“Now, a few words on looking for things. When you go looking for something specific, your chances of finding it are very bad. Because of all the things in the world, you’re only looking for one of them. When you go looking for anything at all, your chances of finding it are very good. Because of all the things in the world, you’re sure to find some of them. - Daryl Zero”—Zero Effect (1998) - Memorable quotes
"The fact that we have access to 14,000 photographs changes the way we view the work. Think if this was Winogrand? How would our view of his work change if we saw more of the crap?
I think this is the reason why so many professional and established photographers stay away from Flickr and to some degree, I see their point. They don’t want to show their work un-edited, or unpolished.
If Cushman’s archive would have been kept under wraps and our first experience with the work was in a book of say 100 of the best photographs, I think our view of the work would be far different.” - me (Bryan Formhals)
“It’s no secret that the internet is the ultimate curatorial platform. In 5 minutes you can whip together images from around the globe, put them on a screen and an hour later they’re seen by a thousand people. While everyone knows this, Bryan Formhals has put it to the most creative use. If Lenscratch is de Tocqueville, La Pura Vida is Lewis and Clark, pioneering into the Flickr jungle to dig up stuff that I’d never find on my own, curating and organizing it into various thematic shows, and editing the choices of guest curators. Once in a while he’ll add nice writing. This is the photoblog equivalent of your local underground college radio station. They may not always play your favorites but they’re guaranteed to stretch your taste.”—B: 2009 Recap: Prime Photoblogs
“Or maybe I am dead wrong about all this. In which case we could see Model III. The punk era of books finally arrives (this is pretty much the bright side of Model I). Increase in self-publishing begets a scrappy new stratum of publications, unleashing the creative potential of artists previously locked out of traditional publishing. This could be the cusp of a kind of golden era, where all kinds of artists, naïve to the traditions and conventions of the photobook, create a boom in scrappy but fascinating publications. The market begins to resemble the chapbook section of City Lights, or a record store. This would be a flowering of outsider talent that really comes from the ground up, not self-conscious production and design slumming, like the newsprint formats of Grant Willing’s Svart Metall or Alec Soth’s Last Days of W., or Ari Marcopoulos’s photocopied The Chance is Higher, or Michael Northrup’s Beautiful Ecstasy, compulsively guttered by the excellent designer Paul Sahre (all of which I love). The brand concept migrates from the publisher to the photographer, and as with so many things we find new filters for an increasingly atomized scene. And through it all, books with pictures of dogs and cats continue to drive sales.”—Inversely proportional: thoughts on the future of the photobook « Critical Terrain | image object environment
“First was the fascinating discussion I had had with conservator Elizabeth Estabrook in doing research for my book (it makes the perfect Christmas gift :-)) in which she noted how it was as wrong in restoring a painting from the 1940’s to make it look like it was brand new as it was for a plastic surgeon to try to make a 65 year old look like they’re 20. Even if you pull off a miraculous illusion, there remain tell-tale signs that something isn’t quite right. Elizabeth noted that a work of art should look its age.”—Edward_ Winkleman