«Sacred images for a secular society1», icons of photojournalism, according to the communication researchers Robert Hariman and John Louis Lucaites, are emblems that impose themselves on the spirit of the time of their own accord.
At this month’s 25th Dinard festival of British film in Brittany, there was a special screening of the 1946 Michael Powell and Emeric Pressburger masterpiece A Matter of Life and Death to mark “100 years of the Technicolor process”.
“I think of my photographs as elements in a novel I am in the process of writing.” Deep in the heart of the ordinary—that’s where the novel sequence William Eggleston has been writing for over 50 years takes place. It is a personal, fictional story whose documentary basis can occasionally be glim...
Recently for my trip to Stockholm, London, and Dubai I brought along my Hasselblad 501c and 80mm lens (and about 20 rolls of Kodak Portra 400 120 film). I had been shooting a lot of medium-format 6×6 photos back home, and I had the natural gut feeling to bring it to my trip and make …
Lost for more than 50 years since they were featured in Life magazine, Gordon Parks’s stunning images show daily life for one Alabama family in the shadow of race riots, bus boycotts and the fight for civil rights
This is a blog devoted to the topic of cultural value, and in particular to an exploration of cultural value that does not rely on an understanding of ‘value’ in economic terms. The starting point for this initiative is that we need to reclaim the value debate from the ‘econocrats’ who operate on the basis of ‘the belief that there exist fundamental economic tests or yardsticks according to which policy decisions can and should be made’ (Self 1975, 5). Economics has much to contribute to the cultural value debate, but it represents only one possible way to think about what we value – as a society – and how we look after what is valuable to us (besides, there is much more to an economics-based undeerstanding of value than cost-benefit analyses). As a researcher working interdisciplinarily but initially trained in the Humanities, I am interested in looking at what other disciplinary perspectives can offer the understanding of what cultural value is and how it is inscribed in public policies for the cultural sector. In short, there is more to cultural value than what can be expressed in terms of a cost benefit analysis, and here is a place to explore what that ‘more’ might look like. Indeed, I very much hope that you might like to contribute your own take on that. WHAT CAN YOU EXPECT FROM THIS BLOG? My interest in cultural value dates back to years ago, when I began researching the idea that the arts can have beneficial social impacts, and that these impacts might constitute a convincing rationale for policy and a solid justification for arts subsidy. In the context of a move towards evidence-based policy making in all areas of the public sector, I was intrigued by the persisting faith in the power of the arts to deliver such impacts even in the face of an inadequate evidence base and poor impact evaluation standards. However, I eventually came to be quite critical of the blind faith in evidence as the actual driver of policy (not just in cultural policy making, but more broadly) coming to the conclusion that, rather, policies seem to be driven by what policy actors think and what they believe in – or in other words – their values.
Fauja Singh gave up marathon running last year – at 102. Eileen Symonds, 100, only stopped driving two years ago. And Michael Klanga had wine with every meal until he was 106. David Bailey photographs nine British centenarians. Interviews by Sally Williams
Street photography is all about failure. The failure to have the courage to take that one shot. The failure to capture “the decisive moment.” The failure to get a clean background. The failure to have your subject make eye contact. The failure to move your feet to get a better frame. The failure to get recognition for your work. The failure to have your photo get “explored” on Flickr. Failures upon failures upon failures. I think one of the things that initially drew me to street photography is just how damn hard it is. It was unlike any other form of photography out there. It was so unpredictable. Whereas when I shot landscape, macro, or architecture– I could take however long I wanted, and I had so much in my control. But with street photography, I had to learn to relinquish control to simply “go with the flow.” I couldn’t control the light, control how people looked, the background– all I could control is how well I could move my feet, and click the shutter at what I thought would be the “right” moment.....
We assume that we can see the world around us in sharp detail. In fact, our eyes can only process a fraction of our surroundings precisely. In a series of experiments, psychologists have been investigating how the brain fools us into believing that we see in sharp detail.
How do you make a photograph that sells for more than $100,000? Gregory Crewdson may not have the answer, and I suspect he probably doesn’t care, but that is what his prints will routinely fetch, if not more. What is it that allows him to create such staggeringly powerful works of art, and what are the struggles he endures through the creative process?
Fred Herzog was born in September 21, 1930 Stuttgart, Germany and then later moved to Vancouver, Canada. Initially he started as a medical photographer in the department of Bio-medical Communication and was taught at the Simon Fraser University.