Tuesday 31 May 2016

Review: The Leica-Branded Huawei P9 is Impressive… for a Phone Camera

Opinion: A Disturbing Trend in Photography

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I’m old. Believe me, I know it. I’ll be 70 in a few months. That fact may make it hard for you to take me seriously, but bear with me for just this post. With age comes wisdom, right? What I want to write here is that I think the field of photography by those making art is changing in a disturbing way. Read on.

Photographic series or bodies of work are being explicated, explained, contextualized, rationalized, and elevated with text or verbal rationals. You’re thinking: so what? That’s no big deal. Let me start with a short history and then let’s take a look at current practice.

20 or 30 years ago, going to a photo show at MOMA or the Met, SF Modern, ID in Chicago, or even the Whitney often meant you were confronted with a row of framed and matted photographs along with perhaps a brief statement from the show’s curator that gave some biographical data on the photographer or maybe explained in what context the works were being shown. The titles of the work were usually the place and the year the images were made.That was it. The expectation was that the photographs stood on their own, were to be viewed and understood on their own terms, usually as single images sitting next to other single images—think Robert Frank, Lee Friedlander, Harry Callahan, Frederick Sommer, Lew Baltz, even Ansel Adams and Cartier Bresson. Few words were necessary. There were exceptions, of course. For instance, Robert Adams, who had whole reams of text used to flush out his work and build a rational.

Now, go to a show by a recent MFA grad or sit across the table from someone showing you their work at a portfolio review and things are very different. For most work there is absolutely no understanding possible without a written or verbal account of what the photographer is up to. I always have the sense that I am joining the telling of a story in the middle, trying to play catchup. For most works, separate the photographs from the words and you have no ability to comprehend what is going on.

This isn’t always awful, as perhaps it is part of the evolution of the medium into a specialized category that leads to increased specificity and a clearer intent. But, and this is my main point: the photographs often aren’t very good. It’s as though photography has been sublimated to a necessary part of the total, that the words are the priority and the photographs somehow are ancillary or secondary and therefore not needing much attention.

This resides perilously close to using the photographs as illustrations, really another field entirely.

What is this? My theory: most new art photography these days come from MFA grads who have studied the medium, not only its practice (although often not enough) but its theory, its criticism, its analysis. As the medium’s craft has become easier, more fluid and automatic, mastery of the technical and visual has become less important.

Students flowing out of MFA programs now that were started in the 60’s and 70’s are graduating with degrees and thesis works that are equivalent to PHD dissertations (there is no PHD in applied photography) as the MFA is the terminal degree in the discipline. These grads and recent grads are learned, academic, studied, vocal, theoretical, and informed in the medium’s history. They are also “conceptual” in that the thought is formed, the work is made to fit the thesis, and then executed as a package with the written text to go along with it. This can resolve itself in performative works, video and/or photographs with a primary written component and a secondary tier of importance to the photography.

As photography at this level has grown, the treatment of it as an academic pursuit has as well. Very often the craft of the medium is subsumed, indicating the artist has little interest in the inherent qualities of the discipline itself, using it simply as a vehicle for visual communication. In fact he or she may have graduated from just that: a department of visual communication.

This constitutes a “literalization” of the medium or in effect a deconstruction of its inherently visual qualities resulting in an analytical and intellectual final result.

Go to a graduate thesis show and take a look. The students are concerned with issues of identity, gender, developmental and emotional positioning, posturing, physical and emotional abuse, cultural and societal pressure and assumption, human rights, sexual identity, and on and on. Each of these ideas and many others takes on a personal relevance and importance square in the photographer’s aim, as though there is a catharsis that when shared it is assumed to have relevance to others who are there looking at the work. Of course, much of this is narcissism, self-absorption, even making work with blinders on.

Before you label me an old guy with a lack of sympathy for the young and an inability to see the value in younger’s peoples ideas, read on. Joni Mitchell once sung that “the old hate the young” but I have always really liked the young; take my forty years of teaching at the university level that I really enjoyed as a case in point. Youth is vibrancy, endless energy, huge flexibly, and a sense of discovery that is wonderful to be around. But making the assumption that I or any viewer wants to hear the personal story as a prominent component of the art just really gets me going. I do not. I want to be able to look at the art and judge it on its own merits. Presently, I find a good deal of it lacking.

Look, the practice of making pictures used to be hugely craft based. You needed to study photography and the making of pictures hard to be good at it. It used to be difficult to do well. As a professor I seldom saw any student any good at it until they were a couple of years in. Now, the level is higher and proficiency comes without much work. I doubt most students two years into their degree can accurately tell you what ISO is, aperture and shutter speed settings, 18% gray, reciprocity failure, D-Max and so on. You can build the case, of course, that they don’t need to know those things. Put the camera on “P” and fire away.

My point? As photography becomes ubiquitous, as we are all photographers and even the most simple of cameras made today provides stunning results compared to a few years ago, photography is free to explore areas never approached before. That’s all good. But please give me less words and better pictures! I find the story, the text, mostly boring and condescending, telling me how to look at the photographs rather then letting the photographs do the talking.

It’s ironic that as photographs have become easier to make and there are more photographers than ever before making more photographs the pictures are worse.

As Kurt Vonnegut wrote in Slaughterhouse Five when referring to the allies massive bombing campaign of the city of Dresden towards the end of WWII that killed people in the hundreds of thousands:

So it goes.


About the author: Neal Rantoul is a career artist and educator. After 10 years teaching at Harvard and 30 years as head of the Photo Program at Northeastern University in Boston, he retired from teaching in 2012. You can find out more about him, or see more of his work by visiting his website. This article was also published here.

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Pop Star Adele Shames Fan for Setting Up a Tripod at Her Concert

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Many of of us have done it: rather than enjoying that amazing concert or live event you’re at, you pull out your camera and end up watching most of it through the LCD screen. Well, pop star Adele ain’t havin’ it, especially if you go so far as to set up a tripod.

The singer-songwriter is making headlines today after she was recorded (*insert irony here*) telling off a woman in the crowd at this weekend’s show in Verona, Italy. “Can you stop filming me with a video camera, because I’m really here in real life,” she says. “You can enjoy it in real life, rather than through your camera.”

You can see the full moment (twice) in the video below:

Obviously there were a lot of cameras out filming/photographing the show and this interchange, but it seems the thing that upset the pop star wasn’t so much that someone was filming her, it was that the woman in question had supposedly set up a tripod in the front row of the show.

“Can you take your tripod down?” you hear Adele say towards the end of the video, visibly upset. “This isn’t a DVD. This is a real show.”

Both comments were met with cheers from the crowd, but while most people seem to be on the pop star’s side, a few responses like this (and harsher) did crop up online:

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Of course, this isn’t the first (and won’t be the last) time a musician has called out a fan publicly for taking pictures or recording video. Beyonce once told a fan to “put that damn camera down” and Ryan Adams yelled at a fan for using flash and triggering a serious medical reaction.

In the end, unless you’re shooting the show professionally, it may be safer to just leave the camera in your bag… and DEFINITELY don’t set up a tripod. Public shaming is no fun.

(via Daily Mail)


Image credits: Adele Live 2016 Tour by Egghead06.

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The Most Detailed Photo of Pluto You’ll See ‘for a Very Long Time’

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10 months after its historic Pluto fly-by, the New Horizons spacecraft has finally finished sending back “the most detailed photos of Pluto’s terrain you’ll see for a very long time,” according to NASA.

The strip mosaic is made up of close-up, black-and-white shots of the dwarf planet’s surface that covers the whole hemisphere New Horizons saw as it flew by in July—from a rugged mountain range through a stretch of bright, nitrogen ice plains. The final mosaic includes all of the highest-resolution images taken by New Horizons.

You can see the full image here, or click play on the video below to get a tour of the whole thing from top to bottom:

The final mosaic boasts a resolution of about 260 feet per pixel, with each image captured by the spacecraft’s Long Range Reconnaissance Imager (LORRI) camera from a distance of about 9,850 miles (15,850 kilometers) from Pluto.

To learn more about this image and what it took to capture it, click here.

(via Engadget)


Image credits: Photos courtesy of NASA/JHUAPL/SwRI.

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Nikon May Be Working On a ‘Large Sensor’ Mirrorless Camera: Report

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Nikon may be planning to get serious about mirrorless cameras, and soon. Online ‘chatter’ about the camera is beginning to increase, and Nikon officially registered a new digital camera in Indonesia just yesterday.

The report comes from Nikon Rumors, who can’t say for certain whether the camera will be announced at Photokina or not. According to previous rumors, the mirrorless camera will have a “large sensor” and could potentially sport an F-mount.

What we do know is that Nikon just registered a new digital camera with the Indonesian communications agency, the “N1514.” According to Mirrorless Rumors, this sort of registration comes just a couple of months before we officially hear about the camera:

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It’s been years since Sony released the first a7 full-frame mirrorless system, and given the hype around those cameras, it wouldn’t surprise us if Nikon jumped into the FF mirrorless game. Then again, “large sensor” could also mean APS-C, given Nikon’s current mirrorless lineup.

Whatever the case, more details should begin to leak soon if the camera is due out in just a few months’ time.


Image credits: Nikon 1 J5 by Henry Söderlund.

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Monday 30 May 2016

Exploring the Work of Irving Penn with a Museum Curator

The Dallas Museum of Art is currently running an exhibition titled “Irving Penn: Beyond Beauty,” the first retrospective of Penn’s work in nearly two decades. If you’re unable to see the show, which contains over 140 of the late photographer’s photos, check out this fantastic 13-minute video by The Art of Photography.

In it, host Ted Forbes is given a special personal tour of the show and some of its photos by Sue Canterbury, the Curator of American Art at the museum. Canterbury provides a close look at Penn’s work through the perspective of a curator. The video is full of interesting background information that’ll give you a deeper understanding of Penn’s images.

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