Issued at that particular historical moment ([in 1967], “Post-Visualization” virtually guaranteed that Jerry Uelsmann would find himself in the eye of a storm for years to come; not only did it declare its author’s intent to serve as a spokesperson for the approach described therein, but it implied his willingness to have his work treated as a litmus test for the theory’s validity, an example of its application in practice. […]
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Follow me on Mastodon:
@adcoleman@hcommons.social
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Fundamentally, Mark functions as a portraitist, fascinated by facial expression, body language, and costume. She treats her subjects, implicitly, as collaborators. […] When I speak of the well-made photograph, I use that phrase to describe a recurrent type of photograph produced according to strict if unstated guidelines — and, beyond that, a recurrent type of photography project built around such pictures. I use trope similarly, in its meaning as “a common or overused theme or device: cliché.” These pictures and projects resemble each other to such an extent that, with minor adjustments, the images, their accompanying texts, often even the project statements, are hot-swappable and interchangeable. In short, they all look basically the same. […] This year I found it necessary to fire a client, declining to undertake a second rewrite of a commissioned photo-book introduction. Both the editor and the photographer insisted that I refrain from discussing at any length the socially and politically charged subject matter of the pictures, demanding instead that I address the images purely in formalist terms, preferably by making comparisons to great painters of the past. […] |
 SPJ Research Award 2014All content of this publication is © copyright 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 by A. D. Coleman unless otherwise noted. All materials contained on this site are protected by United States copyright law and may not be reproduced for commercial purposes without prior written permission. All photos copyright by the individual photographers. "Fair use" allows quotation of excerpts of textual material from this site for educational and other noncommercial purposes.
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Harold Feinstein Turns 80
Let’s get this straight: Eastman Kodak didn’t get blindsided by the digital evolution. Its middle and upper management of the 1980s and ’90s — top-heavy with overfed, overpaid, overaged, complacent suits — actively turned a blind eye to it. […]