Photographs of Italy

@ Vincenzo’s Mediterranean Grill

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Cherry Creek Shopping Center Denver, CO

Accounting for Days

Lynne Tillman on Stephen Shore @ artforum

NOT LONG AGO, diaries housed private thoughts and feelings too intimate or shameful to reveal. Virginia Woolf wrote in hers daily, expatiating on yesterday’s parties, ideas, and dinner conversations. Some believe remembering can keep us sane, but Woolf succumbed to madness, and remarked on its approach in her diary.

Blogs are, oxymoronically, public diaries, where bloggers play with exposure, others’ and their own. Some use handles for anonymity, but with fingerprints in cyberspace and with erasure near impossible, nothing’s lost and everyone can be found. Billions of disclosures light up the Internet with electric abandon. While “private” and “public” have for years been theorized as permeable spaces, even illusory divisions, people once lived those separate realities. Now they have actually blurred, and privacy and secrecy are becoming quaint ideas. IDs and personal information are hacked and jacked constantly, and individuals adjust their desires, needs, and aims in sync with technology’s capabilities. In this electronic revolution, as written and filmed self-reportage and confessions choke the virtual highways, voyeurism and exhibitionism are just normal.

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The cleanest place on earth - and the dirtiest

@ The Guardian

The air quality at Cape Grim in Tasmania is officially the best on the planet - a world away from the grime and filth of Linfen in China. Photographer Angela Palmer set out to capture the essence of both places

In March, I dreamed that I went to the most polluted place in the world and then to the cleanest. In the dream, I wore identical white outfits, which were then exhibited side by side in a stark white gallery. When I awoke, I resolved to enact my dream. It seemed like madness: I was preparing for my final show at the Royal College of Art in London and was intending to show work based on CT scans of an ancient Egyptian mummy. But the sense of "mission" was overwhelming. I jettisoned my original plans: this was to be it.

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John Szarkowski, Curator of Photography, Dies at 81

By PHILIP GEFTER @ New York Times

John Szarkowski, a curator who almost single-handedly elevated photography’s status in the last half-century to that of a fine art, making his case in seminal writings and landmark exhibitions at the Museum of Modern Art in New York, died in on Saturday in Pittsfield, Mass. He was 81.

The cause of death was complications of a stroke, said Peter MacGill of Pace/MacGill Gallery and a spokesman for the family.

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Rendering the Print: the Art of Photography

by Karl Lang

Digital Raw photography—the use of raw sensor data instead of a camera-processed JPEG as a starting point for photographers—is often a topic of controversy. Photographers make statements such as “my prints look good, I don’t see any need for Raw” and “I adjust my images in Photoshop®; it works just fine” or “all those controls are too much work, I just want my software to match the JPEG.” Somewhat complex and widely misunderstood, the Raw workflow was created to return control of the print to the photographer. With traditional film, years and even lifetimes were spent learning the techniques of printing in the darkroom. Modern Raw photography provides even more control with less effort, but some education is still required.
This paper will provide a foundation for the understanding of scene rendering. It will introduce the concepts, history, and tools of printmaking, and express their bearing on modern digital photography. It will demonstrate why you should invest the effort to learn the tools of Raw photography, and most importantly, it will prove there is no single “correct” way to render a print.

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A World of Scissors and Paper That’s Captured in Photographs

By ROBERTA SMITH @ New York Times

Daniel Gordon’s large color photographs, the subject of a solo exhibition at Zach Feuer Gallery in Chelsea, have several things going for them. They operate in the gap between collage and set-up photography, which is a lively place to be at the moment. They benefit from an impressive if not entirely original way with scissors that involves creating figurative tableaus from cut paper and cut-out images that Mr. Gordon then photographs.In addition, he seems motivated by a deeply felt obsession with the human body and the discomforts of having one. Not for nothing is this show titled “Thin Skin II.” He likes to depict the body in extreme situations: a woman giving birth, for example, or a man cowering under a table in a work titled “Quake.” A certain interest in crime scenes is indicated, as in the pile of little girls, seemingly dead, in “Rock Garden” and the body twisted in the corner of a suburban house in “Headless Man.”

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