kottke.org posts about photography
Marginal Revolution’s Tyler Cowen occasionally asks his readers to suggest topics for him to write about. Stump the polymath, as it were. I posted a suggestion that I’d been wondering about recently:
Is taking a photo or video of an event for later viewing worth it, even if it means more or less missing the event in realtime? What’s better, a lifetime of mediated viewing of my son’s first steps or a one-time in-person viewing?
and he answered it today:
If you take photos you will remember the event more vividly, if only because you have to stop and notice it. The fact that your memories will in part be “false” or constructed is besides the point; they’ll probably be false anyway. In other words, there’s no such thing as the “one-time in-person viewing,” it is all mediated viewing, one way or the other. Daniel Gilbert’s book on memory is the key source here.
I take a lot less photos than I used to — even though cameras are easier to use and carry around than ever — and prefer to experience the moment rather than fiddle with the camera. But that seems to swim against tide these days…camera irises seemingly outnumber real ones at photo-worthy events and places.
A list of 21 ways to shoot better photographs. I can hear my photographer friends snickering about the cliches on the list, but if you don’t know much about photography but are interested in learning, you could do worse than to explore some of these techniques.
Wonderful timelapse photos by Alexey Titarenko of “shadow” people in St. Petersburg just after the collapse of the Soviet Union. This one is stunning. (via heading east)
The Velocouture group on Flickr collects photographs of bicycle fashion fashion, on a bicycle. The best ones are of people who try to coordinate their outfits with their bikes. This gal is particularly fashionable. See also this NY Times slideshow.
James Danziger presents a short history of subway photos, starting with photos of sleeping Japanese salarymen on trains and then moving to Walker Evans, Bruce Davidson, etc. Some of my favorite subway photos are from the Moscow subway…Stalin look-a-likes, huge guitars, and many sleeping people.
Photos of a Masonic handbook from 1920 called King Solomon and His Followers — A Valuable Aid to the Memory. The text is written in shorthand. (via clusterflock)
The Hubble Space Telescope was launched into space 18 years ago and to celebrate, NASA has put up a photo gallery of merging galaxies, galaxies as in love with each other as NASA is with the Hubble. Aww.
To be honest, I was a little disappointed in Standard Operating Procedure…but the fault is my own, not the film’s. My expectation was that the film would start with the photos of Abu Ghraib & misdeeds of the lower ranking soldiers and then move up the chain of command, both militarily and thematically speaking, to explore the issues of truth in photography and culpability. To Morris’ credit, he didn’t do that. It’s too easy these days to attempt arguments about Iraq or the Bush Administration that connect too many dots with too little evidence…essentially propaganda that sings to the choir.
SOP has a surprisingly small depth of field; it’s the story of those infamous photos, the people who took & appeared in them, and what they have to say about the photos & the actions they purport to show. And in that, the movie succeeds. Morris leaves plenty of negative space into which the audience can insert their own questions about what the photographs ultimately depict and who’s responsible in the end.
Incidentally, Morris generated a bit of controversy recently when he admitted that he’d paid some of the interviewees in SOP. The criticism of this practice is that “the credibility of interviewees diminishes when money changes hands and that these people will provide the answers they think are desired rather than the truth”. That is a concern but no more so than every other reason for being untruthful, including not telling the truth out of spite for lack of payment. People have so many better reasons to lie than money.
Tree People, a series of photos of the Korowai of Papua New Guinea.
BLDGBLOG has some photos of luxury hotels that were abandoned mid-building.
With images by Sabine Haubitz and Stefanie Zoche of Haubitz+Zoche, the show looks at “the concrete skeletons of five-star hotel complexes” abandoned on Egypt’s Sinai Peninsula. They are resorts that never quite happened, then, with names like Sultan’s Palace and the Magic Life Imperial. This makes them “monuments to failed investment.”
Tree photography by Stuart Franklin. There’s more photography by Franklin on his site and on Magnum’s site. Franklin took the iconic photo of the man staring down the tanks in Tiananmen Square. (via snarkmarket)
A photograph of the newest possible moon, one that’s only about 15 hours old.
Finding the Moon when its slim crescent is still less than about 24 hours past the New Moon phase requires careful timing and planning, a challenging project even for experienced observers. In this sighting, only about 0.8 percent of the Moon’s disk appears illuminated.
(via airbag)
A photogenic drawing** that was assumed to have been made in the late 1830s may have actually been created 40 years earlier, making it one of the oldest photographic prints in existence.
Like the lost plays of Aeschylus that were written about but did not survive themselves, no known examples of the work of Wedgwood and his circle have ever been found. But Dr. Schaaf, in looking deeper into the leaf image, realized that these legendary lost images had something else in common: their creators were all part of the close social circle of the family of Henry Bright.
“The reason that I got so excited about this was that it was the most solid, indicative collection I’ve seen,” he said. “I’m fully prepared for ‘The Leaf’ to have been made by Henry Bright, or by his father, after the 1790s. But I’ve never seen a story that fits together so neatly.”
** A photogenic drawing is a precursor to the photograph and is created by placing an object on a piece of photosensitive paper and exposing it to light.
The abandoned supply shacks of Antarctic explorers Robert Falcon Scott and Ernest Shackleton are still intact and have been preserved by the cold.
While the preservation of food in the freezing temperatures and dry climate has been noted, bacterial decay still occurs. Besides, the World Monuments Watch describes it as one of the hundred most endangered sites in the world, and New Zealand’s Antarctic Heritage Trust (AHT) has been working in the last years to preserve it from corrosion.
These structures and the supplies contained within are almost 100 years old.
Manufactured Landscapes opens with an eight-minute tracking shot of a gigantic factory in China, the camera moving past row after row of workers assembling widgets until you feel like the factory floor circumnavigates the globe. The point of the shot, as with Edward Burtynsky’s photography, is to encourage the viewer to do some rudimentary mathematics about the scale of industry in the world:
eight minutes to move across one factory + look at all those employees + how many factories like this are there in China? = wow, that’s a lot of widgets
While it’s unfair to say that the movie goes downhill from there, the tracking shot packs such a punch that the rest of the film seemed lacking in comparison. It was the only shot in the film that really felt like the cinematic equivalent of Burtynsky’s photography…a long photograph, if you will.
Extensive series of photographs of a pig being butchered.
The pig is Berkshire, from a small farm in upstate NY. It was slaughtered at a small family slaughterhouse nearby, on the Thursday before the class. So this pig had been dead for less than a week before being butchered.
If you want to know where your bacon or ham-related food comes from, here’s your chance. (thx, derrick)
James Danziger on the photographs of the Florida teens accused of beating a classmate and filming it for YouTube.
The pictures of the accused are startling in the banality of the faces. (While the spelling of many of the names — April, Britney, Brittini, Cara, Kayla, Mercades, Stephen, Zachary bring to mind a revived Mouseketeers.) A number of the girls look surprisingly similar, but minus the prison garb, they could just as easily be reacting to a berating for poor schoolwork. The boys, who were posted as lookouts while the girls carried out the beating, look a little more ready for jail.
The pictures are fascinating in the narrow range of emotion they convey, from self-pity to sullenness, but to my mind all stop before genuine contriteness. (I’m reading this in, of course, but I have a hunch I’m right.) Yet there’s an all-American look to these kids that can only remind us how narrow the line is between good and evil.
The original photos are here.
Matt Jones argues that short looping videos are the real long photographs.
A loop would be a captured action or situation rather than a narrative, where the duration of the loop is set but the loop goes on forever so you can study the layers, the detail, the figure and the ground in the same way you can a photo. A bottled system not a short story. Think about all the tiny clips you’ve played again and again on the internet just to see one aspect, one moment, act out — a goal or a dramatic chipmunk. Not stories, but toy moments.
Photo series of food that takes the shape of its container. The peas are my favorite.
Update: Irving Penn did a well-known series of frozen foods in the 1970s. One of the prints was recently sold for $85,000. (thx, rob)
Awesome collection of folk graphics and photography protesting Flickr’s decision to let members post short videos. But without the video, we’d miss out on stuff like this. (via waxy)
Photographer Eric Etheridge alerted me to a new series he recently started on his WordBlog called Photography: The Missing Criticism, “which aims to bring great writing on photography back into print”. The series currently consists of a 1981 essay by Tod Papageorge on Walker Evans and Robert Frank and a 2002 essay by Papageorge on Robert Adams.
Great set of photographs showing how the Space Shuttle gets ready for takeoff, from the Vehicle Assembly Building all the way to the launch pad.
Errol Morris returns to his Times blog for the first time since his examination of the Roger Fenton photographs and covers re-enactments in documentary films, a technique he pioneered in the excellent The Thin Blue Line, and how it applies to truth in photography.
Critics argue that the use of re-enactments suggest a callous disregard on the part of a filmmaker for what is true. I don’t agree. Some re-enactments serve the truth, others subvert it. There is no mode of expression, no technique of production that will instantly produce truth or falsehood. There is no veritas lens — no lens that provides a “truthful” picture of events. There is cinema verite and kino pravda but no cinematic truth.
And then:
Is the problem that we have an unfettered capacity for credulity, for false belief, and hence, we feel the need to protect ourselves from ourselves? If seeing is believing, then we better be damn careful about what we show people, including ourselves — because, regardless of what it is — we are likely to uncritically believe it.
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