Year Two: While We Were Out

Today marks the second anniversary of The First 10,000. It’s been a much quieter year hereabouts than I intended, but I plan on remedying that starting… well, now-ish. There’ll be plenty more coming in the days ahead.

And just because we’ve been away (in a manner of speaking) doesn’t mean we haven’t been paying attention to the goings-on in the world of photography. In case you missed them, here’s a roundup of some things that caught our eye. If you’d like to see more like this, incidentally, head on over to our Facebook page and “Like” us there, since I plan to keep these little incidentals on that page rather than taking up too much space with them here. In the meantime, thanks for sticking around (both of you)!

Let’s get started, shall we?

Greg Bottoms’ “Dear Mr. Eggleston” uses one of Eggleston’s best-known images to spark a discussion, or maybe a reverie, on memory and photography, and the place where the two intersect.

A bit late to the party (as usual), but I feel like I’d be remiss if I didn’t mention Wired magazine’s Raw File, which turns an eclectic eye on photography. While you’re there, don’t miss Raw Meet, which intermittently talks to various movers and shakers in the world of photography.

Raw File: Raw Meet:

Photography in the News (Part One): the internet briefly lost its shit over Swedish photographer Paul Hansen’s prizewinning image “Gaza Burial”. It was initially suggested that it was a composite taken from multiple images, but later analysis would show that this wasn’t the case. The debate over what constitutes acceptable photographic editing in journalism apparently isn’t over just yet.

Photography in the News (Part Two): No sooner had the furor over Yahoo CEO Marissa Mayer’s comments on maternity leave started to die down, she stepped in it with photographers. Saying that Flickr would no longer offer a Pro option  because there’s no such thing as pro photographers any more. I was perplexed; this hit the news within days after I’d gotten an email from the service suggesting that I go pro (apparently pros don’t exist, but their money’s still as good as anyone else’s). The considerable number of people who are pro photographers reacted with a combination of anger and scorn, to the extent that they bothered to think of Flickr much at all (the service has lost many of its professional users to other services). My brain hurts thinking about this, much less writing about it. Imaging Resource has a higher tolerance for this sort of thing than I do, and their take is here:

Photography in the News (Part 2 ½): On the other hand, maybe we shouldn’t be so quick to dismiss Ms. Mayer; the PhotoShelter blog had this rather depressing item about the Death of Photojournalism. It’s a topic that’s bloomed like a hoary perennial for the last decade or so, but given that the Chicago Sun-Times had just laid off the entirety of its photojournalism staff, they may have been onto something.

The Washington Post avoids controversy with their “Iconic Images” series, which also manages to avoid both context and history… while there’s little arguing with the images they chose to feature, anything of this nature will raise eyebrows (or hackles) with what it leaves out. The WaPo seems to think that not much of note took place prior to 1945, which would be news to some of the best practitioners of the art and craft of photography.

And of course, there’s some photography.  I’ve come across some great photo projects in the last few months. If they share anything in common, it’s that they’re coming from photographers with a more inclusive eye for beauty.

Photographer Angelica Dass calls Humanæ “a chromatic inventory, a project that reflects on the colors beyond the borders of our codes by referencing the PANTONE® color scheme.” Her project subverts the ways we normally look at, and think of, race and “color.”

Marian Drew’s Still Life / Australiana (2003-2009) consists of breathtaking shots of roadkill. Yes, I wrote that sentence, and I mean it without a trace of irony.,m4,default,1&m4albumid=38&m4returnid=50&page=50

Rick Guidotti’s Positive Exposure is a direct response to the fashion photographer’s frustration at being told, in effect, what was and was not beauty. His response? Illuminating the beauty of those with genetic differences.

Jens Juul’s Six Degrees of Copenhagen turns a sympathetic eye on that city’s denizens.

Mark Laita’s series Created Equal is a meditation on social mobility and inequality.

Finally, of “Impaired Perceptions,” Brian Charles Steele says, “These portraits show each person’s humanity and force the viewer to see them as individuals.”