Archives For Thomas

Every three years, ICP’s curators round up some of the most interesting contemporary photography and video works from around the world. The 2013 Triennial, A Different Kind of Order, focuses on artworks created in our current moment of widespread economic, social, and political instability. The exhibition will include 28 international artists who employ photography, film, video, and interactive media. Many of their works reflect the growing importance of new paradigms associated with digital image making and network culture. A Different Kind of Order is organized by Kristen Lubben, Christopher Phillips, Carol Squiers, and Joanna Lehan.
Triennial Artists:

Roy Arden
Huma Bhabha
Nayland Blake
A.K. Burns
Aleksandra Domanović
Nir Evron
Sam Falls
Lucas Foglia
Jim Goldberg

Mishka Henner
Thomas Hirschhorn
Elliott Hundley
Oliver Laric
Andrea Longacre-White
Rafael Lozano-Hemmer
Gideon Mendel
Luis Molina-Pantin
Rabih Mroué
Wangechi Mutu

Sohei Nishino
Lisa Oppenheim
Trevor Paglen
Walid Raad
Nica Ross
Michael Schmelling
Hito Steyerl
Mikhael Subotzky /
Patrick Waterhouse
Shimpei Takeda

via A Different Kind of Order: The ICP Triennial | International Center of Photography.

MAY 17–SEPTEMBER 8, 2013

Trained as a painter and influenced by the artists of the Italian Renaissance.  The very talented Loretta Lux makes highly stylized and manipulated images of idealized children that are somehow to real to believe. It’s this tension she creates between the real and the stylized that makes her work so compelling.

 

via the artists web site

…when two Internet giants merge like this, it affects the landscape in many different ways and one of those ways is, inevitably, copyright.

While the buyout doesn’t mean there’s new legislation or new technology to ponder, it does affect the practical realities of copyright on the Web so it’s worth taking a moment to step back and think about what this means for both the current Tumblr uses, those who have to deal with Tumblr on copyright matters and the Web at large.

via Plagiarism Today 

Unless you actually were busy shooting or live under a rock you might of heard that Yahoo CEO Marissa Mayer thinks we don’t need pro photographers anymore.

Best comeback in defense of all pro’s:

If we don’t need pro photographers because everyone has a camera on their phone then we obviously don’t need professional chefs anymore because of the infinite availability of bowls and spoons.

Top reasons you need a pro:

  • It takes about 10 years of training to really know how to shoot and light many different kinds of products and subjects.
  • Pro’s actually use very expensive lighting and know how to shape it. (If you don’t know what that means you already are using the wrong person…)
  • Pro’s have a vast arsenal of lens and cameras to make sure the image is the right image for the project. Believe it or not the “everything in focus look” the iPhone provides are really bad for most advertising shots. Why? There is no separation of subject and background.
  • Pros don’t teach themselves on the Internet. Most learned via the Master & Pupil method in the actual world:  which means they assisted for years with seasoned pros who taught them their craft.
  • Pros know how to manipulate the way you look at an image. Which means they can bring attentions to what needs to be noticed and diminish the background visual noise.
  • Pro’s know how the language of photography can be used to help you get your message out clearly.
  • Pro’s know how to take a drawing of an idea and make it a reality.
  • Pro’s understand conceptually how a photograph communicates your ideas best. It is with this knowledge that a pro can help you separate your company from the pack.

A very interesting article about how current technology will eliminate the working methods of the individual pro photographer and change the game again. Yahoo CEO Marissa Mayer thinks we don’t need pro photographers anymore but she missed the point. It’s not that there are so many humans with camera’s – it’s the ability to place cameras everywhere we need, to get every viewpoint recorded, that now changes the game in a big way. Clayton Cubitt has decided we can forget about the Decisive Moment because we now live in the Constant Moment.

 

With the iPhone 5 camera module currently estimated to cost about $10/unit, and dropping like a rock with the inexorability of Moore’s Law, we can see how even an individual photographer might deploy hundreds of these micro-networked cameras for less than it costs to buy one current professional DSLR.

What might a photographer do with a grid of networked cameras like this, with their phone as the “viewfinder?” A street photographer could deploy them all over a neighborhood of interest, catching weeks worth of decisive moments to choose from at leisure.

A photojournalist could embed them all across a war zone, on both sides of the battle, to achieve a level of reality and objectivity never seen before. A sports photographer could blanket the stadium and capture every angle, for the entire game, even from each player’s perspective.

Clayton Cubitt  via The Decisive Moment is Dead. Long Live the Constant Moment.