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From the website: Noah K. Everyday was started on January 11th 2000. I started this project because I thought it was a good idea. Blank spots are days I neglected to take a photo. I do smile, just not when I take my photograph for this project.
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How to Make Incredible Pictures - Popular Mechanics, 9/55
From the website: LAUGH-PROVOKING trick pictures are fun to make and more fun to show. Contrary to popular belief, such pictures can be produced by the amateur photographer, even though he has only limited equipment. Trick shots involve two steps: cutouts and pasteups. The equipment required for them, in addition to a camera and enlarger, is a sharp knife, a sheet of clear glass large enough to hold an 8 x 10 glossy print, and a piece of heavy cardboard of the same size.
Via APhotoADay News
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Carol McCusker is the curator of photography at the Museum of Photographic Arts in San Diego
Depth Charge by Carol McCusker
From the website: I am inspired by Walt Whitman when he wrote, "I do not doubt but the majesty and beauty of the earth are latent in every iota of the world...no doubt there is far more in trivialities, insects, vulgar persons, weeds, and rejected refuse than I have supposed."
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Painting with Light + Animation
PIKAPIKA - lightning doodle project
From the website: We took a photo of each image using long exposures and put them together to make them look like one animation. To work on this project, we went out to various places in Japan:parks, under the train track, the Tokyo Bay, school hallways, and so on. We got all sorts of friends in different fields together to work on this project. During the process, they got to know each other and discover new things. This is also about "communication". People can meet new friends as they create a piece art very easy which brings every one happiness. We spend a very enjoyable evening at the workshop and the party through this animation.
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My home town - Madison, WI
James T. Potter - Have You Seen This Madison?
From the website: The series originated from a slide lecture Potter gave often in the 1960s to schools, clubs and church groups. According to a quote from him in the Wisconsin State Journal on 2 January 1972, "The whole point... is to prove to people that they haven't seem the city they live in... Madison has great physical beauty, but many people don't see it."
Via gmtPlus9 (-15)
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Joel Meyerowitz - 9/11: the aftermath
From the website: I tried to get official clearance to access the site. I went to a museum director to petition the mayor to get a team of people to create an archive. But it wasn't to be. Then I remembered that the son of a friend was in charge of running the parks in Manhattan, which included part of the site. He got me a worker's badge and a ranger to take me in the next day. The ranger dropped me off and then I was on my own. At first, I kept getting thrown off. So I started counterfeiting badges. I dressed like a worker - a hard hat and boots and respirators; I did everything I could to blend in. Then one day, I bumped into some guys from the NYPD Arson and Explosion Squad. Instead of throwing me out, they asked me about my cameras. When I explained how I wanted to document the story of the excavation of Ground Zero, they said, "You're absolutely right. We need this for history, our children and grandchildren. We're going to take care of you." They became my guardian angels and protected me during their time on site.
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In Portraits by Others, a Look That Caught Avedon's Eye
From the website: Avedon believed that portraiture was performance; it wasn't a question of the portrait being natural or unnatural but whether the performance was good or bad. "The point is that you can't get at the thing itself, the real nature of the sitter, by stripping away the surface," he wrote in "Richard Avedon: Portraits" (1993). "The surface is all you've got. All you can do is to manipulate that surface — gesture, costume, expression — radically and correctly."
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From the website: But does this improve the pictures? No. For one thing, it is not possible to improve on the quality of Evans's originals, only to emulate it. For another, size shifts how we see, both for better and worse. There is a level of concentration required by staring into a small gelatin silver print, a way the image focuses the mind and stays contained within a narrow field of vision, which is among the pleasures of photography. Bigger pictures are read differently, more piecemeal, in the way that film in a theater is viewed differently from an image on television or on a computer screen.
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Edward Tufte, Offering 'Beautiful Evidence'
From the website: Edward Tufte has been described by The New York Times as "The Leonardo da Vinci of Data." Since 1993, thousands have attended his day-long seminars on Information Design. That might sound like a dry subject, but with Tufte, information becomes art.
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From the website: Now 76, he has photographed everyone and everything from the Beatles' first arrival in New York to George W Bush. Bush brings his tally of American presidents up to date: he's done every single one since Eisenhower, as well as would-be president Robert F Kennedy. Benson took a reel of photographs when RFK was shot, and half a dozen pictures of the event form the centrepiece of the NPG exhibition. Still shocking, they bring to mind the furore over a European magazine's recent publication of photographs of the dead Diana, Princess of Wales.
Being There: Harry Benson's 50 Years of Photojournalism
From the website: Being There is an extraordinary, behind-the-scenes view from Benson's camera. He was there to cover major news stories - the night Robert Kennedy was shot, the day the Berlin Wall came down, Martin Luther King's funeral - and in the right place at the right time to take award-winning photographs of screen legends, presidents and supermodels.
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From the website: By the end of the war, however, rumors reached America that Cartier-Bresson had been killed. MoMA's photography curator, Beaumont Newhall, went to work on a major show. Then, in 1946, it was learned that he was still alive. Cartier-Bresson decided to come to America to work on the exhibition -- a show that helped to establish him as a major figure in photography and art. And that, until now, was the tale of the remarkable event.
From the website: Another chapter is being written this fall, however, with the unveiling of an ornate leather photo album . . .
More Cartier-Bresson
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NYCLU Sues NYPD For Harassing And Detaining Photographers From the website: "Photography is fully protected by the First Amendment, and police investigations into photographers must be sensitive to that," NYCLU Associate Legal Director Christopher Dunn said. "While investigations may be appropriate in certain cases, people cannot be arrested for taking pictures, and police officers cannot coerce them into destroying images. The NYPD should assure it has reasonable policies and that officers are properly trained to handle these special investigations." Also NYCLU Sues NYPD For Harassing, Detaining Photographers From the website: "These arrests for 'taking pictures' usually come in the course of police officers doing their job, arresting someone else, and they don't want to be photographed arresting someone, so they charge the photographer with obstructing justice, or disorderly conduct, or they throw them to the ground and then charge them with resisting arrest. A Reuters photographer who was photographing police was charged with 'obstructing traffic.' It's getting ridiculous." More about photographer's rights
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Photographic Fictions: How the Camera Learned to Lie
From the website: Photography was born pure. In the beginning, there was the daguerreotype. Each daguerreotype was made individually in the camera. No negative was used. Since photography was so new, and seemed so miraculous, daguerreotypes were prized for their perfect accuracy in recording a scene or making a portrait. Dr. Oliver Wendell Holmes called photography "the mirror with a memory." Why would anyone try to improve upon such perfection?
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Richard Wesigrau was the executive director of ASMP for 14 years.
He has many articles about stock photography:
Strategies for Successful Stock Photography, Part 1 [of 12]
From the website: Stock photography has become a very lucrative business over the past thirty years. During that time, stock photography inventories went from being selections culled from assignment outtakes to being specially produced images. That transition ran a parallel track to another transition. The cost of producing stock went from resting on the assignment client to resting upon the photographer. Keep that thought in mind. It has a lot to do with a point I am going to make a bit further down the page.
Self-marketing Rights-protected Photographs, Part 1 [of 4]
From the website: My recent series of articles, Successful Stock Strategies, motivated quite a few Stockphotographer.info readers to email me with a variety of questions. A few asked me to write an article about how I go about selling my rights-protected stock images. This article begins an explanation of how I do that.
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From the website: Watching Movietone News in a movie theater as a kid was thrilling. Then, as television became a dominant force in our lives, the idea of words, sound and pictures ruled TV news for decades. Still a powerful and wonderful source of information, what TV news once was, is now hopelessly outdated. Look at news on cable and you will know what I mean. Talk has always been a four-letter word. Still is. Always will be. It does not mean we learn anything by hearing the story told by someone standing uncomfortably on a location that can be anywhere. The beauty of storytelling with pictures is that the viewer often sees things that the reporter either missed or did not have time to use in the narrative. We also, if we are fortunate, see less of the reporter.
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Improve This Image—Landscapes by Rosanne Pennella
From the website: We asked renowned travel photographer Rosanne Pennella, "What distinguishes an average shot from a really good one?" Her answer: "It's not always the equipment."
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A Lyrical, Multimedia 'Journey Through Time' by Alex Chadwick
From the website: Renowned wildlife photographer Frans Lanting has unveiled a new project with an unexpected new partner -- acclaimed American composer Philip Glass. Their collaboration is Life: A Journey Through Time, a multimedia presentation that's a feast for both the eyes and ears.
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Photographing Without a Camera by Rod Barbee
From the website: Besides learning to be a tripod contortionist, one thing that will definitely happen is that you will become a better photographer. Because you have seen the shot and you won't settle for less, you'll not be making the same easy pictures from the same easy spots as every other photographer. You'll be expanding your vision and you will be finding images that are uniquely your own; you'll begin defining your own style.
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From the website: I remember once we were in the vicinity of Higdon, Kentucky, and we were trying to get across Cut Shine Creek. The rocky creek was wide and shallow. I picked Doris up and piggy-backed her across the creek. I didn't get more than half-way across when she said, "Let's go back, go back to the other side." We set up a camera. There was a boy handy. She gave him instructions on exactly just how to lift up the lens cap (she never used the shutter), how long to count and how to put it back. She said, "We're going to get a photograph of this operation." You see, she knew drama when she saw it coming.
More Ulmann
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In Praise of Copying by David Schonauer
From the website: More important, I think such labeling would belittle the language of photography. The August issue of Vanity Fair has a harrowing photo essay by James Nachtwey showing the effects that American use of Agent Orange has had on generations of Vietnamese. The opening image -- of a mother bathing her legless 14-year-old son -- is a distinct echo of W. Eugene Smith's famous 1972 image of a Japanese mother bathing her own daughter, born with deformities caused by mercury poisoning in Minamata Bay. Nachtwey's picture is more meaningful for the artful borrowing. At least I haven't seen any complaints about it.
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Christenberry Photos Capture the Changing South
From the website: "What I really feel very strongly about, and I hope reflects in all aspects of my work, is the human touch, the humanness of things, the positive and sometimes the negative and sometimes the sad," Christenberry says.
Ask the Artist - Mr. Christenberry
More Christenberry
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Photographers' Gallery - Antonioni's Blow-Up
This film helped to create and expand many photography departments at U.S. schools.
From the website: At the heart of Blow-Up is photography itself. The lead role is that of a fashion photographer, played by David Hemmings, who takes a sequence of photographs in a London park, apparently of a young woman, played by Vanessa Redgrave, in a tryst with her older lover. He realises, however, on examining the film that their furtive behaviour perhaps hides a secret when he spots what appears to be a body in one of the photographs. However, the more he enlarges the image the more blurred and indecipherable it becomes. The film is a voyage in which the protagonist starts to doubt both what he actually saw, and his photographic record of it, as fact and fiction are ever more ambiguously intertwined.
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From the website: When you are asked "do you manipulate your colors?" and you answer "yes" you create an entirely different situation than when you start explaining why you do what you do. When you say "yes", you state the facts and nothing but the facts: "Yes, I do manipulate my colors." Although the person asking the question may not like your answer, it is difficult to question this answer without questioning your personal integrity.
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Talent isn't the most important ingredient:
Willpower is best used with care by Cordelia Fine
From the website: All she knew was how often she had seen students in the department library: reading course notes, photocopying journals, borrowing books. And the handful of students who Anne saw a lot - conspicuously more often than the other students in the same year - were going to get a first.
Confusion works:
Weird Science - Why editors must dare to be dumb By K. C. Cole
From the website: In science, feeling confused is essential to progress. An unwillingness to feel lost, in fact, can stop creativity dead in its tracks. A mathematician once told me he thought this was the reason young mathematicians make the big discoveries. Math can be hard, he said, even for the biggest brains around. Mathematicians may spend hours just trying to figure out a line of equations. All the while, they feel dumb and inadequate. Then one day, these young mathematicians become established, become professors, acquire secretaries and offices. They don’t want to feel stupid anymore. And they stop doing great work.
From the website: . . . perhaps Weird Al said it best: sometimes you just need to "dare to be stupid."
For more about creativity, read PATH
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