let us now catalogue famous people

vertigo is one of of only three or four american hitchcock movies i've never seen

fave movie of all time. see it in a theater whenever I can. boy oh boy do I love vertigo!
ps. restored looks good, but original print (cared for) looks even better!

i have never seen a hitchcock film!

yes you have

can't believe I said "boy oh boy" ...who am I??

http://lens.blogs.nytimes.com/2012/01/19/life-and-kodak-remembered/

the salsa dancing pic is pretty exquisite imo

ha i saw a weird digi restoration of vertigo recently that looked like it was presented in glorious jpeg-2000, it was really strange. def a gorgeous film though; the greens. in the film thread, morbs linked to a 2011 repertory recap that singles out an old marilyn monroe film notable primarily for its print, which i wouldn't mind catching; i sorta get fascinated w/cinematography when it's a rich/inseparable part of the film - can't really think of anyone with whose work this is the case more than kieslowski - more than when it's just an aesthetic bonus (cf that tom ford flick), but it can be nice just to see stuff that's beautifully shot. one of my least fav wong kar wai movies is one of the most striking things i've ever seen:

http://i175.photobucket.com/albums/w147/clubhouse1/ashes_of_time/07.png
http://img153.imageshack.us/img153/1006/41934757rz5.jpg
http://i175.photobucket.com/albums/w147/clubhouse1/ashes_of_time/10.png
http://img3.imageshack.us/img3/1215/12988917lj5.jpg

i think i had the 'this is so modern!' reaction w/stuff like the misfits, which is kinda a weird text anyway but looks like it's from space or something

http://www.ernst-haas.com/archive/misfits/misfits06.jpg

it took me a while before I realized that there are different 'kinds' of B&W pictures. like, prior to seriously engaging with the medium, they all 'looked' the same to me or perhaps mentally I just conceptualized them all in one big category of 'black and white' in my brain. now, after being told that there are different ways that B&W photographs can look, I can 'see' the difference, and it's very hard to unsee.

yeah this is so true!, & it's hard to think it isn't tangled up with the hierarchy of images related to how colour was phased in as an 'advance'. looking at the life essay you linked is interesting, the scans of the slightly distressed photos are really soft, almost sepia. looking at any of this stuff, like the gednes archive linked above, makes me feel like i should be a better photographer, stop fucking around shooting 100 speed film indoors & getting blank prints back.

ps milo, re:

Canonical Works That Aren't A Chore would be a good ILE thread.

― Kiarostami bag (milo z), Friday, 20 January 2012 02:23 (8 hours ago) Bookmark Suggest Ban Permalink

try to catch the bfi rerelease of l'atalante if it's playing near you, it's great to watch

http://books.google.com/books?id=rEoEAAAAMBAJ&lpg=PA88&ots=IOvOjkZnlz&dq=grey%20villet%20%20Lash%20of%20Success&pg=PA88#v=onepage&q=grey%20villet%20%20Lash%20of%20Success&f=false

the grey villet photo essay mentioned in that lens post

i think of the subsequent creepy ads i pick 'the proving ground', p102, as the narrow victor over the weird auto-syrup dog food bowl

Schlump, thanks so much for that 'Looking fast' link, fantastic stuff there!

yes!, it's interesting. i generally think 'familiar but finite things' vs 'endless sprawling potential newness' is a p big debate ~of~our~time~ & it is pretty well embodied by books versus the rabbit hole of the internet.

hey btw le bateau ivre, i can't remember seeing any phots of yours on ilp, do you drop in here much?

I'm a big photography lover, buy way too much photography books I can't afford and go to exhibitions etc. I don't take much photographs though, or at least don't share much. I think only once I shared some here. So yeah I'm probably a lurker here, but soaking up all the wonderful links and photographs and discussion!

ha i'm glad, i feel bad for asking, it feels like maybe a product of how cosy ILP is, WAIT IS SOMEONE ELSE READING THIS EVERYONE BE QUIET I THINK THE CURTAIN JUST MOVED.

cool beans anyway. post some phots if you ever feel inclined, i think everyone here just likes looking at photos of other places/lives as much as anything.

i think also that a few people decided to "get into film" at around the same time and this ushered in the particular era of ilp we're in now

I don't have that incrowd feeling with ILP at all Schlump, I feel fully at home! :)

yeah its super nice

it's still surprising to me to see an ILP thread that has 50+ new answers regularly

oh sure, i didn't so much mean cosy as in cliquey, more just familiar, like the brady bunch setup that is i love vinyl, etc. i generally don't know who everyone is on other threads, let alone feel familiar enough to sense stranger danger when someone new is around. there was that thread about why people use ILX/what it means to use ILX recently; how well being able to think about & see photography here is a v good example of its appeal

gbx: szarkowski published a book of his photographs before he became famous photo critic. it's title? the face of minnesota.

http://books.google.com/books?id=Fgw6ArCYqv8C&lpg=PP1&dq=the%20face%20of%20minnesota&pg=PP1#v=onepage&q=the%20face%20of%20minnesota&f=false

omg thank you

i have been feeling v minnesotan indeed lately

also: ordered

i just watched gus van sant's restless, feat:

http://img215.imageshack.us/img215/9314/vlcsnap2012012201h07m57.png

two other eggleston things; makes me want chromes real bad

chromes looks fantastic

did you guys know that that americansuburbx site is some guy's blog?

https://www.youtube.com/watch?v=6UC02bm7ZxM

this photo is great; it's a crop, slightly, but so classic:

http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2012/1/27/1327695388947/Clinton-and-Obama-007.jpg

obama's collar is somehow like something out of margritte, where it's the platonic ideal of a man's collar. hills looks like a composite of the characters and statuses in cassavetes' faces, the earring & the expensive jacket

like it reminds me of a raymond pettibon drawing or something.

i thought these were really interesting, too. i guess i like seeing this sort of thing lauded because it's so obviously for content & feel & gesture, etc, which is as close as i am going to get to taking good photos.

ha oops: these

http://theexposureproject.blogspot.com/2007/07/liyu-liubo-13-months-in-year-of-dog.html

I think the full set is here

http://fotofestbeijing.visualserver.com/Image.cfm?nK=683&nL=0&nS=0&i=5864

http://www.talkingbarnacles.com/

are you guys into this

yeah this is v nice
this & the old photo essay stuff posted here makes me want to take more sequences of shots, they look v good, here.

Do other people check out LPV Magazine? I've sometimes liked it, sometimes not, but it's often pretty decent, and the regular digest that's been a thing in 2012 is nice: http://lpvmagazine.com/2012/01/the-digest-–-sunday-january-29th-2012/
Hope it keeps up.
I love those Talking Barnacles pictures. Been on that site all day.

that url didn't paste right btw, best to copy and paste

http://www.newyorker.com/online/blogs/photobooth/2012/01/magnum-contact-sheets.html

Ties in a bit with contact sheets I guess: since I've been enjoying Talking Barnacles and Kate Hutchinson's photos so much, I find myself really wanting to take MORE picture and display them more serially, rather than doing the stand-alone image thing. I like the way that it deflates the epic-ness of any individual picture. Kinda helps to destroy the illusion of the pinpointed perfect moment and 'perfect photograph' in favor of just a series of moments that just happened to be the ones captured in a particular place. Deflates the 'definitiveness' of pictures. I like that. Of course I don't know if I have an interesting enough daily life to sustain something like that, and my instinct is on the side of taking fewer photos (outside of short bursts that can run through a roll in a minute or so, which *does* happen occasionally). I like the looser composition of a lot of the barnacles shots too.
in other words, schlump otm

I haven't enough film in bulk, nor an organized workflow for it so I'm one of those guys that tip toes through a roll over the course of a month or more

dunno about organized workflow, but I just found a place selling fuji superia 400 for $2.49/36-exposure roll. this makes a big difference re: film supply.

the best part about the talking barnacles pictures is the datestamp, and how the setting is always the same setting - really gives you a sense of belonging

btw, for htat new yorker magnum contact sheet post upthread - if you view the contact sheets in a separate window, you get much bigger versions of them

I got a book out from hte library once, jim marshall's contact sheets. very interesting

and I bought the expanded edition of looking in: robert frank's the americans for the contact sheets alone

oh duh it says so right in the instructions

just kinda throwing this in here intending to follow up later, bc i don't have all the relevant tabs i dug up open in front of me:

http://www.ajapanesebook.com/2010/05/shincho-mook-out-of-photographers-001.html

do you know this guy, yonehara? he had this japanese magazine, out of photographers, that afaict published photos people sent in & also some phots by famous people? i guess this sounds like a pre-tumblr tumblr, but i can imagine it being very different in the way you consume the images. some photos in the link above, & i know there's an anthology of stuff from the different issues, somewhere. i'd really love to see a copy, & it appeals to me as an antithesis to the 'photographer'-style book, w/an emphasis either on single images or sets, by pushing abundance & freely made connections between images, instead. re: china's post, although i know there was still an implied grouping to the kind of set you get with a contact sheet, etc.

every couple of weeks i start to type & then delete another mention of unchanging window, bc i know i've mentioned it before, but it's sorta again relevant, here, & she is my fav photographer, most for what i get from looking - the space between the images, the familiarity of things i've never seen. it's definitely diaristic, so the simplest way to think of what you are looking at is just that it's tuesday, or whatever, the things that happened in the day, but the fact that what you end up concentrating on - big things vs small things - is k fascinating to me. the past five or six entries have all been really great:

http://www.unchangingwindow.com/content/?cat=17/

xp & ha no i'd missed that info, too, i should go back & look at them large.

ilx is my fav photographer iirc

http://www.helenaschaetzle.de/de/portfolio/oestlich-von-hier/

courtesy of recent ILP poster rent, the sense of composition is so strong

just picked up American Landscapes, curated by szarkowski. The essay is so good.

i never read any szarkowski - i think i only heard of him last time he was getting discussed itt, though i guess i flicked by whatever he had to say about willam eggleston's guide - is there anything online i should read? i can actually get a bunch of the books (photography until now, looking at photographs, the photographer's eye & a bunch of single artist books) from the library here also. shortish essays would be good

start with looking at photographs, def

there's some great essays posted upthread i think? over at ASX?

yeah that rings a bell, i will go look, i always get kinda swamped in that site, like maybe i open ten tabs and read none