices that shape our built environment.
As I take a second look at these neighborhoods, I’ve found vast differences in what was once a uniform typology. Over the past 50 years these Houses have transformed from modest white cubes into a vibrant display of personality and present a rebellion against conformity.
Update: The audio clip used in that commercial might not be Whitman after all. From the inbox:
The Walt Whitman recording that is being used by the Levi’s commercial that you posted on the 28th is actually not Whitman, and is now considered by most audio archivists to be a hoax.
More information about this most interesting recording can be found in Vol. X, No. 3 of Allen Koenigsberg’s Antique Phonograph Monthly magazine from 1992, pages 9-11.
Among things pointed out, one is that the speech on the soundtrack ends with the quote, “Freedom Law and Love,” whereas the original printed version of the poem ends with “Chair’d in the adamant of Time.”
Koenigsberg also points out that Whitman’s last years were chronicled on a daily basis by his personal secretary, and being wheelchair-bound, such a visit for Whitman would have been difficult, unprecedented, and undoubtedly noted.
In his newest multipart essay for the NY Times, Errol Morris examines evidence of photo manipulations by the photographers of the Farm Security Administration during the Great Depression, including Walker Evans, Arthur Rothstein, and Dorothea Lange. Were they dispassionate observers of American life in the 1930s or employees after a certain type of story?
If one can imagine the political animosity that would have been generated if, as part of the current stimulus package, President Obama introduced a national documentary photography program, then it is possible to understand the opposition that the F.S.A. faced. Fiscal conservatives did not want to see their hard-earned tax dollars spent on relief, let alone a government photography program, of all things.
Vivian Maier was a street photographer from the 1950s-70s in Chicago whose extensive body of work (40,000 negatives) was recently discovered at an auction. This blog is presenting that work to the public for (I think) the first time.
The other X factor in recognition is a curatorial champion. Bellocq had Friedlander. Atget had Abbot. Disfarmer had Miller. Without their discoverers, these photographers might still be anonymous. For Maier it’s been John Maloof. An interesting mental experiment is to wonder what would’ve happened had Maier posted her own photos on a blog while still alive. Would they have the same impact? Or would they just be another series of old images from some self-promoting has-been?
Used to be, back in my day, that new Popes were elected by a conclave of cardinals holed up in the Sistine Chapel burning unsuccessful ballots with a chemical compound that produces black smoke until a two-thirds majority is achieved, at which point the ballots are pierced with a needle and thread and burned, producing white smoke that the assembled masses take as a sign that the cardinals have chosen, and the Pope-elect is asked if he wants to be the Pope and, if so, what his Pope-name will be and then he chooses his papal garments from a selection of small, medium, and large — *not* tall, grande, and venti as you might expect, that being Italy and all — dons a ring, and is announced to the crowd in St. Peter’s Square.
Wow. With PhotoSketch, you just draw a sketch, label each item, like so:
and then the system goes out, finds photos that match the sketched items and their labels, and automatically pastes it all together into one composite image:
Update: I’ve seen many references to Photosketch saying that it has to be fake (here’s a sampling). But it’s pretty obviously real. For one thing, here’s the source code; try it out (Windows only). It was presented at SIGGRAPH Asia 2009; here’s the listing of papers presented. The authors all have web pages on university sites and have published work using similar techniques and technology (Ping Tan and Ariel Shamir for example). And is what it does really that unbelievable? At the most basic level Photosketch is just find me a man that’s sorta shaped like this, a dog that looks like this, and paste them together with a background that looks like this. That the results are so impressive (especially for a demo) is a testament to the team’s execution and attention to the small details. Even if it turns out to be an elaborate hoax, I have no doubt that someone could actually build a working version of Photosketch…I mean, look at TinEye and Photosynth.
Outside magazine recently asked a handful of nature photographers to discuss the most difficult shots they ever captured. Philipp Engelhorn selected a photograph taken on the frozen tundra of China:
Winters in northern Xinjiang, China, rival those in Siberia: Forty below zero is normal. We’d gone in the fall to find an eagle hunter and make a handshake deal to follow him. But when we actually showed up two months later, he told us he never expected us to return and had no time for us. So we did the worst thing ever and set out by horse-drawn sleigh across the frozen countryside to find an eagle hunter.
The images that accompany the article are incredible and make most day jobs look like an all-day pancake buffet.
The Hydrozoan species Turritopsis nutricula is capable of cycling from a mature adult stage to an immature polyp stage and back again. This means that there may be no natural limit to its life span.
Who wants to bet that Ray Kurzweil drinks a Turritopsis nutricula smoothie every morning? (via @bobulate)
David Hume Kennerly took a photo of Dick Cheney and his family cooking a meal. Cheney is in the foreground on the right side of the frame, cutting some meat while some other family members chat and bustle in the background. Newsweek used the photo in their magazine, only they cropped out the family and just showed the former VP stabbing a bloody piece of meat with a knife to illustrate a Cheney quote about CIA interrogation methods. Kennerly cried foul.
The meat on the cutting board wasn’t the only thing butchered. In fact, Newsweek chose to crop out two-thirds of the original photograph, which showed Mrs. Cheney, both of their daughters, and one of their grandchildren, who were also in the kitchen, getting ready for a simple family dinner.
However, Newsweek’s objective in running the cropped version was to illustrate its editorial point of view, which could only have been done by shifting the content of the image so that readers just saw what the editors wanted them to see. This radical alteration is photo fakery. Newsweek’s choice to run my picture as a political cartoon not only embarrassed and humiliated me and ridiculed the subject of the picture, but it ultimately denigrated my profession.
This is hardly photo fakery. Crops aren’t lies. Full-frame photos aren’t the truth. Kennerley himself could have easily taken that exact picture in the moment. A spokesman for Newsweek defended the magazine’s action:
Yes, the picture has been cropped, an accepted practice of photographers, editors and designers since the invention of the medium. We cropped the photograph using editorial judgment to show the most interesting part of it. Is it a picture of the former vice president cutting meat? Yes, it is. Has it been altered? No. Did we use the image to make an editorial point — in this case, about the former vice president’s red-blooded, steak-eating, full-throated defense of his views and values? Yes, we did.
Given Cheney’s reputation, the cropped photo of him is not an outlandish or biased depiction of the man…in fact, it’s a pretty good visual metaphor of the former VP. If there’s one thing that both Cheney’s supporters and detractors can agree on, it’s that he’s a “red-blooded, steak-eating, full-throated [defender] of his views and values”.
Update:Jonathan Crowe notes that the gear used to take these photos isn’t cheap.
The winner’s photo of the Horsehead Nebula (mpastro2001 also had a second photo in the top five) used a 12 1/2” Ritchey-Chretien telescope ($21,500) and an SBIG STL11000 camera ($7,195 and up) with an AO-L adaptive optics accessory ($1,795) on a Paramount ME mount ($14,500). Total cost for just the equipment mentioned here: $44,990.
The color photography of Sergei Mikhailovich Prokudin-Gorskii, who plied his trade in Russia in the early 1900s, is making the rounds online again. It’s always worth a look. Prokudin-Gorskii made color photographs using a clever filtering system years before color photography would be widely available. As a result, his work goes on the list of things that seem contemporary but really aren’t.
Will parkour eventually join soccer as one of the world’s most egalitarian sports? You don’t even need a homemade ball to play, just stuff to jump over, through, and off. The whole world’s a course.
Adam Lisagor notices that the iPhone 3GS camera might always be buffering images so that when you press that shutter button, you get the photo that you wanted, not the one delayed by slow software or a slow shutter. Adam’s observation gives me the opportunity to trot out one of my recent favorite informational factoids about the super high-speed cameras used to capture jumping great white sharks:
In order to get the jaw-dropping slow-motion footage of great white sharks jumping out of the ocean, the filmmakers for Planet Earth used a high-speed camera with continuous buffering…that is, the camera only kept a few seconds of video at a time and dumped the rest. When the shark jumped, the cameraman would push a button to save the buffer.
Initially, I was attracted to the noisy amateur aesthetic of the raw images. Street Views evoked an urgency I felt was present in earlier street photography. With its supposedly neutral gaze, the Street View photography had a spontaneous quality unspoiled by the sensitivities or agendas of a human photographer. It was tempting to see the images as a neutral and privileged representation of reality — as though the Street Views, wrenched from any social context other than geospatial contiguity, were able to perform true docu-photography, capturing fragments of reality stripped of all cultural intentions.
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