Posts tagged photography
“Every photograph is an act amid a complex structure of choices. These choices, which extend beyond the time of the photograph, influence the photograph before, during and after its instant. Reading photographs in context is a participation in this complex”
– Between The Eyes. Essays on Photography and Politics. David Levi Strauss
(via Matt Stark)
ART + SCIENCE features photographs by artists who address a genre of photography that lives at the intersection of art and science. This movement is not new, yet its reach is currently building momentum. More than producing aesthetic images derived from scientific data, science-inspired artists find connections that reflect a common purpose – one that integrates the authenticity of science and the communicative power of art. The sci-art movement promotes dialogue and offers a platform in hopes of improving the world in which we live.
“This final panorama embodies what made our Opportunity rover such a remarkable mission of exploration and discovery,” said Opportunity project manager John Callas of NASA’s Jet Propulsion Laboratory in Pasadena, California. “To the right of center you can see the rim of Endeavor Crater rising in the distance. Just to the left of that, rover tracks begin their descent from over the horizon and weave their way down to geologic features that our scientists wanted to examine up close. And to the far right and left are the bottom of Perseverance Valley and the floor of Endeavour crater, pristine and unexplored, waiting for visits from future explorers.”
Large area WAC mosaic illustrating reflectance differences due to 30° change in view angle from the center of a WAC frame to each edge (no photometric correction). Mosaic composed of ~30 WAC orbital image strips [NASA/GSFC/Arizona State University].
“The incapacity to name is a good symptom of disturbance.”
–Roland Barthes, Camera Lucida: Reflections on Photography
Hang’s photographs carried the tags of nude, youth, sexuality, social norms, gay?, even in China!, and seemed enough for a story. That’s what I went with; the significance of Ren Hang would not become clear to me until a few years later. This interview was originally conducted in Mandarin. It has been translated and edited for length and clarity. Interview by Erik Bernhardsson. Translation by Dier Zhang.
James Tylor. Hidden in the shadows 2016, Scratched Daguerreotype, 4x5inches. From the series Karta (The Island of the Dead)
Hong Kong’s socially conscious photography isn’t considered “as charming” as Chinese photography in the market. Yet, that is also the reason why Hong Kong photography is so uniquely crucial to the Chinese-speaking community.Hong Kongers are not unfamiliar with the name Liu Xiaobo. The Chinese human rights activist who called for political reforms of the communist party was detained after his participation in Charter 08 in 2008, and was later sentenced to 11 years in prison for “inciting subversion of state power”. China is notorious for imprisoning activists and anyone whose speech are considered a threat to the communist single-party rule. Liu’s misfortune is certainly not a rare event in China, in fact he is one along the line of political prisoners, from human right lawyers investigating the school collapse during the Sichuan earthquake in 2008 to more recently Lee Bo, the staff of Causeway Bay Bookstore in Hong Kong selling party-banned political books, who reportedly was arrested in Hong Kong by Chinese authority to help with an “ongoing investigation”.
TEMPO POLVEROSO. Frederik Vercruysse.
“The caption is made to constrain the photograph into a single state rather than open it up to amplification. If a photograph is said to be a worth a thousand words, very few of those words generally come to mind after a caption tells the reader what the photo is supposed to be about.”
After Photography Fred Ritchin (vianotesonphotography)
As humanity continues to excel in going beyond human abilities through technology, the victory comes with a price: American photographer Roland Miller travels to abandoned places once found useful by the space exploration organization NASA and the U.S. Army and collects their remnants as memories.
Facebook’s Mission Statement states that your objective is to “make the world more open and connected”. In reality you are doing this in a totally superficial sense.
If you will not distinguish between child pornography and documentary photographs from a war, this will simply promote stupidity and fail to bring human beings closer to each other.
– Espen Egil Hansen (Editor-in-chief and CEO Aftenposten)
Building and maintaining a n-to-n communications platform for over a billion *daily* active users across multiple access platforms *is* difficult and *is* hard and you’ve done it and congratulations, that was lots of work and effort. You - and your Valley compatriots - talk excitedly and breathlessly about solving Hard Problems and Disrupting Things, but in other areas - other areas that are *also* legitimate hard problems like content moderation and community moderation and abuse (which isn’t even a new thing!) - do not appear to interest you. They appear to interest you to such a little degree that it looks like you’ve given up *compared to* the effort that’s put into other hard problems.
You can’t have it both ways. You can’t use rhetoric to say that your people - not just engineers - are the best and the brightest working to solve humanity’s problems without also including the asterisk that says “Actually, *not all hard problems*. Not all difficult problems. Just some. Just the engineering ones, for example."
What you’re doing right now - with your inflexible process that’s designed to be efficient and work at scale without critically being able to deal *at scale* with nuance and context (which, I’d say, is your difficult problem and a challenge you should *relish* - how do you deal with nuance at scale in a positive manner?!) smacks of algorithmic and system-reductionism.
–Dan Hon, s3e27: It’s Difficult
It is tempting to make every fiasco at Facebook about the power (and the abuse of power) of the algorithm. The "napalm girl” controversy does not neatly fit that storyline. A little-known team of humans at Facebook decided to remove the iconic photo from the site this week.
That move revealed, in a klutzy way, just how much the company is struggling internally to exercise the most basic editorial judgment, despite claims by senior leadership that the system is working.
The same week Nick Ut’s picture didn’t make it, the small town East Liverpool (Ohio) posted two photographs of a couple that had overdosed in their car, with a small child sitting right behind them. Addiction experts were quick to point out that public shaming would very likely be counter productive. In this case, it was reported, “a Facebook spokesperson said the photos did not violate the company’s community standards.”
As in the case of Ut’s picture, the decision over whether or not to publicly share photographs like the two East Liverpool ones ought to be in the hands of highly trained photo editors, people who not only have the knowledge to understand the “news value” of the photographs, but who have also wrestled with the different underlying ethical problems.
However much any editor’s decisions might be flawed at times, at the very least we can be certain that they have thought about the underlying problems, that, in other words, we’re looking at the end result of an educated process (regardless of whether or not we end up agreeing with it or not). The world of Facebook does away with this.
– Jörg M. Colberg,The Facebook Problem
120 In The Shade, or The Place Where It All Began (Amphitheater, Choprock)
“The spatial implications of chronophotography—which visually shatters the passage of time into a series of discrete moments extracted from an event-sequence of otherwise unfixed length and duration—leads to a reference, in a text on Chard’s website, to the fact that criminologists, physicists, and even paranormal investigators all also began to use “the emerging potential of photography to further their research.” In the process, those researchers “developed new sorts of architecture particular to the demands and opportunities of the medium and the way they were using [them]. There are many research institutions that display the emergence of a new architecture with very little typological precedent.””
Thief of Paris. 2013. Robert & Shana Parkeharrison.
“investigations, experiments, theories of colour and light, abstract displays of light-images — as yet far too fragmentary and isolated — point towards the future, though they cannot as yet provide a precise picture of anything like the future’s scope.”
–László Moholy-Nagy, Telehor.
“photography as a method of searching and recognizing, as a plan for adventure in an endless world.”
unless you grow your own or are friends with a farmer with a sense of humor, you never see a potato or a carrot like these beauts. that’s unfortunate. in our modern mediated globelife we decry fakery in all it’s forms. no matter the field – consuming, political or social – we demand a semblance of honesty. and yet we also require the best, from everything and from everyone. no matter the nature of things, we believe it’s natural that some things won’t make the cut. at some point fairness, candor, probity, bluntness, and integrity take a back seat to whatever we deem fine, fitting and just. easier on the eyes and all that. there are times though when it’s just plain considerate to pull back the veil to see a bit of what goes on when we aren’t looking.
Fan Ho, Shattered Alley 2011
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Trollstigen in Norway. by Christoph Schaarschmidt
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Olaf Unverzart. Ghiacciaio della Brenva, Italy, 2012
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Andreas Feininger. Slinky-like light pattern in the blackness of a moonlit sky produced by a time-exposure of the light-tipped rotor blades of a grounded helicopter as it takes off, 1949.
Left to right: Virginia on a 1990 cover of Aperture. A response to the image on The Wall Street Journal’s op-ed page. Virginia’s letter to The Wall Street Journal.
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