Internet Photography Destinations of Note – 2009 7

Posted by Bryan Formhals on December 09, 2009

Since I have a poor list of links to other online photography outfits, I thought I’d take this opportunity to highlight the places that I’ve found the most inspirational and interesting this year.

B: Blake Andrews

Contrary to another blogger, I first came to Blake Andrews work through iN-Public and then after that started following his blog.  Blake is a photographer’s photographer and that’s the voice he writes in.  He has a way of picking up on certain ideas that are floating around the blogs and crystallizing them in a way that gets to the root of issue or idea.  In addition he highlights his own work and has fun with photography by posting random, often absurd and humorous pieces he finds around the web.

HCSP (Hardcore Street Photography)

Not a forum for the thin skinned. It closely resembles a rambunctious neighborhood bar that many people will leave within two minutes of entering.  But if you stick around and get to know some of the regulars and partake in the discussions, it’s a great resource and forum where ideas freely float around, are bashed, embraced, mocked and more often than not ignored. It has become a place where notable street photographers will check in from time to time to chime in on the discussions or promote their endeavors, most notably Nick Turpin with recent launch of PUBLICATION.  It was also in HCSP that the Vivian Maier story was first presented and really gained steam.

lenscratch

Aline Smithson is one of the hardest working photography bloggers working today.  She consistently post new work with intelligent text and image selection.  Over the year, I’ve probably found more work that I found interesting from her blog than just about anywhere else.  She explores all types of photography and enthusiastically tells you why she loves it and why you should too.  [Disclosure: I was featured on her blog in February]

Colin Pantall’s Blog

At times I’m not able to tell if Colin is simply taking the piss or writing serious commentary. And that’s the brilliance of his writing. On some days I role my eyes and shake my head in disagreement with something he’s written and then a paragraph later, I’m in full agreement with him. By the end of a post you have no idea if you agree with him or not, and more often than not, you have no idea if he agrees with himself or not.  The Walt Whitman quote always comes to mind: Do I contradict myself? Very well, then, I contradict myself; (I am large—I contain multitudes.”

A Photo Student

James Pomerantz probably doesn’t need to get his MFA. He’s an accomplished photographer with a body of work that many young photographer’s would love to have.  But that doesn’t matter and that’s why his MFA endeavor is interesting.  He rather methodically documents his course load and what he’s learning, providing a view that many people don’t have access to.  His posts often accompany links to articles, papers and other scholarly writing about photography, in addition to posting work that’s being discussed in his classes.  Get your MFA by proxy.

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Thoughts on Blake Andrew’s post about “The photography-integrated-into-life method” 7

Posted by Bryan Formhals on May 26, 2009

“The photography-integrated-into-life method is decidedly unfashionable. The huge majority of photographers I saw at Photolucida were more project oriented. The prevailing model is to develop a concept of something that has photographic potential —often of personal interest but not always— and then methodically take photographs of that project until a body of work is created, with the ultimate goal of showing the work at Photolucida or similar venue.

……

I think photographs should come first.  Arrange them in projects later if you must or else leave them as is in a big loose stack. Either way, photography that is integral to life seems to me to be the strongest because it comes from purest motivation: the very simple need to translate the world into photographs. Of course I am biased because this how I approach my own work, but it’s what I like to see in others too.” -  Blake Andrews

This is one of the more salient observations I’ve come across in awhile (thanks Blake!), but perhaps that’s because it articulates a feeling that’s been with me for sometime.  And really, if there were ever to be an LPV type statement of principles, this idea would have to be in there somewhere.  What I sense brewing, and has been brewing for a few years now (maybe more?) is some tension between the fine art photography establishment and the new wave vernacular movement that has grown in communities on Flickr and other parts of the web.

Put simply, I don’t think the fine art photography establishment has much respect for this photographic philosophy or method (look at the general derision toward street photography and family photography for example).  I know plenty of studious, intelligent photographers out there who treat photography as a way of life  and don’t have any sort of fine art ambition.

Maybe that’s what it comes down to: ambition.  I have this feeling, one I certainly can’t prove scientifically, but somehow I think having an ambition to make it in the fine art world interferes with your photographic intuition to some degree.  There’s a danger that the conceptual part of your brain and eye will smother the intuitive part.  Is there a way to find a balance?  Of course.  Do I have any idea how? Nope, but I do think mixing the vernacular, “integrated-into-life method” with the project method can lead to some very exciting photography.  But will the fine art world pay attention?

Shoot first, aske questions later [B:]

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