Quote 'o the Month: Ken Jarecke, from a hard-knuckled little snarl entitled "Short-Term Thinking": "Since when is not being as dishonest as the Iranian government a valid journalistic standard for the American news media?"
And Speaking of Iran and the infamous fourth missile... It appears they're at it again. (Are Iranian propagandists stupid, or do they just think we are?)
Pat Boone Signature Leica: Making fun of Leica special issues and commemoratives is an old and honorable sport, but this one is almost too easy. In which upper-crusty staple of Eastern prep school English classes is it explained that white bucks are cool only when they're pristine, until such time as it's just impossible to keep them clean any more, at which point "dirty bucks" become all the rage? Was that John Knowles? J.D. Salinger? John Updike? F. Scott Fitzgerald? Must have been Fitzgerald. One thing seems indisputable: the latest value-added M camera should only be used while wearing white cotton trousers, or a linen suit...
...Just remember that if you buy one in June, it had better be dirty by November.
National Geographic's Infinite Photograph
Read more about it here.
The March of Convergence: The editors of Esquire magazine imagine [vide] that Greg Williams' March 4 cover of the magazine, featuring Megan Fox, is the first magazine cover ever shot with a movie camera—the Red One.
It's certainly the first time we have encountered the title "photographer-director," in the following sentence: "Using the RedONE, a video camera that captures images at four times the resolution of high-definition, photographer-director Greg Williams...recorded ten minutes of loosely scripted footage with Fox—getting out of bed, rolling around on a pool chair, inexplicably lighting a barbecue." (We're curious as to how he held the camera steady while he rolled around on a pool chair, putting aside entirely our puzzlement as to how exactly one goes about lighting a barbecue "inexplicably.")
But, apropos our April 16th post, look what happens when he, too, wants to signify "camera" in an advertising photograph:
Photo: Greg Williams, from his website
The Shifting Contradictions and Beauties of the World: Speaking of convergence, this gem comes from a 2006 Bomb interview with Yale's Tod Papageorge (who left an interesting comment about this post the other day regarding his old friend, the late Garry Winogrand) ("RW" is Richard B. Woodward):
RW Are the mistakes that your students are prone to now the same mistakes that students were prone to when you were teaching back in the late '60s?
TP No. I think now that, in general—and this includes a lot of what I see in Chelsea even more than what I see from students at Yale—there’s a failure to understand how much richer in surprise and creative possibility the world is for photographers in comparison to their imagination. This is an understanding that an earlier generation of students, and photographers, accepted as a first principle. Now ideas are paramount, and the computer and Photoshop are seen as the engines to stage and digitally coax those ideas into a physical form—typically a very large form. This process is synthetic, and the results, for me, are often emotionally synthetic too. Sure, things have to change, but photography-as-illustration, even sublime illustration, seems to me an uninteresting direction for the medium to be tracking now, particularly at such a difficult time in the general American culture. All in all, I think that there’s as much real discovery and excitement in the digital videos that my students at Yale are making as there is in the still photography I see either there or in New York, perhaps because the video camera, like the 35 mm camera 30 years ago, can be carried everywhere, and locks onto the shifting contradictions and beauties of the world more directly and unselfconsciously than many photographers now seem to feel still photography can, or should, do.
And You Thought Kittens Were Bad: On Photo Synthesis, University of Illinois molecular phylogenetics postdoctoral researcher (and photographer) Alex Wild interestingly speculates that anthropomorphism makes even scientific photographs more accessible to the primate brain (we humans, he means) and thus, more popular.
Sensitive Summicron Surgery: We're not big fans of adaptors that necessitate stop-down metering, but in case that's one of the ways you have fun with photography, you might want to know that Leitax is now making Leica lens to Nikon body adapter kits. We're all thumbs, and feel that any operation involving loose ball-bearings is best avoided, lest the [expletive deleted] little bastard end up hidden in a tiny crack in the floor on the far side of the room; but maybe you're a bit more competent.
New Life for the Old Gang: Bob Dylan's new music video from "Together Through Life," like the album cover, uses photographs from Bruce Davidson's "Brooklyn Gang" project. Check it out (under "Check Out Related Media").
And for a humpday smile... The wry visual humor of René Maltête.
(Thanks to Ken Jarecke, Stan Banos, Edd Fuller, Albano Garcia, Sungazer, Robin Dreyer, Dale Moreau, and Eolake.)
Featured Comment by bobdales:
Featured Comment by Stuart Hamilton: "That's a very interesting interview with Tod Papageorge, and as a bonus includes a link to another with Emmet Gowin. I like to be reminded that photography, like all the arts, is mysterious and difficult, and that technique is just the beginning. Thanks Mike."