Posts Tagged ‘photography’
“The best way to preserve a child’s vision is to let them see things their way rather than yours”*…
Kira Cook contemplates a series of photos taken by kids of their (unaware or surprised) parents…
… somehow, these malevolent images are borne from the tiny fingers and eyes and perspectives of the ones who love us… most?!
Children, of course, know little to nothing about “crafting” a good portrait. They know naught of symmetry, or contrast, or depth of field. They do, however, know the specific power of finally having control over the rectangular device normally glued to their parents’ hands. They pound that round red button at will, capturing images from their abbreviated heights, their lilliputian thumbs obscuring the lens, often blurring the image with their relentless movement.
These pictures remind us that while we study our children, they study us back. Before we speak, we see. For months before spoken language ever enters the relationship, a child gazes upon its mother for hours, every day. The gaze of the child is the least judgmental, the most accepting. When a child takes a portrait of their parent, there is an absence of so many of the elements that inherently exist in the portraits an adult makes. There is no moralizing, for one. No manipulation. They don’t bother to hide or deny the aspects we normally do in photos. In fact, unlike in every other photographic example, there is a total absence of forethought or editorializing…
More (and more on the) unflattering portraits that do what kids do best, wholeheartedly engage with the present moment: “The Humbling Tyranny of the Photos Our Kids Take of Us,” from @kirahesser in @romper.
* Jacob Liberman
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As we say cheese, we might recall that it was on this date in 1839 that Samuel Morse, a professor of art and painting at the University of the City of New York (now New York University) in Paris to promote his invention of the telegraph, met with Louis Daguerre.
Morse was fascinated by Daguerre’s daguerreotype—the first practical means of photography. Morse wrote a letter to the New York Observer describing the invention, which was published widely in the American press and stoked broad interest in the new technology. On his return to New York, he taught classes in the technique to his colleagues at NYU and others– including Mathew Brady, one of the earliest photographers in American history, famous for his depictions of the Civil War.
“What makes photography a strange invention is that its primary raw materials are time and light”*…
There are myriad ways to understand photography and its history: by content, by style, by technique, by use, by creator…
Luminous-Lint is used worldwide by curators, educators, photography students, photohistorians, collectors and photographers to better understand the many histories of photography.
Luminous-Lint uses 125,613 photographs from 4,030 different collections around the world to create detailed and well structured histories of photography.
Luminous-Lint includes 1,032 distinct, but interlinked, histories of photography that are evolving on a regular basis.
The connections between photographs are critical to understanding and Luminous-Lint includes 14,701 visual indexes to assist.
Explore the histories of photography: Luminous-Lint.
* John Berger
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As we consider the framing, we might send thoughtfully-composed birthday greetings to Ansel Adams; he was born on this date in 1902. A photographer who specialized in landscapes, especially in black-and-white photos of the American West, he was hugely influential both in photography and in environmentalsim.
Adams helped found Group f/64, an association of photographers advocating “pure” photography which favored sharp focus and the use of the full tonal range of a photograph; was a key advisor in establishing the photography department at the Museum of Modern Art in New York, and a founder of the photography journal Aperture.
His love of photography was born when, at age 12, he visited Yosemite and took his first shots. He became a life-long advocate for environmental conservation, a commitment deeply intertwined with his photographic practice. At one point, he contracted with the United States Department of the Interior to make photographs of national parks. For his work and his persistent advocacy, which helped expand the National Park system, he was awarded the Presidential Medal of Freedom in 1980.
“To see a world in a grain of sand and a heaven in a wildflower”*…
Where, exactly is Heaven? Stephen Reid Case explains how a very concrete, physical answer to that question became much less concrete…
The Christian concept of heaven, so familiar today from popular depictions of clouds and haloed angels, was an invention – one that came about as early Christians interpreted their religious writings in the context of the Greek culture in which their movement grew up. Christian writers combined Plato’s ideas about the soul’s ascent to the sky at death with Aristotle’s understanding of the structure of the universe, a combination that allowed them to apply a cosmological framework to terms like ‘heaven of heavens’, as well as the ascents, described in the New Testament, of both Jesus and Paul. By the Middle Ages, anyone who uttered the words ‘Our Father, who art in heaven …’ had a clear spatial understanding of where heaven was: God dwelt in the third heaven, above the heaven of the air and the heaven of the stars. This third heaven, the empyrean, became an article of Christian faith – until the new cosmology of Copernicus and Galileo placed the Sun rather than Earth in the centre of the universe. This transformation from an Earth-centred to a Sun-centred universe did not simply displace Earth; it destroyed heaven as a place within the cosmos.
If I asked my astronomy students where heaven was located, I would no doubt receive a classroom full of bewildered stares, despite the fact that I teach at a Christian university – where the majority of students believe in both heaven and the afterlife. When pressed, they might offer thoughts about heaven being a different plane of reality or perhaps another dimension. They believe, but they don’t conceptualise heaven as a location; it is not a part of their spatial understanding of the universe. For most of the history of Christianity, though, the opposite was true…
For hundreds of years, Christians knew exactly where heaven was: above us and above the stars. Then came the new cosmologists: “Where God dwelt.”
* William Blake, “Auguries of Innocence” l. 1 (ca. 1803)
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As we muse on metaphor and morphology, we might recall that it was on this date in 1972 that the Apollo 17 mission launched; on their way to the moon, about 18,000 miles from the Earth, astronauts Harrison Schmitt and Ron Evans took the photo now known as “The Blue Marble”– one of the most reproduced images in history.
“I get slightly obsessive about working in archives because you don’t know what you’re going to find. In fact, you don’t know what you’re looking for until you find it.”*…
An update on that remarkable treasure, The Internet Archive…
Within the walls of a beautiful former church in San Francisco’s Richmond district [the facade of which is pictured above], racks of computer servers hum and blink with activity. They contain the internet. Well, a very large amount of it.
The Internet Archive, a non-profit, has been collecting web pages since 1996 for its famed and beloved Wayback Machine. In 1997, the collection amounted to 2 terabytes of data. Colossal back then, you could fit it on a $50 thumb drive now.
Today, the archive’s founder Brewster Kahle tells me, the project is on the brink of surpassing 100 petabytes – approximately 50,000 times larger than in 1997. It contains more than 700bn web pages.
The work isn’t getting any easier. Websites today are highly dynamic, changing with every refresh. Walled gardens like Facebook are a source of great frustration to Kahle, who worries that much of the political activity that has taken place on the platform could be lost to history if not properly captured. In the name of privacy and security, Facebook (and others) make scraping difficult. News organisations’ paywalls (such as the FT’s) are also “problematic”, Kahle says. News archiving used to be taken extremely seriously, but changes in ownership or even just a site redesign can mean disappearing content. The technology journalist Kara Swisher recently lamented that some of her early work at The Wall Street Journal has “gone poof”, after the paper declined to sell the material to her several years ago…
A quarter of a century after it began collecting web pages, the Internet Archive is adapting to new challenges: “The ever-expanding job of preserving the internet’s backpages” (gift article) from @DaveLeeFT in the @FinancialTimes.
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As we celebrate collection, we might recall that it was on this date in 2001 that the Polaroid Corporation– best known for its instant film and cameras– filed for bankruptcy. Its employment had peaked in 1978 at 21,000; it revenues, in 1991 at $3 Billion.
“Take this job and shove it”*…
Chauncey Hare hated his job, so he captured the drudgery of office life in order to protest it…
Photography started as a hobby for Chauncey Hare. For 27 years, he worked as a chemical engineer at the Standard Oil Company of California, using his camera to escape the tedium of the office. By 1977, he couldn’t take it anymore. But before he declared himself a “corporate dropout” and committed to art full-time, Hare trained his camera on the world he hoped to leave behind…
Paradoxically, the same medium that once served as a respite from the banality of Hare’s professional life soon came to feel oppressive in its own right. In Quitting Your Day Job, a forthcoming critical biography of Hare, the scholar Robert Slifkin connects Hare’s sly, arresting portraiture to the artist’s critiques of capitalist power structures, including the cultural institutions that embraced him. (Hare won three Guggenheim fellowships, an honor shared only by Ansel Adams and Walker Evans.) The photographer went on to disavow “official art” and accept a part-time job at the Environmental Protection Agency to support himself. A self-portrait from that time [the photo at the top]shows Hare back in an office environment, where a poster hanging on a cubicle wall poses a question that its surroundings implicitly answer: What’s bugging you? By 1985, Hare had given up photography altogether and become a therapist specializing in “work abuse.”…
More of Hare’s remarkable work, and of his equally-remarkable story, at “Under the Fluorescent Lights,” by Hannah Giorgis. See also “These Photographs Were Made in Protest.”
* songwriter David Allan Coe (made famous in a recording by Johnny Paycheck)
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As we gag at our gigs, we might recall that it was on this date in 1911 that the first motion picture “stunt man” was hired, when Lt. Henry “Hap” Arnold, a pioneer military pilot, was brought onto director William J. Humphrey‘s production of The Military Air-Scout to do stunt flying for the film; the two-reeler was released the following December.
Lt. Arnold went on to become an Army General (head of the Army Air Corps) and then the commanding general of the U.S. Air Force; he remains the only person every to hold a five-star rank in two different U.S. military services. On retirement, he helped found both Project RAND, which evolved into one of the world’s largest non-profit global policy think tanks, the RAND Corporation, and Pan American World Airways.
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