the word so far.

Thanks, blogger, for erasing my entire post. Condensed version:

quote I like: not how I work by any means, but admirable and interesting


To simply see what something(s) looks like: the light, the space, the relationship (visual) between the distances, the air, the tones, the rhythms, the texture, the contrasts, the shape of movement… the things themselves… not what they might mean later, not socially, not politically, not psychologically, not sexually (a cigar is not even yet a cigar).

Not to name, label, evaluate, like, hate; no memory or desire. Just to see.

This is the hardest thing to do, but that’s all that can be photographed. The camera records the light emitted from the surface of that which is placed within its field of view.

P e r i o d.

To experience the meaning of what is. To stay with it for even a few seconds is no small task. The sound of voice without language, a musical line, a ceramic vessel, a non-objective painting. The presence of it, the weight of it, the miracle of its existence, of my existence. The mystery of the fact itself.

Maybe it’s the second law of infinity where you keep going halfway there forever. Cutting in half to eternity, and ‘grace’ is needed to jump the gap. I keep taking pictures hoping something will help me across.


- - Philip Perkis
Teaching Photography – Notes Assembled
OB Press-2001


I would love his book, but couldn't justify spending the fifty dollars when I'm already buying a twenty five dollar book.



Just found out I love Katy Grannan's pictures. The Westerns is some of her newer work from an exhibition in January of 08'.



I spent all day today outlining my new long term project for school. I'm not totally happy with the idea, honestly, but I'm going to try working with it since the topic resonates with me and thus makes it easier to work.

I'm also going to try and do some portraits now. I've been wasting too much time. Time to buy some fabric! Although I love diaries and journals, I'm tired of my photography being a product of where I've been and what I've been doing. It's too casual right now.

I know I haven't developed a style yet but I at least have the aesthetics figured out in my head, finally allowing me to go shoot instead of think. It's about time.

Finally have my lightmeter. I bought an amazing little bag for my lenses, too. Looks like it's Hassie time.

On a happier note: Obama's president!!wooho!!

PS: This book is beautiful.

Posted at at 1:06 AM on Wednesday, November 5, 2008 by Posted by Jack | 0 comments   | Filed under:

Justine Kurland, Michael Lundgren, Sannah Kvist, Ryan McGinley, Nadav Kander, Yosuf Karsh


















Posted at at 9:47 PM on Tuesday, October 21, 2008 by Posted by Jack | 0 comments   | Filed under:

"My Broken Hasselblad"

It's true. I took Hass up to Nippon Photoclinic on Broadway to remedy the lens and bellow syndrome it came down with. Fortunately it was only 30 bucks. This seemed like A LOT when I dropped Hass off - I walked out of the Clinic wondering if you can haggle with a technician. A few days later I was checking my voice mail and found two important messages in my inbox:

1. Someone named Kevin wanted to know when and where the funeral was. It creeped me out that I had apparently inherited this man's phone number (maybe I was in his will) or instead the fact that Kevin doesn't give two shits about this guy enough to keep current with his phone number.

2. A worried Japanese man informing me that my lens was indeed detached but there "has been a problem with your body". Fantastic. The only upside of that message was hearing him recite his telephone number... I really loved his annunciation.

I must have sounded pretty important in the New School cafeteria:

"Excuse me, so my HASSELBLAD is broken? You know, Victor Hasselblad's camera, made in Sweden by precision technicians? Yes yes. You fixed the lens? Ah very good. There is a problem with the rear flaps? ... They don't fully close? Okay, I'll be right there." ::CLICK::

Instead he just sort of told me one of the rear flaps doesn't fully close, and that labor is $160 if no parts were needed....otherwise it might as well be $200. Hah. So I took my broken camera home. I'll fix it someday when I'm not broke. Funny. I even shot off my last two shots just so I can see how the mistake looks on the negative. I imagine it will just be a half exposed or fully exposed negative. But ya'know it'd be nice if the other 10 came out nicely, considering I've gotten a little screwed over last time I got developed.

About that. I accidentally developed my roll I shot for my photography class in Union Square that we were saving for the darkroom. Dropped it off with my color roll by mistake. Not bad, but once I set the negatives on the light box I there were these dark.. UGLY streaks all over most of my good shots. I asked the man what these were, and although his response of "light leaks" sounded like a canned response for "oh crap I ruined his negatives", his answer is entirely believable. I AM shooting on cameras made in 79' and 85, after all. In the meantime I gaffer tapped the hell out of my one body and ordered some light baffle which will hopefully solve the problem. Tomorrow I'm planning on shooting my roll in USQ after an unsuccessful stint in the rain today.

So let's take inventory:

Broken Hasselblad
Broken Contax 159mm
Broken Contax 139 Quartz
Nikon D70s


This means I'm camera-less.


"But don't you use digital Jack?"

"No, ever since I moved to New York I'm a film elitist. Thanks."

"But isn't 90% of your work digital anyway?"

"Shut up."


Now we transition to the pleasant part of my post. (This is my favorite part)

Finance a Young Photographers Education: Buy Him This Book!


Jack wants a beautiful new book. Since no one bought him the last one he posted he put up a new one instead. (thanks mashal!)

The book is Asakura Portraits, by Hiroh Kikai. Since the site is flash based I'll post one picture and give you the link here for the rest. Beautiful portraits.

You might have seen this artist in the past (I know I have) but I wanted to feature some of his newer work (since I love it!) Levi Van Veluw, besides having an awesome name, is an artist from the Netherlands who likes to do stuff to his face. Copy pasta!

His works constitute elemental transfers; modifying the face as object; combining it with other stylistic elements to create a third visual object of great visual impact. The work you see therefore is not a portrait, but an information-rich image of colour, form, texture, and content. The image contains the history of a short creative process, with the artist shifting between the entities of subject and object.

Although one can certainly accomplish a "landscape of the face" with say wrinkles, furrowed brows, hair, whatever- the constructed feel here creates an interesting dichotomy between the object/subject, also revealing the symbiosis between the two. One can exist without the other, but it wouldn't have the same impact at all. Plus "Gravel" reminds me of Pan's Labyrinth. I love the uncovered shoulder for reference, a reminder that this is something very familiar and natural - the human face. I can't help but look for the familiar contours of the skull while looking at what is essentially a study in texture. Plus most of them are pretty clean.


It's the harvest season!

Icccceeeeee

Pan's Labyrinth


Photoshop CS2esque.

The Ballpoint series is how I originally was introduced to Levi van Veluw. I'm glad I checked back. Go here for more.

*This may be interesting for fellow Parsonites who will be dealing with magazines in the very near future:

Wired is doing a profile of a profile of Charlie Kaufman here
Very cool behind the scenes info. I haven't read all of it yet.

Last on my list is a set of shows I plan on attending this September. If you're at all interested in coming, let me know! (By all means this is a copy paste job from various sites...) Any suggestions, please post in the comments. I haven't even taken a look at all of these on my list, most were suggestions.

September 10, 6-9 Walker Evans: Carbon and Silver Opening reception On view through October 11 Bond Street Gallery 297 Bond St., Brooklyn

September 10 MoMA New Photography 2008, featuring work by Josephine Meckseper and Mikhael Subotzky Opening On view through January 5 Museum of Modern Art 11 W. 53rd St.

September 11, 6-8 Eye Mind Spirit: The Enduring Legacy of Minor White; Minor Impact: An exhibition of 16 photographers who were influenced by Minor White Opening reception On view through October 18 Howard Greenberg Gallery 41 E. 57th St.

September 12, 6-8 How I Spent My Summer Vacation Opening reception On viewing through October 11 Michael Mazzeo Gallery 526 W. 26th St. between 10th and 11th Ave.

September 12, 6-8 Alessandra Sanguinetti: The Life that Came Artist's reception On view through October 18 Yossi Milo Gallery 525 W. 25th St.

September 12, 6-8 My Other Nature: Jesse Chan, Amy Elkins, Travis Kent, Sara Macel, Azikiwe Mohammed, Reka Reisinger, Heather Sullivan, Eric Weeks, Ofer Wolberger Opening reception On view through October 10 The Camera Club of New York 336 W. 37th St., Suite 206

ROE ETHRIDGE
ROCKAWAY REDUX
SEPTEMBER 4 - OCTOBER 4, 2008
Andrew Krepps Gallery
525 W 22nd St

Guggenheim
Louise Bourgeois

Silverstein Photography
Jesse Chehak
529 W20th

Luhring Augustine
Joel Sternfeld
531 West 26th

Sikkema Jenkins & Co
Vik Muniz
530 W 22 St

303 Gallery
Doug Aitken
525 W 24th

Feature Inc
Richard Kern
276 Bowery

Josef Koudelka: Invasion 68 Prague Aperture Gallery
September 5 - October 30, 2008
Opening reception: September 4, 6 - 8 pm

Kevin Cooley: At Light's Edge
Massimo Audiello Gallery
September 4 - October 11, 2008 Opening reception: September 4, 6 8 pm

Check out ArtCal for news on new gallery shows.





Posted at at 11:50 PM on Friday, September 12, 2008 by Posted by Jack | 0 comments   | Filed under:

Impossible Situations

#1 My Hasselblad is stuck to a lens/bellows that isn't even mine. (Long story) It's in between cocked and uncocked. I can't remove it! Supposedly this is one of the only flaws in the very reliable Hassies. Figures it'd happen to me. I normally wouldn't mind but I am 10/12 shots on my roll and I'm ithching to get them developed! I saw this woman I would have loved doing a portrait of but I only had B&W film on me at the time.... needless to say the color film was on my Hassie. Definately a color shot. Oh well. Tomorrow will be the third time I try taking to to B&H, hopefully we can get the damn thing removed.

#2 is slightly more interesting and a bit less tragic. I jsut wanted to feature a few of my favorite shots from the Lens series for NYT. Damon Winters has a series called "neighbors" in which he uses double exposures to capture the many juxtapositions of NYC. Here are some of my favorites.



I know double exposures aren't a new invention or anything, but they are real eye openers in the same way diptychs can be in terms of photographic possibilties of juxtaposition and even composition.

They have a kick ass interview with Damon Winters while he talks about his process over a slideshow. Good stuff.

On third note if you noticed a lack of updates in my flickr stream lately it isn't because I haven't been shooting, rather, I've been shooting film since I've gotten to the city. I do believe I wasted my first roll of 120 by loading it incorrectly but once I finish up the roll on my Hassie I'm going to take them to get developed and hopefully scanned ASAP.

I did update with one shot I've been wanting to do for awhile now, I just needed the right conditions. Here's an outtake (slightly oof) It was suprisingly hard to get the natural pose I wanted, but overall the results turned out okay.



More final version can be seen here along with the photo on the bottom which takes the context of the city out and suddenly becomes a study of form and the texture of waterdrops. If it isn't obvious the silloheting is very intentional. It took me awhile to achieve the exact amount of light I wanted to fall on the edges.

Other than those there are a few shots I'm anticipating from my roll of color from my 159mm. I hope I can use the scanner at Parsons to scan the negatives.

Possible titles next post:
"My Broken Hasselblad"
"My Tricked Out Leather-Clad Thunder Bolt Strap 159mm"
"My Photo Class Shopping List"
"I Hate My Photo Professor"




Posted at at 8:47 PM on Saturday, September 6, 2008 by Posted by Jack | 0 comments   | Filed under:

A Number of Updates

So after a week here at Parsons I've finally found the the time to update! It's been an interesting week so far. First of all, I have never walked so much in my life. I just wanted to get that out of the way. Welcome Weekend was fun, but these past few days I've gone out and explored the island with my camera. I think I should work on "socializing" a bit more, but honestly it's such a weird environment! I'm waiting for time to work the kinks out.

Before I left both Andreas Gursky and Topologies by Edgars Martins came. It's very interesting that I've ordered them together because although they both work large format, Martins doesn't touch his work while Gursky edits the crap out of them digitally. Me? I'm more of a Martins guy. But I have to say the Gursky book definately opened by eyes and helped me appreciate his work. I love books like these that go deep into the process of the photographer. I haven't gone to college yet but I'm betting these are some of the best textbooks available. I know I've learned a lot from them.

Sponser a young photographer's education: Buy him this book!

Steidl, (the same people who just re-released The Americans) released Wake by Adam Jeppesen with beautiful pictures inside. All I've seen so far are the online spreads, but once I can afford it I'm ordering right away. Best part: pictures made in "backwoods of Finland". I'm sorry but, isn't all of Finland considered "backwoods"?

(beautiful cover)


** As an aside, why are all of my favorite bands either sold out or too expensive? (And when people got in for free, why didn't they ask me to come!?) Radiohead, Kings of Leon, Sigur Ros. It's all a stab in the chest. Next thing I know Beirut will have a show in NYC and there will be no tickets left for me.

As for the work I've been doing, you can see a limited sampling of *crap shots* on flickr. (I really don't like them anymore) But otherwise, you'll have to wait till I get them developed. I'm actually using film now! Hurah!

Surprise, surprise.

Yes, I gotta medium format. Now I can be all professional and ish. I think that's it. I've been really conversative with my film. I'd walk for hours but only take two to five shots a day. Whereas digital might be 70 shots? Crazy huh. I need a lightmeter. And I need to focus. I've been pretty philosophically abut my photography lately. I really have to get stuff done this year. See you again when classes start.

** Um, we have phase 1 digital backs available for rental. Hell yes!

Posted at at 9:37 PM on Thursday, August 28, 2008 by Posted by Jack | 0 comments   | Filed under:

I Love This Man & Other Things

Edward Burtynsky. I love this man. How could I love... what's the word, someone so - so...Canadian? It's not too hard. If you haven't already checked out his work, (which is completely understandable, im sure hes on your list of people with names ending in 'sky' and you just haven't gotten to him yet) I would strongly suggest taking a peek (a long peek) at his site I'll list at the bottom of this post. Very classic stuff. In fact I'm going to feature a few of my favorite shots, so unless you're quick on the back button you've already seen them.

Back to reality. I came upon his pictures while cleaning out 300 gigabytes worth of crap. I'm reformatting tomorrow, by the way. Gonna be running a tight ship in college. I didn't really intend on posting tonight but I wanted to post about this guy before Windows ate him somehow.

Mmm, smell that? It's the smell of fresh Canadian Photography. Smells like pine. (that is what Canada smells like, right?)








Posted at at 10:51 PM on Sunday, August 10, 2008 by Posted by Jack | 0 comments   | Filed under:

Blog Without Pictures

In my previous post last night I reflected on the merit of Edgar Martin's work Topologies. The discussion (for those too lazy to scroll) went like this:

One book I've passed over before which caught my eye again was Topologies by Edgar Martins. I remember when it first came out I snubbed it because I didn't immediately like the whole 'black sky' deal he had going on. I figured it was some cheap photoshop work that was trying too hard to be art. On second viewing I read no photoshop was involved with the whole image making process. Does that make the picture better for me? Yes. I won't touch on that part now... arguing the specifics makes for a very long (but at the same time very interesting) post.

On it's own, the black sky image would not have elicited the same response. It's coupling with similar 'black images' and other bona fide pictures together in a single work is what made me question its merit. Awhile back I read the first post of Concientious's When The Medium Becomes The Message. Colberg stressed the importance of end result, rather than a focus on the process. While I agree completely with this statement, the process of the photograph is irrevocably tied to the end result of the picture. This may seem obvious, but you have to remember the process used is also a mirror of the photographer's intention. Saying "all tilt-shift photography is great" is obviously not accurate at all. In fact, I hate most tilt-shift shots. But that's just me. If the use of tilt-shift to alter perspective made the photo great, then that is surely a use of process for an end result. If the photographer chose a normal lens, it's very possible the photograph could have lost it's impact that made it great in the first place. I know this a drastic use of an example- since tilt-shift itself is drastic- but the same line of thought applies to all uses of photography.

I just got done reading the new Words Without Pictures essay "A Picture You
Already Know." Although the focus was repetition in photography, there was a portion which touched upon the originality of vision:

"Chuck Close observed that “photography is the easiest medium in which to be competent and the hardest medium in which to have a personal vision because there’s no touch, there’s no hand, there’s no physicality, there’s no interface.”[1] Without the unique particularities of drawing or rendering to shape the forms and contours of the image, and without the characteristic marks of a paintbrush, palette knife, or hand to create and shape the actual surface of the picture, the photographer depends on available technical options to convey his or her intentions. Which camera format and lens focal length should receive the intended view? Which photographic surface should receive the resulting image (matte or glossy paper, Kodak Endura or Fuji Crystal Archive, etc.)? These technical parameters focus the range of expression and make repetition in photography even more pronounced than in other visual arts. It makes the photographs of two different photographers look more similar than the paintings of two different painters. It can also seem to imply that photographers are revisiting the same themes, iconographies, and styles when, in fact, the range of subjects in the history of visual representation has gradually expanded over time."

These technical factors often define the limits of the photographer since he needs to limit his method in order to achieve his vision. 35mm or 8x10? Even the choice of camera is a reflection of intention. You might say you love the genuine expression of 35mm photographs. Although this is a giant leap in generalizations, isn't a 35mm SLR more conducive to capturing someone in a moment? This of course depends upon location (street, studio) and the use of the camera. The negative size and deliberate under or over exposure must be thought out ahead of time if the photographer has a deliberate intention and defined vision for the photograph. The end result or 'presentation' is then tied to the photographic process. That's obvious. The real question is whether the use of a certain process will make a picture great. Although the answer is no, again, the use of any process is a reflection of the photographer's intention; it is him using one of the only 'hands' he has in the pursuit of his image.

But what does the intent of process have to do with Martins' photograph? I might get shit for this, but the use of the digital darkroom extends the photographers hands to an unlimited reach- an unnatural reach. Far from being the most limited medium, today photography is often the most used and manipulated. Digital art is not photography, but photography is soon becoming a digital art. Although I have no problem with digital art and manipulations, in order for a picture to be labelled 'photography' the intention and process must be seriously considered. Putting digitally altered work next to, or in the same book as more 'genuine' photography isn't my taste. I wouldn't say it is flat out wrong, but to me it does not belong. But as the digital world and changing market evolve, photographers will be collaborators in more mixed media and photoshop use than ever before. Demanding advertising jobs want perfection. This identity crisis will face photographers with a serious question: at what point does a work become digital art? Personally, the answer is when you realize you are simply putting together a collage rather than orchestrating the necessitiesfor the shot to exist by itself. Although you become an artist with unlimited freedom, it is theese limits which define photography as a medium; this repetition is what makes photography beautiful.

** Funniest part is: the shot in question is simply a beach shot at night. In Portugal, I think. It's one of the 'non-places' thats so pervasive in his work (airport runways, anyone?)

*** august 13th- stumbled across this article and figured I would attach it to this post

Posted at at 7:02 PM on Monday, August 4, 2008 by Posted by Jack | 0 comments   | Filed under:

I Like Books, But I Don't Like To Read: Photo Books I Want This Christmas

That's a lie. I do like to read. I almost finished up King Leopold's Ghost today, which is the true story of Heart of Darkness and what really went down in the Congo. I've been a little bad because I remember buying that book when it was cold out. Oh well. It's not really a tossup between photo books and normal books; I think photobooks will suffice when there is not enough room on the wall for a full body of work. (no really?) Otherwise, the prints themselves are amazing and I think anyone would agree with me on that. When I was at the Aperture Building this past Friday I saw them taking down Richard Ross's Architecture of Authority and wow did that print look amazing! The cover of the book, which was right next to me, had a bluish tint to it and sadly lost it's effect when confined to the 'borders' of the book itself. It looked beautiful on the wall. I never really liked that picture until that moment. 

Before I get to Fiday, I won't to complain for a short paragraph. After the last post about Heima/McGinley I broke down and ordered Heima from this website. I looked all over online and no one had the limited edition booklet except them. Not odd at all this random site had it right? No. Yes, actually. It turns out it isn't the special edition at all. I got jipped. Now I have to call and get my money back, go to the post office, ship it back...etc. Pain in my ass. I really want that damn book.

Friday consisted of going to a few galleries with my good photographer friend Camilo Godoy. He's a great photographer - really creative and pretty regular with the amount of work he turns up. (probably the #1 way to improve) Check out his flickr stream here. 

We went to a few hundred galleries, had paninis next to my dorm, almost got out cameras stolen and had crepes under these 3 amazing buildings next to the NYU campus. First place we checked out Cancelled, Erased & Removed at the Sean Kelly Gallery on W29th. This was probably the most interesting non-photography show of the day for me. All of the work echoed the title of the show; all work was either erased, tore down, removed or manipulated in some way. Very cool. I'm not going to list the rest of the non-photography shows but I have to say they taught me how to look at art. A lot of the time I was disinterested but after the conversation in my head ended I settled on the obvious but nonetheless enlightening realization. Thank god that happened before art school. (Speaking of, my loan is still in limbo. I'm trying to get the best rate possible.)

Before we even went to The City my recommendationwas Asako Narahasi's half awake and half asleep in the waterI'm not sure if I've blogged about this before but it's worth mentioning. Overall the show was pretty satisfying. Along with Narahasi was The Hyena And Other Men and Horizons by Szetsong Leong.  Some of the work was just okay but the rest of the gems make up for it. I'll post some of my favorites. 

 

While we were watching them dismantle the whole exhibit at Aperture I thumbed through some books for sale. One that caught my eye was Uncommon Places by Stephen Shore. I don't have much to say about that besides I liked what I saw (which was little.)  One book I've passed over before which caught my eye again was Topologies by Edgar Martins. I remember when it first came out I snubbed it because I didn't immediately like the whole 'black sky' deal he had going on. I figured it was some cheap photoshop work that was trying too hard to be art. On second viewing I read no photoshop was involved with the whole image making process. Does that make the picture better for me? Yes. I won't touch on that part now... arguing the specifics makes for a very long (but at the same time very interesting) post. Now to be fair I really enjoyed the black sky set the second time around, before reading it wasn't a cheap photoshop trick. There were a few amazing shots that made me fall in love with the book in that brief encounter. I'll try and list some here (i haven't seen much.)

At the end of the night, sitting down on a concrete wall, I realized living in New York City will be one of the highlights of my life. That day made me love the city I was really unsure of if you asked my opinion last year. 

Not to extend my post even further but I have a lot to cover! I haven't been home in three-four days! I don't like to split up post-subject matter too much but separate posts would make no sense at this point. I went kayaking today and as expected, I loved it. It was a four hour trip but nearing the end I was wishing for more. I'm really happy I've found another great hobby. And no, I did not bring my camera... I was too scared. I wish I did. 

Posted at at 9:57 PM on Sunday, August 3, 2008 by Posted by Jack | 0 comments   | Filed under: