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Friday, 05 October 2012


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Keep those book links, no need to explain them BUT the explainations do sell books. You have gotten me to spend more $ than I really should on these darn things ;) Means I have to buy less beer;)


I'll vote for keeping the book links in - I've been enjoying them. Also enjoying the Walker Evans book, which arrived while I was out of the country.

"A Single Person Making A Single Thing", The New Yorker, December 17, 1990.

This will surely be one not to be overlooked,,, http://www.amazon.com/gp/product/193443549X/ref=oh_details_o00_s00_i00

The photo books strike me as something that you're both passionate and knowledgeable about. Thus it seems to me a good thing when you're drawn into writing about them a bit. Whether that's your best use for the time you'll have to settle for yourself in the end, of course.

New Yorker, December 17, 1990, pg 48.
by Calvin Tomkins
(I have a digital subscription which gives you online access to every issue back to 1920-something. Pretty cool.)

DeCarava's The Sound I Saw is one of my desert island books, alongside American Photographs, The Americans, and about a thousand others. Think I'll have to add The Printed Picture to the list.

So many books...

The book, Roy Decarava Photographs, published 15 years earlier (1981) by the Friends of Photography is another beautifully printed work, which holds its own against the Retrospective.

Neither substitutes, however, for the Retrospective print exhibit, which still resonates in my brain. His prints haunt and glow.

I wouldn't want to list my book 'touchstones' (that include ones you mention)...some are tiny and more obscure, and some are huge (the Collection from The Gilman Paper Company, for instance...not a monograph, but still a visual treat and technical marvel).

Re: The Printed Picture, more or less a video version of it here... http://www.benson.readandnote.com/

Regarding the links below the posts: I really like the witty ways you sometimes select what goes there. For example putting the D4, the current "low light king" below the article about the P3200 just put a smile on my face. I guess not a lot of people bought a D4 through that link (not exactly something you buy on impulse) but it was worth the joke.

So THAT is an image of Edward S. Curtis. How is it I never even wondered about what he looked like, much less bothered to look? What a handsome man, and a face that is so intensely magnetic.

"For example putting the D4, the current "low light king" below the article about the P3200 just put a smile on my face."

Mine too. (No, nobody bought one.)


Were Edward Curtis' photos among those used in Dee Brown's book Bury My Heart at Wounded Knee?

The 1962 "In Wildness" of Eliot Porter was a landmark book for many reasons (see http://www.terragalleria.com/blog/2012/09/12/eliot-porter-books/) and certainly well ahead of his time in terms of reproduction quality, but if you compare some of the plates with more recent books, there is no doubt that color printing has improved considerably since then, so, except for historical reasons I would not consider it a touchtone for reproduction.

"except for historical reasons I would not consider it a touchtone for reproduction."

Well, then you and I differ in our opinions on that point.


Congratulations and best luck to Zander.

And luck to you too, Mike. Big change coming.

Mr. Curtis certainly cut a dashing figure as a young man, and you've shown a fine portrait of him.

The look is truly timeless-- had I not seen your caption identifying the subject and approximate date, I might have thought that I was looking at a white pimp from a '70's "blacksploitation" movie like Shaft.

Any idea of who the photographer is on this one, Mike?

I do wish you'd stop doing this, this, and this with your hyperlinks. It not only conceals the destination of your link, it's this, too! Why Your Links Should Never Say "Click Here" is an article worth reading.

Stop doing that, it's annoying.


Many congratulations to Zander! I'm not a parent and I can still imagine how you feel :D.

It perhaps also should be mentioned (maybe it has) that Richard Benson actually printed Paul Strand's last (three?) portfolios, under Strand's supervision.

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