“There is less socially engaged photography in the UK now: first, because of the difficulty in actually doing it; secondly because people don’t seem to want to engage. They like this idea of being an elitist artist, working in a studio, and not particularly connecting with the world. You know, for me the fundamental thing about photography – why I’m a photographer – is because I’m a nosey person. And when I go somewhere, I want to find out about it. And you do that by going there and talking to people.” (…)
Tumblr is pretty cool. You can change names and URL’s and not lose followers. When I first started this ‘stream/scrapbook’ I named it ‘Photographs on the Brain.’ And then because someone talked to me about branding I switched it to ‘lapuravidagallery’ to better reflect a bunch of shit I don’t care about any longer.
So now, I’m doing the moonwalk back into time and giving this ‘stream/scrapbook’ the name the universe first appointed it with: ‘Photographs on the Brain’
I hope you all stick around, and aren’t startled by the name branding adjustment.
“It almost feel that there is a very real resurgence for film. A lot of people that were completely digital are now accepting film again for certain things – or they do like the workflow. And the most exciting thing is to see the younger people adopt film. It’s almost a generational thing. They have not shot film growing up, but once they do get a hold of film in a university, they just seem to fall in love with it. And that’s exciting. It just seems to have a lot of influence.”—Kodak: “There is a very real resurgence for film” - British Journal of Photography
“Paris, Texas is about two people who dream to reunite. But it seems more often than not the reason we run away from people is to stay away. The film made me think of a situation that is now so familiar — the inescapability of past relationships due to the encumbrance of Facebook, Twitter, and the rest. The ductile spreadability of the web makes it impossible to forget anything — especially people — even if you are careful never to google someone, never to follow their updates. You can chose not to follow someone, but that doesn’t mean they won’t enter your stream as a retweet or “shared” item.”—One-way Mirrors and Social Media “Stalking” | Tomorrow Museum
When I die, I would like that my corpse be caked in elephant dung and then plastered in cigarette ads and then preserved in formaldehyde and then suspended in a surfboard-shaped block of resin and then illuminated by LCD lights and then shipped to Marfa and then written about by an illiterate and then sold to an NYU dropout from LA.
“So many of the great photographers of the 20th century, I pointed out, were Jewish — including himself, Robert Capa, Man Ray, Robert Frank, Garry Winogrand, Lee Friedlander, Irving Penn, Richard Avedon and William Klein. He responded without hesitating: “It’s from circumcision. When you witness that much pain when you’ve just been born, it does something to you.” There was a pause. I said, “Do you really believe that?” He said, “No. It’s because we live in New York, where we walk. We let the gentiles have the mountains — Ansel Adams, John Sexton. Let the goyim do the mountains; we’ll do the people.””—Bruce Davidson via Leader of the Pack - The New York Times
“In an age when photos are easily swapped around the Internet and everyone with a camera phone has become a photographer, this lawsuit is more than just a cautionary tale. It’s a symptom of an increasingly treacherous generation gap. “You start to see interviews from fans of the band, and they are like, ‘I would just be glad that my picture was on it.’ Well, not really. They are using it for their gain,” says Kennis, who came of age at a time when anyone whose image was used and distributed could expect to reap sizable financial rewards. “Something is wrong here. It’s like, don’t just use my picture all over the place.””—Vampire Weekend’s Mutinous Muse | Culture | Vanity Fair
“Mainly, I want to avoid formalistic limitations. But I guess being eclectic is a sort of style too, so I can’t really say that. I couldn’t care less about what is considered a good photograph; I no longer think in terms of “good” or “bad,” I just let the camera tell stories. To me there’s no hierarchical order when it comes to these different aesthetics, because using different techniques is required for what I’m trying to do; I want to be in all these different worlds. What interests me at the moment is carrying out, putting together and presenting my work.”—HUH. Magazine - JH Engstrom
“Don’t we want our artists’ reach to exceed their grasp? Wouldn’t we rather be given the gift of something timeless that results from a willingness to fall on one’s face rather than a strict adherence to playing it safe? The greatest moments in film, theater, literature—any of the arts, really—come from those who were prepared to face the scorn and derision of the crowd because somewhere deep within they had a vision that they were willing to see through to completion. They believed when no one else did.”—The Genius Of Joaquin Phoenix And Casey Affleck - The Awl
I don’t want to get into the debate about pro vs amateur, or quality issues regarding cameras - or indeed the threat to professional photography.
What really interests me is the way people use pictures. Yes, they are still a record of our daily lives, and of historic moments, but they are also used in the way words once were.
They are conversations. The picture doesn’t only prove that I was there and saw this, it says this was my experience of the moment. I saw it this way, and now I can share this photo with my friends, either by sending it from a phone or by uploading it to the web where I can express my point of view.
“This sort of naive perspective, either intentional or otherwise, is becoming increasingly prevalent in photography, says Soth. “We’re highly visually literate right now, so I think people are responding to things that feel real and uncrafted. Take Wolfgang Tillmans – he obviously knows everything there is to know about photography, but he manages to look like he’s not trying. “Working with Carmen reminded me that the greatest photography is vernacular. Sometimes, not being professional can be an asset: look at the impact the pictures at Abu Ghraib had. They’re some of the most important photojournalistic images of recent time.”—The genius behind Alec Soth’s Brighton biennial success | Art and design | The Guardian
“I don’t work as a conceptualist. Let’s say the conceptual art model is that you have a project idea, or a set of concerns, and then you illustrate those concerns in whatever manner you see appropriate. For me, it has always been that the world suggests far more subtle and interesting variations than I could ever come up with. ” (…)
“But if, for a moment, we take the image off the wall and look at it as a non-physical artifact; if we shrink it, print it in a magazine, post it on the Web, the game changes again. Negative size won’t buy you anything at 800 by 1200 pixels. Will a growing interest in social issues and mass distribution push the aesthetic back toward the small and simple? Will everything just descend into cheap effects — a visual equivalent of top-40 with big hooks and no continuity or sense of being part of a body of work? I don’t know, but it’s an interesting thought. If the non-corporeal image viewed in small format (a book; a screen) is what you care about, then there’s a stunning amount of great photography out there and no one in particular in a great position to capitalize on it, including the photographers.”—Chuck Patch via Chuckp not photos: Heros and slobs
“I think a lot of the problems we’ve been experiencing come from the fact that no one embraces the miracle and amazement of the present. So many people—steampunks, fundamentalists, hippies, neocons, anti-immigration advocates—feel like there was a better time to live in. They think the present is degraded, faded, and drab. That our world has lost some sort of “spark” or “basic value system” that, if you so much as skim history, you’ll find was never there. Even during the time of the Greeks, there were masses of people lamenting the passing of some sort of “golden age.” But I’d never go back and live in any other time than teetering on tomorrow; this is the greatest time to be alive.”—