let us now catalogue famous people

http://hiranotakaci.jp/pic/tottoriukraine/0808/080804.html
real good one

i just like looking at pictures of her too honestly and it was this horrible feeling that brought me to tears the first time i clicked thru the whole thing and came to the series where you see his apartment emptied out and a picture of her (m, she's referred to) in bed in her crowded tiny apartment laying in bed face against the wall and then these three smiling matter of fact flat pictures of her and you see them eating at the turkish place where you saw them eat when they came back from central asia and then there's a photo captioned "契約の解除をもって、わたしとmの恋人関係は解消された。 We ended the contract about our relationship. That meant we had broken our relathionship./" and she disappears. the pictures are so good it would work even without the minimal captioning.

^^^^^

photography is the best

I need more irl photo bros

one of my dudes is an actual professional photo/videographer but partly because of that we have very different ~ideas~ about photography as such and can really only talk shop in a technical sense

I mean <3 the dude but he shows up to casual functions with a 5d that has one of those viewfinders that goes over the screen and I'm like c'mon man, keep it social

ha ha
idk that's interesting to me. i think i probably have various small aesthetic partitions between me and some certain friends, to do with what films they like and what music they think is good, & photography is at a strange angle with that. a couple of friends were in town and i was showing them around & they had little digital cameras & it was so interesting what made them stop & shoot. like we walked through this real nice neighbourhood with great houses, where you'd look through the window & there'd be a table w/a box of cereal & loads of empty chairs, sunlit, like residential family life made photographable, then someone's neatly cultivated garden, then a plaque on a house about how the guy from penguin books lived there a hundred years ago, & the streets make dramatic angles as they turn into each other, & saucer magnolia trees were in bloom, & all they were taking photos of was the graffiti closer to town. YOU PHILISTINES. but what i mean is that it feels like what a photo-bro is invested in is a really personal strand of looking at things or relates to what you intend a photograph to be - like a reminder or a document or a synecdoche or w/e. like even if you just intend to take an orderly photograph doing justice to something as a monument or a messy, subjective photo of something as experienced.

i think a good thing about having international photobros is that you're reminded of the specific value of someone's locality, like of how fairly mundane streets-of-my-neighbourhood phots might be interesting to someone far away, the way takaci's japan's super beguiling when unfamiliar.

http://todayspictures.slate.com/20120411/

Most of my collaborative foto work is w/, like, illustrator and designer friends. I can't imagine rolling around for lols and talking shop w/ other photographers. We (my circle of photo kids) are all too self-centered and suspicious to do anything but drink together

If I could play nice with other people I'd have gone into film.

I went into film and still don't play nice.

oh. t.b. continues.

http://www.bbc.co.uk/news/entertainment-arts-16509382

so sinatra coming out of the helicopter was shot by yul brynner!

First one (started on 27th, jul, 2002):
http://hiranotakaci.jp/pic/tottoriukraine/0207/020727-1.html
But it doesn't continue till the recent page. I mean, there is a big
blank of the work.

The second start (since 16th, dec, 2004):
http://hiranotakaci.jp/pic/tottoriukraine/0412/041216.html

Old photos are small, because the spec of comp was much worse than now.

oh wow. thanks so much! i am still working through this. still kinda acclimatising to ukraine but it's nice seeing he has a muse again. after the break up i was so depressed to see him just taking picture of like the sandwich he was eating or something, it's too much.

just came across this arbus and think it's stunning: woman with a veil on 5th avenue

http://i.imgur.com/FjlOP.jpg

I feel like this might have been posted already? But anyway, I'm really enjoying it tonight. And I admit that part of that is due to the close-mic'd vocals, which is something that generally sends shivers up my spine.

https://www.youtube.com/watch?v=q75HuLN9FjA

http://todayspictures.slate.com/20120412/

I like being able to look at magnum photos w/o the watermark

http://karapture.wordpress.com/ - linked on TOP today, definite WKIW candidate

great previously unpublished winogrand pictures from the 1960 democratic national convention: http://www.nytimes.com/interactive/2012/04/22/magazine/winogrand-look.html?hp

wow those are really nice

yeah wow. flat like william klein.

hah, I don't see much klein in them but winogrand's fingerprints are all over those pictures. notice all the pretty ladies!

https://www.youtube.com/watch?v=JKbFAPq75UI

bet yall seen this before but i like
this little video of daido moriyama shooting with lil point and shoots

http://zaijietou.com/wp-content/uploads/2012/04/ere.jpg

Japanese photographer using medium format P&Ss, possibly on a beach - anyone know who I'm thinking of? I thought Daido Moriyama was him but no searches seem to pull up the work.

http://www.emphas.is/web/guest/discoverprojects?projectID=616

not an answer to the question above obv but
overwrought advertising for rian dundon in changsha photobook that looks kinda dope

http://www.burnmagazine.org/essays/2012/03/rian-dundon-fringe-life-negotiating-modernity-in-chinas-provincial-grey-zones/

yes rian dundon is great

Idk if I've posted this yet but my favorite photography blog probably is http://internethistory.tumblr.com/

nb: the dude just scours the web, usually other people's photo albums, iirc

http://www.nybooks.com/blogs/nyrblog/2011/dec/01/train-thought-subway-photographs/

bruce davidson on taking pictures on the train in the 80s

doesn't mention that he used to go in there with plainclothes cops though!

http://www.complex.com/city-guide/2012/02/1980s-photo-shows-undercover-nypd-holding-thief-at-gunpoint

the writeup of that story is so juicy.

i took a trip somewhere yesterday & shot a whole roll of ilford delta 100, which i've never used before. i find photo-pushing math really hard, but i pushed to 400 & overexposed a little, assuming that I had to give the paper a little more light, since i'd set it if it were more sensitive than it was, all of this hoping to get something a little more contrasty than i usually get out of 100 speed bw film. googling around, though (for general pushing advice), it sounds like delta 100 pretty much isn't intended for that kind of leap. i'm gonna mention it to the shop, who are sending the film away, but i'm kinda nervous. i think i shot a really nice roll, & it was light whenever i was shooting, so part of me feels like it can't go terribly wrong. but i feel pretty stupid.

dug this up for something else but the more i look at this, the more i'm convinced it's an amazing picture

http://a8.sphotos.ak.fbcdn.net/hphotos-ak-ash4/s720x720/296504_10101263353705980_1532196224_n.jpg

like, formally, even

http://www.sfmoma.org/explore/multimedia/videos/484

Stephen Shore artist talk at SFMOMA

I'd never seen his 4x10 street photography project. That's pretty dope.

http://lens.blogs.nytimes.com/2012/04/28/stranded-on-a-not-so-strange-land/

http://lens.blogs.nytimes.com/2012/05/04/china-up-close-personal-in-flux/

rian dundon gets a lens write up!

btw he has a tumblr http://riandundon.tumblr.com/

lots of nice work of various kinds on stephen gill's site (link to fairly specific non representative thing)

where is my lens write up

http://hiranotakaci.jp/pic/tottoriukraine/1108/110816_2.html

hey wait where do i go from here?

i took a trip somewhere yesterday & shot a whole roll of ilford delta 100, which i've never used before. i find photo-pushing math really hard, but i pushed to 400 & overexposed a little, assuming that I had to give the paper a little more light, since i'd set it if it were more sensitive than it was, all of this hoping to get something a little more contrasty than i usually get out of 100 speed bw film. googling around, though (for general pushing advice), it sounds like delta 100 pretty much isn't intended for that kind of leap. i'm gonna mention it to the shop, who are sending the film away, but i'm kinda nervous. i think i shot a really nice roll, & it was light whenever i was shooting, so part of me feels like it can't go terribly wrong. but i feel pretty stupid.

― blossom smulch (schlump), Wednesday, 25 April 2012 16:04 (2 weeks ago) Bookmark Flag Post Permalink

in case the suspense is driving anyone crazy, i have good news about this film, it came out really nicely. scans to follow. i wish i knew what they'd done with it so i could be prescriptive next time, but i like it more than any other 100 i've shot.

there are a few shots that are badly exposed because trying to over expose, for the film, as well as expose appropriately, while shooting someone stood in front of a light source, was all too much for my brain.

(1, 2, 3. just fwiw in terms of varial-artworks style reference points for film stock solutions)

china and super grainy B&W go together really well huh

http://edge.neocha.com/photography/black-white-photography-works-from-taizhong-based-photographer-chen-jiajie/

aw I love that horse shot. and the one one on the rocks. and the one in front of the store.

ty! i am playing with pushed b&w on the regular now: i just shot some delta 400 at 1600, & some of the other ilford 400 at 800. i'm overexposing quite a lot, too, which i don't think is totally necessary but makes stuff nice & kinda bleachy. i think since it's sunny it is harder to go wrong, with this. i couldn't work out whether you're meant to set your camera at the box speed or the speed you're pushing to, with this whole thing, there are a lot of weird countervailing variables.

chiachieh stuff is nice. i don't know how much of this is how well BW/grain/blocky shadows click with an idea of urban China, ie of small spaces, hard concrete textures, &c. talking of china in B&W, are you gonna put any colour stuff up on your site, or are you keeping it monochrome for continuity?

If you've got 400-speed film and want to shoot @ 1600, set the meter to 1600 and tell the lab to push two stops. Overexposing at that point is just getting you back to normal-ish exposure.

hey thank you, that's useful. have been setting the meter for 1600. i think i still just think of pushing as an impossible act of alchemy so err on the side of caution.

casually migrating discussion of my phots into the famous people thread

feeling flo fox at the mo, & some of this. #3 has a gbx-lab-scan vibe.

pushing is basically over-developing (say 10 minutes instead of 7 - those are completely arbitrary numbers, it all depends on temp/developer/film) underexposed film - by underexposing you're losing shadow detail, by pushing you're getting back some of that shadow detail but highlights can lose detail. Because you're gaining shadow detail at the expense of highlights, this gives the appearance of higher contrast.

old-style films (HP5, Tri-X) tend to push best because they way they're constructed, they tend to hold on to highlights a bit better

thanks for that; all of this is me vaguely understanding pushing & so trying to enrich my understanding by just blindly playing around. i'm moving to somewhere with pretty good darkroom facilities, soon, i might actually start playing around with developing instead of packing stuff off and sending it to the developers, which might help my progress. i think i've slightly misserved some rolls of delta 3200 i shot on 1600 by packing them off w/o referring to how i shot them, so it'd be good to be able to be in control & remember what i did.

http://www.americansuburbx.com/2012/06/theory-poetry-of-plain-seeing.html

first thing I've read that really goes into evan's personal leanings

To some extent these sentiments belong to what Malcolm Cowley called “the eternal warfare of bohemian and bourgeois”–”on one side, the great megaphone of middle-class America; on the other, the … disciples of art and artistic living.”Though today we associate him first with the ’30s, Evans was shaped most powerfully by the 1920swhis disdain for the “apostles,” his political atheism, would have felt right to the Hemingway of A Farewell to Arms, for example—and Evans said of himself in the earlier decade, “I was the young bohemian artist, absolutely typical, although at the time I didn’t know it.” On behalf of all those of whom Evans thought himself typical, Cowley wrote “we admired and hated those happy ones, those people competent for every situation, who drove their fathers’ cars and led the cheers at football games and never wrote poems or questioned themselves”; his friends believed, he said, that “life in this country is joyless and colorless, universally standardized, tawdry, uncreative, given over to the worship of wealth and machinery.” Harry Crosby, Evans’s first publisher, raged likewise at “civic federations … boy scout clubs … educational toys and [the] Y.M.CA. and [the] congregational churches and all this smug self-satisfaction.” America was “horribly bleak, horribly depressing,” and “this damn country … smelt, stank rather, of bananas and Coca-Cola and ice cream.” The last four items Evans lists in “Contempt for:” (though the semicolon at the end suggests that more’s still on the way) are “school spirit, Christmas spirit, gallant spirit and whatever is meant by the American spirit; …”

I mean, this is America!