What really got my hackles up was rather sophomoric post by Mr. Colberg today about what a photograph is as it compares to a photo-illustration. This post showed me that he is swimming in unfamiliar waters. He could have easily referenced the Reuters handbook on what is accepted digital processing. It is very clear, probably too clear for Mr. Colberg.
The lack of an ability to comment on this post directly, save for emailing him, also gets to me. How is this really a discussion in this day and age in the blogosphere? I am not always a fan of comments, but in this case, I wish they were there.
I have been tweeting some of my initial reactions to these posts, but since he Mr. Colberg abandoned twitter for tumblr (a platform without comments). I wonder what type of dialog he is striving for.
In recent weeks we have been working behind the scenes on new interactive channels for the Magnum Photos website. One of the main focuses is building stronger community portals and creating a more engaging experience with our website. The greatest asset of Magnum is the high standards of quality in regards to our content, and showcasing this work on the blog can be very limiting, so as an online destination we want to offer more to our audience and build a strong community portal. We would like to bring you better ways to view new work and engage with it on a regular basis so we will be reformatting the blog and building coherent photographer channels to integrate the community with activities beyond blogging and we are looking forward to a more productive and mutually beneficial discourse. While we do this we ask for your patience and understanding. Soon there will be so much more for you to enjoy on our website.
Magnum is going to go all social network-ey on us. Should be interesting. I imagine the LENS blog and Burn Magazine have influenced what they’re working on. What I’m most interested in will be their new money making features. Online courses? Mentorship? VIP access?
Note: I actually quite like his work. And I don’t give a shit about the controversy surrounding his digital manipulation, or even his hypocrisy, but reading his tedious clusterfuck of squid-ink artspeak non-explaining the affair made me want to gouge my own brain out. Try to survive this:
“These photographs are no more commentaries than observations. They are meta-photographs. They deploy the metaphor of struggle between poetic failure and the promise of success to suggest a place uncertain of its future. However, as Peggy J. Bowers correctly argues, metaphors are closer to fiction than reality, thus inviting a line of questioning at odds with Journalism’s preferred figure of speech: the metonymy.”
I’m sorry for all the suicides I just caused by quoting that. But at least they’ve gone on to a better place.)
“The Internet is a tough town, we have noticed before. Well, not a town; a fat cluster of towns pushed up against each other, organized (obviously) by language spoken, but still a place where you can easily hop from village to village. OMG it all sounds like that movie Avatar, which, by the way, according to Comic-Con attendees who saw a hefty chunk of it, will blow your mind.”—The Entire Problem With the Internet is Persona, But Really What’s So Different Now? | The Awl
Harrell Fletcher: What makes something—a piece of art, a film, a book, a bowl of soup, a song, a walk—really good, in your subjective view? Maybe the question is, if you had a set of things that you considered good, like the list in the previous sentence, is there a quality that they share that makes you like them? Or is the goodness different in each case?
July: I think there are a few categories of cross-genre good, but here is my favorite: At first you hate it. And then suddenly you expand, you grow, and the book, the bowl of soup, the song, the walk, becomes a prized thing—the first example of your new, smarter self.
“This research has important practical implications. It suggests that there are several simple steps we can all take to increase creativity, such as traveling to faraway places (or even just thinking about such places), thinking about the distant future, communicating with people who are dissimilar to us, and considering unlikely alternatives to reality. Perhaps the modern environment, with its increased access to people, sights, music, and food from faraway places, helps us become more creative not only by exposing us to a variety of styles and ideas, but also by allowing us to think more abstractly.”—Increasing creativity and psychological distance
“What really stood with me was his notice of the lack of real dedication to making a picture the best it be. Curator noticed that in so many landscape works there lacked a dimensionality outside Sunny 16 (or bright mid day sun). In one case one when curator asked one of the landscape photographers he was reviewing why no weather in the pictures, photographer answered ‘I don’t want to get my camera wet’.”—Justin James Reed, Thomas Cole and Toys R Us – BRIAN ULRICH : NOT IF BUT WHEN
“But I think the larger reason is that the photography world is an informal pat-on-the-back society. If you plug my photos I’ll plug yours. Or I’ll show my photos in your gallery if you write something positive. It’s one big happy family so long as no one rocks the boat with a harsh critique.”—B: Celebrating The Negative
“Well, that photography is just not good for storytelling, yes. I also just think photography was much more interesting 50 plus years ago, and now there is just this overabundance of photography. It’s like saying “What type of art do you do?” “Oh, I do Twitter.” (laughter). I just put these little fragments out in the world, but I would rather call myself a novelist than a Twitterist. And I sometimes feel photography is that.”—Interview: Alec Soth
“And there is one thing I should add to this. And that’s because I’ve become increasingly nihilistic about photography, and not for those reasons necessarily. But I’ve always have had real frustrations with the limitations with the medium, and those ethical issues don’t help me. And sometimes I get really crabby about photography and how it functions.”—Interview: Alec Soth
“I just found that at a certain point I wasn’t a photographer on a mission. I’m interested in something more like poetry in that the work can be interpreted in different ways. I’m cool with people taking whatever they want to take from it. There would be more reconciliation necessary if I was trying to alter the political infrastructure of Colombia.”—Interview: Alec Soth
“Well, basically, there was this little dot, right? And the dot went bang and the bang expanded. Energy formed into matter, matter cooled, matter lived, the amoeba to fish, to fish to fowl, to fowl to frog, to frog to mammal, the mammal to monkey, to monkey to man, amo amas amat, quid pro quo, memento mori, ad infinitum, sprinkle on a little bit of grated cheese and leave under the grill till Doomsday.”—Naked (1993) - Memorable quotes
“Five years ago, at 87, Ms. Bassman discovered the glories of Photoshop and so began a new chapter in digital photography. She works every day in her studio, toying and reconfiguring from about 11 in the morning until dinnertime, and claims a proud proficiency with her computer. It is a skill however that does not extend to the use of e-mail or Google. “I’m not interested,” she said, “in any of that.”—Culture - In Lillian Bassman’s Salvaged Photographs, a Rediscovery of Femininity - NYTimes.com