Finished "Photography Beyond Technique" Should check out www.F295.org and www.tompersinger.com
Many short essays. Often are artist statements. Will only comment on some.
"Synthesizing Centuries" by John Metoyer. Rambling statement mostly focused on mythology and Campbell.
page 39, spirit photos, admits most are corny. "Dana Luciano argues that whether the subject is real or fake, it depicts not an object but a world." see www.news.cornell.edu
"memory, Nature, adn Place" by Craig Barber
Page 45/48, good artist statement as pin hole photographer. Make not of it.
"Something Extraordinary" by Jill Enfield
Page 51-53, another good artist statement on wet process.
"Looking Backward, Seeing Forward: Reframing Visual history" by Robert Hirsch.
Page 56, "appropriation is the backbone of what makes artists artists and how civilization advances"
"The narrow view that bona fide photography should concentrate on depicting a subject topographically is a stance that restricts practice by mistakenly equating truth with the camouflaging of beauty and the hand of the maker, thus undercutting the potential to communicate with complex ideas. .. as a consequence, splendor and technical expertise are now often admonished as showmanship, which is considered a a detraction from a photograph's supposed objective value.".
Page 61, "If I can visualize it, there could be a way to make it happen".
"That Obscura Object of Desire: a brief history" by Stephen Berkamn discusses the camera obscura.
"One Thousand Invented Cameras" by Joe Babcock, maker of many many pinhole cameras.
"Finding Confidence: Combing process with purpose" by Mark Osterman.
Page 94, created a patent medicine salesman character to combine performance, history, music, adn design. Rebuilt old car. Had father and others pose as a "genuine faux Indian".
Page 107, discusses Oscar Rejlander who used the ghost/spirit photos as would a storyteller.
Discusses being accused of steampunk but didn't know what this meant.
"Photograph as Reliquary" by Jessica Ferguson
Page 128, describes cyanotype well.
"Windows" by Tom Persinger
Page 133-135, black, image less photographs.
"Art of Getting Lost" by Brian Taylor
Page 141, "Every musician must learn to play their instrument before they compose their own piece" (Oliver Gagliani)
"There is no virtue in difficulty" by Don Burkholder.
Page 168, criticizes large prints. Says small prints force the viewer to get closer rather than back away.
"Imaginary Whole-Plates or, Notes towards their reinvention of photography" by Alan Greeen
Experiments with using unwashed or unfixed cyanotypes to get a range of colours rather than just blue but they then fade in time.
Page 192, unlike photography, "late Gothic print makers never claimed to be the inventors of their craft"
Page 193, "until now, a photography ... has generally been about anything other than itself: portriats, landscapes ... "
Wrote a book called "Primitive Photography".
Many short essays. Often are artist statements. Will only comment on some.
"Synthesizing Centuries" by John Metoyer. Rambling statement mostly focused on mythology and Campbell.
page 39, spirit photos, admits most are corny. "Dana Luciano argues that whether the subject is real or fake, it depicts not an object but a world." see www.news.cornell.edu
"memory, Nature, adn Place" by Craig Barber
Page 45/48, good artist statement as pin hole photographer. Make not of it.
"Something Extraordinary" by Jill Enfield
Page 51-53, another good artist statement on wet process.
"Looking Backward, Seeing Forward: Reframing Visual history" by Robert Hirsch.
Page 56, "appropriation is the backbone of what makes artists artists and how civilization advances"
"The narrow view that bona fide photography should concentrate on depicting a subject topographically is a stance that restricts practice by mistakenly equating truth with the camouflaging of beauty and the hand of the maker, thus undercutting the potential to communicate with complex ideas. .. as a consequence, splendor and technical expertise are now often admonished as showmanship, which is considered a a detraction from a photograph's supposed objective value.".
Page 61, "If I can visualize it, there could be a way to make it happen".
"That Obscura Object of Desire: a brief history" by Stephen Berkamn discusses the camera obscura.
"One Thousand Invented Cameras" by Joe Babcock, maker of many many pinhole cameras.
"Finding Confidence: Combing process with purpose" by Mark Osterman.
Page 94, created a patent medicine salesman character to combine performance, history, music, adn design. Rebuilt old car. Had father and others pose as a "genuine faux Indian".
Page 107, discusses Oscar Rejlander who used the ghost/spirit photos as would a storyteller.
Discusses being accused of steampunk but didn't know what this meant.
"Photograph as Reliquary" by Jessica Ferguson
Page 128, describes cyanotype well.
"Windows" by Tom Persinger
Page 133-135, black, image less photographs.
"Art of Getting Lost" by Brian Taylor
Page 141, "Every musician must learn to play their instrument before they compose their own piece" (Oliver Gagliani)
"There is no virtue in difficulty" by Don Burkholder.
Page 168, criticizes large prints. Says small prints force the viewer to get closer rather than back away.
"Imaginary Whole-Plates or, Notes towards their reinvention of photography" by Alan Greeen
Experiments with using unwashed or unfixed cyanotypes to get a range of colours rather than just blue but they then fade in time.
Page 192, unlike photography, "late Gothic print makers never claimed to be the inventors of their craft"
Page 193, "until now, a photography ... has generally been about anything other than itself: portriats, landscapes ... "
Wrote a book called "Primitive Photography".
