Showing posts sorted by relevance for query new cliches of photography. Sort by date Show all posts
Showing posts sorted by relevance for query new cliches of photography. Sort by date Show all posts

Thursday, 18 March 2010

DEAR Blacklab...

I read with interest your recent POST on Plagiarism and what a fantastic thing it is, the post and plagiarism. I too love a bit of copying as much as the next man.

There's a couple of points I'm not to sure about though.

Can I take it that you think we've all made enough pictures? Is that in general or in specific genres or motifs? That's where my cliches section came from but even photographers embracing the love of plagiarism will no doubt end up falling fowl. I've also been a long time slagger off of much modern conflict photojournalism as pointless same old same old but surely you can't have too many images in general can you? I think it was Joerg Colberg who said that "that's like saying there are too many books; Or something along those lines. Exploring and appropriation is great let's do it, collage for the 21st century but let's also look at different ways of actually making new and original images and ways of using those as well. I for one am getting sick of that fucking cowboy just as much as I'm getting sick of 'girl in tree' pictures.

Although it's always good to look for new ways of doing things lets not 'throw the baby out with the bath water'.


  • Now plagiarism (I like the word copying) of course there's different levels and motives. The three basic one's that spring to mind are, Your run of the mill "I've left college and I tend to be American and I want a big big camera and I love Alec Soth" type of Herbert. Nothing wrong with that, I once thought I was a Dutch Lady and shot exclusively at night, no prizes for guessing who said Dutch lady is. This is good copying this can also be called influenced by and I think younger photographers should to a degree be encouraged. If they have anything about them they will soon get bored and start looking around. (Does anyone know how this fucking bullet point button works on Blogger it's driving me mad, I'm trying to look professional here for Christ's sake)

The second type is up there in the top right, your good old Richard Prince, Jeffery Koons styley this is always acceptable it's Artistic Mums apple pie, Have fun go play I've even got a bit in mind myself for a wet weather project.



  • The third (there's that bastard of a bullet point again, will you just fuck off) And this is the one I don't like it's the insipid cynical gallery sales shit that is not only accepted but is positively lorded, that's what will stifle and bring this this Art form to it's knees as sure as a Printworks slapper on a Friday night. Sooner 'Trawl The Visual Wreckage' than get involved with that bollocks.

Of course we are prone to repeat and too much work is made for other photographers (bloggers) to coo over, I know that in portraiture I must, where possible, now use large format with my subject square on, full body and not smiling if I ever hope to be taken seriously and this is the problem not the amount of images out there it's that art photography has become the Paris Salon.

Colour correction what the fuck does that mean? How can it be the wrong colour. Full graduations of grey, no burnt out whites, rules of thirds blah blah blah. And books on how to edit? Bollocks that's what it is. Let's not stop making new images or recording the world lets just chill out and have some fun lets all find our own voices. It can be done. The camera is no more limiting than oil and canvas, and it took throwing the rule book out of the window to breath new life into painting and yes that involved plagiarism. I tell you what, Punk photography that's what we need.

  • Anyway always a pleasure Blacklab,

Lots of Love Manchesterphotography xxxxxxx




Tuesday, 3 November 2009

Latitude Photographers.....


OPULENCE
Peter Ainsworth, Marc Burden, Manuel Capurso, Ania Dabrowska, Hannah Dakin, Ellie Davies, Vron Harris, Jochen Klein, Richard Kolker, Rita Soromenho, Gill Vaux

Exhibition: 4th December 2009 - 2nd January 2010
Tuesday - Saturday 11am - 6pm
PV: Thursday, 3rd December, 6 -9 pm
The Feast: Monday, 14th December, 7.30 - 10 pm

In the run up to, and during the Christmas holiday Latitude Photographers take residence in a disused shop in the East End. As part of photomonth09, the artist collective curates a show that critically explores the notion of Opulence. Responses to the theme encompass artists' considerations of its meaning in our culture, asking whether opulence is an antidote to the recession, aspirational escapism, or a Utopian ideal. The abuse of wealth has caused economic and social neglect, so how have perceptions of opulence shifted within the contemporary psyche?
The show, consisting of photography, video, sculpture, and installations, will be presented as a period of dialogue: where the works can relate to each other, rather than an ultimate presentation of artistic statements. In exploration of the theme the exhibition also highlights the nature of artistic collaboration. This period of reflection will be celebrated during the key point of the exhibition, the Feast - a black tie, artists' talk around a dinner table in the gallery space. Guests from the public will be invited to participate in the event– the culmination of the artists' investigations of the theme.
Latitude Photographers is a group of international, emerging artists working in London. It has developed out of a co-operative response to debates within contemporary art and a desire to push the boundaries of photographic practice. Defined by experimental enquiry the ethos of Latitude is to incorporate differences in approach while retaining the feel of a group response
.
http://www.latitudephotographers.com/
admin@latitudephotographers.com
To reserve an invitation to the Feast: ritalatitudephotographer@googlemail.com

PHOTO-SPACE: 530 Commercial Road E1 0HY, nearest tube: Limehouse DLR

press image: Marc Burden, Test Piece for 12 Rivers, 2009
Another interesting show put together by this London based bunch. They really are producing some tiptop work. If this level of 'original thought' spreads my
NEW CLICHES series of posts may become redundant! What's more they're UK based albeit London. Not NY or Chicago, not Gemany or Netherlands. UK.

Tuesday, 16 June 2009

Ben Graville's "In & Out of The Old Bailey" CONT'D

First off thanks to everyone who took the time to respond to my last post.

I would like to reply to a couple of things that Pete Brook from the excellent and perfectly placed to have a view on this subject, PRISON PHOTOGRAPHY said.



Pete Says. "Ideally, we'd not live in a paparazzi world, but we do. Do authorities then - over time - phase in windowless vans or do they not assess windows in their remand transportation fleet?"

Agreed. We do live in a world of the "pap" and they are free to spend their days photography celebrities. That comes with the territory when you "Dance with the Devil" I can accept the same with the "Evil Monsters" of the tabloid world. As far as I can tell though from Graville's pictures these are your more run of the mill prisoners whether on remand or not. As I'm sure you know many of those people especially those on remand will have many social and medical problems, mental health issues dependency problems etc not to mention mis-carriages of justice. I am taking offence at a bloke with a career plan and a big DSLR taking advantage for selfish gain.



Pete you say "While acknowledging shaky ethical ground I still find this photographic document worthwhile." I can't see that at all. What is it showing us? That some members of the public are locked up and transported between jail and court, and that when confined and humiliated and when someone trys to take their picture they react in different ways, exactly the same as people do in any situation. I don't need to pull the wings off a daddy long legs to know that if you do it's fucked for flying.

You're right Pete there is lots of Photojournalism that does nothing but exploit and make some big bucks for photographers. I've heard the stories from Don McCullin about photographers photographing a person as they die rather than helping, stories from the sixties, and I often wonder why photographers keep churning out the same images time and again and anyway that's why we invented Simon Norfolk because he brings something new to the table. Thing is that for every shithead there is a genuine, if a little naive, idealist on Lightstalkers who truly believes that his picture of an orphan will be THE one to change the world. That's not what "In & Out of The Old Bailey" is about, Graville's work's not prison reform it's "Wolf Boy"

I'll finish with a story. A while back I was in line for a commission to make some work about local cemeteries, a subject that would be an absolute minefield of cliches. Myself and a friend were racking our brains to come up with a new slant on a tired subject. As we got sillier and sicker with our ideas the idea of hiding behind the grave stones and jumping out and photographing the relatives paying their respects. Could you imagine those facial expressions? Of course we would never really do such a thing and felt ashamed of ourselves for even joking about other peoples misery. Perhaps with hindsight I should have done it and submitted it to Foto8..........

As for the windows, Like Benjamin I to have spent some time on the inside of said vans, (no doubt the main reason why I hate this work) and trust me when stuck in one for over an hour you want a window. What you don't want is some cock sticking a camera through it...............

Sunday, 11 January 2009

Wednesday, 2 January 2013

New Cliches of Photography #31

 
Making pictures about the cliched object of the sun in amateur photography. Oh the irony! 

Thursday, 8 October 2009

Simon Menner.

Image copyright Simon Menner

I found the work of Simon Menner via Mrs Deane. I was particularly interested in his Murder Weapons series for obvious reasons. These are actual murder weapons held as evidence by the German police rather than potential weapons held by paranoid me. Still that's one of the inherent problems with photographic art and the Internet. Constant repetition and now the ability to find it. And so for NEW CLICHES OF PHOTOGRAPHY #13 .....................

Thursday, 18 November 2010

New Cliches of Photography #23

Something old something new, take an old picture and mix it together with a new one.

Monday, 1 February 2010

New Cliches Of Photography #19

Semi-naked attractive American white kids hanging out of trees. I love that I found this on a site where the blogger conscientious though he is, says at the bottom of his last post about Joel Sternfeld that, and I quote "The obvious bores me" ?!??

Thursday, 8 October 2009

Saturday, 30 June 2012

Thursday, 22 January 2009

Wednesday, 11 November 2009

New Cliches of Photography #15


Charging a $35 submission fee for exhibition/competition entry..... (an American idea)