Photography Post Vol. 2

[samsikle]

stop william. jeeee. haha jk, i like your photographs

my fav.

[tweeds]

carl, your explanation of your ideas to holeinthewall cleared alot up in my mind. however i disagree that any form of photography (or any art form) can be said to take precedence over others. it's just different kinds of difficult and complex and intelligence.

i liked your second set. like someone said earlier, they have a very national geographic-esque feel to them. i imagine that is part of the point of photojournalism? what are some good photographers i should look to as far as getting to know this field is concerned?

what do you think about the use of black/white and sepia photography? i reckon it is in fact overused without too much thought about its purpose.

the preacher photo in particular stood out: the fingers are very striking visually and the fact that we don't see the full pair of hands in the top left hand makes the whole shot very interesting.

[Thorns]

I can't believe someone on SF posted pictures of the Steeler's riot! Not only did I get chased down the street by undercover cops during it, but i know the kid on the lightpole! My only criticism is that I don't think it caught the frenetic vibe enough. No explosions or fear or excitement... just crowd.

[Carl]

Quote:

carl, your explanation of your ideas to holeinthewall cleared alot up in my mind. however i disagree that any form of photography (or any art form) can be said to take precedence over others. it's just different kinds of difficult and complex and intelligence.

i liked your second set. like someone said earlier, they have a very national geographic-esque feel to them. i imagine that is part of the point of photojournalism? what are some good photographers i should look to as far as getting to know this field is concerned?

what do you think about the use of black/white and sepia photography? i reckon it is in fact overused without too much thought about its purpose.

the preacher photo in particular stood out: the fingers are very striking visually and the fact that we don't see the full pair of hands in the top left hand makes the whole shot very interesting.

--- Original message by tweedlesinpink on Apr 11, 2006 08:16 PM

Thanks for understanding...I can get a little self righteous when talking about photography, but i think that just stems from how passionate I am about it.

Sepia toning be it in the darkroom or in photoshop is fine, as long you understand why you're doing it.

As far as good photojournalists? The photo agency Magnum is the top dog, home to most of the great photographers. Heres a good list to start with;

Color Work:

Alex Webb

Larry Burrows

David Alan-Harvey

Constantine Manos

William Eggelston (not so much a photographer of people but an amazing color photographer)

Steve McCurry

Martin Parr

B/W Work:

James Nachtwey (the Jordan/Pele/Gretzky/Montana/God of photography. The man is on another level from everyone else. Look at this work to see what I mean by photojournalism being the most important art form.)

Henri Cartier-Bresson

Josef Koudelka

Larry Towell

Don McCullin

Antonin Kratochvil

Alex Majoli (The best working current photjournalist)

[Whatever]

edited 10char

[Loop]

[tweeds]

thom, which medium do you work with? i like your horizons, by the way.

carl: do you maintain an album online? i'd love to go through some of your work.

[shshshakeme]

[ayn]

Cool images guys, another photog here, you can find some of my work at http://images.andrewng.com/

[Carl]

Quote: carl: do you maintain an album online? i'd love to go through some of your work.

No. Unfortuneatly i don't. It is something i need to work on. Maybe by the end of the summer.

And in the spirit of the post:

New Years '06 in Vancouver, point and shoot Nikon digi, and too many red bull and vodkas...*

*maybe in the future

Edited by Carl on Jun 7, 2006 at 08:27 PM

[Carl]

Sorry about the size...ill probably take those down in a mintue actually

[will_i_am]

yay for thread revivals.

it rained a little so i got bored and went outside.

[Guest doubletap]

Carl, very interesting pics. what is your relationship to that family?

streamline the sickness

[will_i_am]

really nice pictures carl,

i feel like the thread never left.

[heartsandcrafts]

Don't listen to the haters Carl. I'm very cynical about photography and art in general and that series is LEGIT. There are, however, 2 photos that I have critisim for. The photo in which the mom is about to kiss the kid and the dad is tying his shoes (?) is the only photo that you didn't freeze motion in, and thus is inconsistant with the rest of the series. In the photo right below it, with the kid on the bridge, the tonal range in his face seems unnatural and blownout, especialy in comparson to the full range of values you have in the background. A little bit of digital editing will not affect the intregrety of the photographed image ( if you follow me) considering that that would be something you would be able to to in the dark room, had you shot film.

Also, not sure if you said why you edited out the shooting with the cross one, and the chicken one, because thoses are excelent and would add more variety to the series without loseing the unity that the images share in mood, subject, etc.

Also, you should make your images a little (half size) smaller so that I (we) can actually see the whole thing easily, and enjoy the composition without steping back from out monitors.

whew!

[Guest]

Carl,

You have a couple real nice shots there. Though it looks like a few of them suffer from being overphotoshopped (Heartsandcrafts?) I noticed this thread awhile back before I was a registered user, and been following the conversation for a minute now. Here's my two bits...

It's real interesting to see everyone's different perspectives on what it means to be an "artist" versus a "photojournalist/documentary photographer". I find myself struggling somewhere in the middle quite often, and throughout the years, having met quite a few photojournalists whose work has the graphic subjective appearance of art photography, and Artists who use their work to explore, tell a story, and/or document, I have given up trying to classify who is better, or which is the more noble path to take. Their is one thing I have noticed as of late, which is that the direction of what was once considered photojournalism and documentary phtography has changed, and in some ways, may be coming to a fork in the road. Spot news and reportage is now exclusively digital capture. This has possibly the biggest impact on the capabilities of a journalist (and their outlets) since the invention of the 35mm. It allows for lightning fast transmission of images from across the globe, and in many cases has also lead to the rise in profile of Local journalists on an international scale. AP or Reuters can now have iraqi photogs cover conflict there on a freelance "stringer basis" with little to no investment in their health and safety, and the same is being done in countries worldwide on behalf of the mostly American/european media conglomerate. On the flipside, there seems to be a ressurgaence of in depth magazine stories, often acompanied by pictures in medium and large formats, by men and women who drink from the fountain of art photography. You don't really need to look further than the NYT magazine to see evidence of this shift towards environmental portraiture, and more subtley suggestive landscapes and interior details, serving as the visuals to contemporary journalism. I find this pretty fucking fascinating, because the playing field is really changing in so many ways. I found that in meetings with both the New Yorker, and the Fader, I found a similar response that I did not expect to my pictures. However, the more traditional newspapers don't want anything to do with someone who doesn't shoot Digital. Only photojournalist who have already established themselves in the tri-X era can still "get away" with film, and not suprisingly, many of them are turning to digital as well. What this all means cumlitively is hard to sort out, but I felt like opening up the can of worms so fuck it...

Cartier-Bresson is dead. To me the decisive moment never really rang true anyway, but that way of thinking is relegated to a few (mostly B&W) photographers. Telling anyone other than a straight photojournalist that cropping is unethical has almost no meaning in this day and age. Sure, I know people who work for agency's and wire services who would be fired for cropping, and I understand that that is meant to safeguard the public against deception, but phtography as a discipline, a noun, or a verb just doesn't mean the same thing anymore. Deception is embraced, theory and concept trump aesthetic appeal. Shit, half the people I meet who used to love taking pictures, are now "artist who use photography" or some other such bullshit. where do we turn when unconventional is the new convention, Color is the new Black and white, and we take pictures, that from start to finish lack in physicality and some would argue DONT ACTUALLY EXIST!!!!!!! (yes, digital). As someone whose pictures depend on the unique qualities of the photographic surface, from film, to paper, i don't know where we go. But I do know that almost daily, I can still find new photographers from all corners of the world who represent their own vision in a way shaped by their means, their ideals, and their experience. That is what makes me happy, and that is why despite t

[RAISED BY WOLVES]

Carl,

You have a couple real nice shots there. Though it looks like a few of them suffer from being overphotoshopped (Heartsandcrafts?) I noticed this thread awhile back before I was a registered user, and been following the conversation for a minute now. Here's my two bits...

It's real interesting to see everyone's different perspectives on what it means to be an "artist" versus a "photojournalist/documentary photographer". I find myself struggling somewhere in the middle quite often, and throughout the years, having met quite a few photojournalists whose work has the graphic subjective appearance of art photography, and Artists who use their work to explore, tell a story, and/or document, I have given up trying to classify who is better, or which is the more noble path to take. Their is one thing I have noticed as of late, which is that the direction of what was once considered photojournalism and documentary phtography has changed, and in some ways, may be coming to a fork in the road. Spot news and reportage is now exclusively digital capture. This has possibly the biggest impact on the capabilities of a journalist (and their outlets) since the invention of the 35mm. It allows for lightning fast transmission of images from across the globe, and in many cases has also lead to the rise in profile of Local journalists on an international scale. AP or Reuters can now have iraqi photogs cover conflict there on a freelance "stringer basis" with little to no investment in their health and safety, and the same is being done in countries worldwide on behalf of the mostly American/european media conglomerate. On the flipside, there seems to be a ressurgaence of in depth magazine stories, often acompanied by pictures in medium and large formats, by men and women who drink from the fountain of art photography. You don't really need to look further than the NYT magazine to see evidence of this shift towards environmental portraiture, and more subtley suggestive landscapes and interior details, serving as the visuals to contemporary journalism. I find this pretty fucking fascinating, because the playing field is really changing in so many ways. I found that in meetings with both the New Yorker, and the Fader, I found a similar response that I did not expect to my pictures. However, the more traditional newspapers don't want anything to do with someone who doesn't shoot Digital. Only photojournalist who have already established themselves in the tri-X era can still "get away" with film, and not suprisingly, many of them are turning to digital as well. What this all means cumlitively is hard to sort out, but I felt like opening up the can of worms so fuck it...

Cartier-Bresson is dead. To me the decisive moment never really rang true anyway, but that way of thinking is relegated to a few (mostly B&W) photographers. Telling anyone other than a straight photojournalist that cropping is unethical has almost no meaning in this day and age. Sure, I know people who work for agency's and wire services who would be fired for cropping, and I understand that that is meant to safeguard the public against deception, but phtography as a discipline, a noun, or a verb just doesn't mean the same thing anymore. Deception is embraced, theory and concept trump aesthetic appeal. Shit, half the people I meet who used to love taking pictures, are now "artist who use photography" or some other such bullshit. where do we turn when unconventional is the new convention, Color is the new Black and white, and we take pictures, that from start to finish lack in physicality and some would argue DONT ACTUALLY EXIST!!!!!!! (yes, digital). As someone whose pictures depend on the unique qualities of the photographic surface, from film, to paper, i don't know where we go. But I do know that almost daily, I can still find new photographers from all corners of the world who represent their own vision in a way shaped by their means, their ideals, and their experience. That is what makes me happy, and that is why despite the bullshit, we just kee

[Carl]

Fucking beautiful post Raised By Wolves, ill get to it in a minute.

Raised By Wolves - Who the fuck are you! Your views on contemporary photography and art are on fucking point. We deffinetly need to talk. Either by email ([email protected]) or aim (nakedcarldotcom)...one way or another please get in touch with me.

Fantastic list by the way. Delahaye has sort of dropped off the face of the earth, hasn't he? Seen Soth's newish stuff on Niagra falls on magnum-in-motion? And who could forget Gene...ever met him or heard him speak? One of the weirdest people ive ever met, haha, but i mean that in the best way possible.

And finally, something new...

please keep in mind the people at the newspaper im interning for toned this (i know it looks like shit). They're using photoshop fucking 4!?!?!!!! It's a nightmare to say the least...

[Carl]

*bump*

[SLEEZY]

lots of great stuff

Bump.

call it what you want..

[canice]

some coney island shots from this weekend. sort of um, a series. a real half-assed RAW edit job.

[Carl]

Pictures arn't showing up for me, canice

[will_i_am]

ps - canice i like the feet in the sand one.

Edited by will_i_am on Jun 13, 2006 at 05:12 PM

[andrewfuncrew]

You've got nothing but hatred!

[poly800rock]

my contribution...nothing at all interesting..

http://search.ebay.com/_W0QQsassZtriggerkid

[canice]

Quote:

Pictures arn't showing up for me, canice

--- Original message by Carl on Jun 13, 2006 05:05 PM

oh, well you can find them on my blog too.

http://blog.caniceleung.com

[angrypork]

Carl: Wow, those are all beautiful. Photography has always interested me but I've just never invested in a real, quality camera. Hopefully I will soon. This post has seriously inspired me.

[Carl]

This shit needs a...bump

[Carl]

Some new stuff from my internship...

THE FUCK IS THIS! No more then 4 images per post?

FUCK THIS NEW LAYOUT

[Carl]

and because this is the gayest setup around...the next four