kottke.org posts about photography
As part of Time magazine’s recent selection of the 100 most influential photos of all time, art historian Christine Roussel talks about the story behind the iconic Lunch Atop a Skyscraper photograph of a group of construction workers on their lunch break. Interestingly, no one knows for sure who the workers were and who actually took the photograph.
For a photo project called Women’s Work, Chris Crisman made portraits of women who have jobs not typically done by women in the US. In an interview at aPhotoEditor, Crisman explained the why he did the project:
I am a father of two — a 4 year old boy and a 2 year old girl. I was raised to believe that I could do whatever I wanted to when I grew up. I want pass down a similar message to my children and without caveats. I want to raise my children knowing that their dreams have no limits and that they have parents supporting them to dive into anything they feel passionate about.
Crisman shot a short film of Sadie Samuels, the Maine lobster fisherman1 pictured in the photograph above.
Over a number of recent summers, well-known portrait photographer Mark Seliger has been documenting the transgender community that gathers on Christopher St in the West Village. Since Seliger’s website is slow and bloated, I’d recommend checking out coverage of the photos on The Advocate, The New Yorker, American Photo, and PDN. I lived on Christopher Street for several years1 and definitely recognize a couple of people in Seliger’s photos.
It was in the Village, on Christopher Street and the nearby piers, where many trans and queer people first shared space with others like them. For generations, these places provided mirrors for those who rarely saw reflections of themselves. On Christopher Street, there were multitudes of potential selves: transgender, transsexual, non-binary, genderqueer, femme, butch, cross-dresser, drag king or queen, and other gender identities and sexual orientations that challenge social norms.
Seliger has collected the photos into a book, On Christopher Street: Transgender Stories and the photos will be on display at 231 Projects in Chelsea until early January.
Time Magazine has selected the 100 most influential photos of all time, from the first permanent photograph taken (in 1826) to the heartbreaking photo of the body of a 3-year-old refugee washed up on a beach from last year. As you might expect, many of the images are tough to view, but history and our good conscience compels us not to look away.
I was pleased to see Josef Koudelka’s photo Invasion of Prague included (it’s the one above with the wristwatch); it’s one of my favorites.
Josef Koudelka, a young Moravian-born engineer who had been taking wistful and gritty photos of Czech life, was in the capital when the soldiers arrived. He took pictures of the swirling turmoil and created a groundbreaking record of the invasion that would change the course of his nation. The most seminal piece includes a man’s arm in the foreground, showing on his wristwatch a moment of the Soviet invasion with a deserted street in the distance. It beautifully encapsulates time, loss and emptiness — and the strangling of a society.
The photos are also available in book form.
Photographer Chris Porsz has been taking candid photos of people on the streets of the English city of Peterborough since the 1970s. Recently, he tracked down a bunch of his subjects — many of them strangers — to recreate photos taken decades before, often in the same location. See also The Up Series, I should think.
You can order a book of the photographs directly from Porsz’s website.
Alan Taylor has compiled a bunch of satellite photography showing how humans have altered the landscape of the American Southwest.
Humans have lived in what we now call the American Southwest for centuries, making a wide impact on the land, much of it visible from aerial and satellite photography. Nuclear detonations, housing subdivisions, oil exploration, hydroelectric facilities, solar power facilities, roads, mines, farms, ranches, cities, and towns have altered much of the land over the years.
The photos, from top to bottom: a road cuts through White Sands, NM, a former nuclear testing site in NV (those are craters left from nuclear explosions), and a housing development south of Denver.
In the wake of the election, Matthew Chavez, who goes by “Levee” and is the instigator of Subway Therapy, encouraged New Yorkers to share their post-election grief on Post-it Notes stuck to the wall of the tunnel between the 6th and 7th Ave subway stations on 14th St. Joe Holmes visited the tunnel and took photos of people interacting with the wall. (All photos above by Joe Holmes.)
The tire tracks in this parking lot make a tree pattern in the snow, a self-producing infographic of the cars’ collective pathway to their parking spaces. It’s fun to trace individual tracks — I’m fascinated by the one that comes in, starts right, turns back to the left, then heads back down before turning toward the left again into a space.
The photo was taken in a Shell Centre parking lot near Waterloo Station in 1963. Photographer unknown. (via @robnitm)
Update: Nicholas Felton shared an annotated single-car version of a car’s tracks in the snow.
Update: A reader randomly picked up a copy of a book recently called The World From Above, “a pretty brilliant collection of aerial photographs, mostly black and white, published in the mid 60’s” and the parking lot photo was in it. No photographer listed, but the photo is credited to dpa, the German Press Agency. (thx, david)
Photographer Helena Price, who you may recall from the Techies project earlier this year, has created a project called The Pussy Project about “women’s perspectives on the significance of this election and its ramifications on society.”. Photos of women are paired with each person’s thoughts on the election. Price explains how the project came about on Medium:
The name is a trigger for all of us. For many it represents the moment in the Trump campaign that incited so many women to finally get angry, get involved and speak out. That shift — the sudden activation of women across America to vocalize their feelings about this election — is what I set out to explore with this project.
Happy to see several women I know and admire interviewed for this…plus Jessica Hische did the logo and Maggie Mason edited the interviews.
Mike Kelley has travelled to airports all over the world, photographing planes taking off and landing and then stitching them together into photos showing each airport’s traffic. (via @feltron whose book features an Airportrait on the cover)
Note: if you’re browsing at work, there are photos below that are probably NSFW even though they are artistic and making a political point. The project itself suggests that the idea of NSFW is dumb, which makes me uncomfortable about calling it out like this, but you know, pragmatism…not everyone can afford to have a conversation with their boss about why viewing art during the workday is a good idea.
Posting photos of full frontal nudity on Instagram is against their terms of service.1 No nipples, no pubic hair and certainly no vaginas or penises. Butts are ok though because…I dunno, everyone has one? For a project entitled Busts, model and photographer Sasha Frolova took inspiration from Instagram removing one of her photos and took portraits of women and seamlessly erased their nipples.
The photo taken down from Instagram was the catalyst for this series. It was a black and white self-portrait I took exhausted in the bath after a panic attack at age 16. Releasing it was a coming to terms with the fact that I no longer feel so unstable. Because of that, having it removed was particularly violating. But more than anything though I was offended that all it takes is a pizza emoji over my discreetly revealed nipples to make the image appropriate. Is the implication then that a woman, simply in her own existence, and anatomy is inappropriate, vulgar?
If the goal of Instagram’s policy is to “protect” people from images of sexuality, Frolova’s project shows that they haven’t quite succeeded.2
Wired took an exclusive tour of NASA’s rockets and robots with photographer Benedict Redgrove and the photographic results are — sorry! — out of this world. Best viewed on Redgrove’s site, who must be — still sorry!! — over the moon about how they turned out. But seriously, that DARPA centaur-on-wheels robot…how cool is that?
Also, you may remember Redgrove from his short film on how tennis balls are made. How that for service? (Stop. Just stop it. (You love it. (STOP!)))
Isabelle Mège does not call herself an artist, but she has nonetheless been working on an interesting project for the last 30 years. Mège contacts photographers she likes and asks them to incorporate her into their work, keeping a copy of each photograph afterwards. She has over 300 photographs and has curated 135 of them into what she calls “the collection”.
After each shoot, Mège would follow up and ask the artist for a print, signed and sometimes numbered by its edition. The print would go into her archive, along with any artifacts related to its making; Elkoury’s letter, for instance, is accompanied in the archive by Mège’s notes about their encounter (he was late to their first meeting, and arrived with his shoelaces untied). Also in her archive are the heels that Witkin attached to her feet during the 1990 shoot, and a news item about Japanese customs having seized incoming copies of the magazine ARTnews to prohibit their circulation; the photograph, in which Mège’s pubic hair is visible, was considered obscene. Her diarizing and collection of correspondence, clippings, image reproductions, and relevant items reveal that the planning around certain images often lasted years. Several times, having worked with an artist to make an image, she was unhappy with the results and excluded it from her collection. When approached by artists who wanted to work with her but for whose work she had no feeling, she refused.
Mège felt strongly that no money should be exchanged in these interactions. (“As soon as there’s a question of payment, it’s dead, you fall asleep,” she told me.) She also asked each artist to sign a contract printed on a three-inch slip of paper, stating that she would have the right to exhibit or publish the image for noncommercial reasons only.
Mège’s project fits neatly into contemporary selfie culture. Her collection reminds me of other creative people who have incorporated themselves into their media of behalf of someone or something else. Call them “selfie auteurs”. Adam Lisagor has starred in many of the videos his company makes for tech clients. Casey Neistat films himself going on adventures for clients like J. Crew and Nike. Noah Kalina was commissioned by VH1 to take photos of himself posing with celebrities in his Everyday stance. I’m sure there are many more examples1 but few have done it as cleanly and purely as Mège.
Episcopal Community Services runs a program called CHEFS that provides food industry training for homeless and low-income people in San Francisco. Photographer Wesley Verhoeve visited the program to take portraits of the students and staff. The photos accompany a San Francisco Magazine article that has more information on the program.
The seven-month program culminates in a 240-hour internship at participating eateries like Nopa and Kokkari; Hanks completed her internship at Lotta’s Bakery in Nob Hill, where she was struck by the universal power of food. “We cook when somebody dies, we cook when a child is born,” she says. “I’ve realized cooking is related to everything: to family, to religion, to happiness, to sadness.”
Photographer Nicky Bay has been documenting an arachnid he calls the mirror spider for past few years. He’s noticed that when the spider feels threatened, it can shift the mirrored plates on its abdomen to reveal itself and make itself look bigger, like a cloaked Klingon ship uncloaking for battle.
For several years, I have been observing the odd behavior of the Mirror Spider (Thwaitesia sp.) where the “silver-plates” on the abdomen seem to shrink when the spider is agitated (or perhaps threatened), revealing the actual abdomen. At rest, the silver plates expand and the spaces between the plates close up to become an almost uniform reflective surface.
Many animals have evolved the ability to camouflage themselves and I’d speculate that is what’s happened to the mirror spider. The mirrored surface reflects the spider’s surroundings and turns it somewhat invisible to potential predators. The mirror system is more complex than an abdomen matching the green of a particular plant, but is also more adaptive — the mirror works equally well on green leaves, brown branches, and black soil. (via colossal)
Update: I misread Bay’s explanation of the spider’s response to threats and have corrected it above. I previously stated “that when the spider feels threatened, it can shift the mirrored plates on its abdomen to make itself appear more reflective”, which is exactly wrong. (via @RLHeppner/status/780921795335581696)
The Daily Overview has been serving up gorgeous satellite imagery of Earth for a few years now and they’ve taken some of their greatest hits and packaged it up into a book called Overview: A New Perspective of Earth.
Inspired by the “Overview Effect” — a sensation that astronauts experience when given the opportunity to look down and view the Earth as a whole — the breathtaking, high definition satellite photographs in OVERVIEW offer a new way to look at the landscape that we have shaped. More than 200 images of industry, agriculture, architecture, and nature highlight incredible patterns while also revealing a deeper story about human impact.
I got my hands on an early copy and it’s a beautiful book.
From photographer Brea Souders, an assortment of food photographed using a thermal camera.
As an object’s temperature increases, so does the amount of radiation it emits. This special camera uses state-of-the-art technology to detect infrared radiation, thereby displaying differing levels of heat in various colors and creating images reminiscent of pop art.
Mitch Dobrowner takes wonderfully dramatic black & white photos of clouds and storms from across the plains of the central United States. Dobrowner, who lives in California, became “addicted” to photography as a teen after discovering Ansel Adams and Minor White but then gave it up to spend energy on his career and family. A few years ago, he picked his old obsession back up and these storm photos are the result. (via colossal)
The Museum of Modern Art has started the process of putting online a massive trove of photographs of what the museum’s exhibitions looked like, extending back to their earliest big exhibition in 1929 of works by Cézanne, Gauguin, Seurat, and van Gogh. The NY Times has the story.
The digital archive project will include almost 33,000 exhibition installation photographs, most never previously available online, along with the pages of 800 out-of-print catalogs and more than 1,000 exhibition checklists, documents related to more than 3,500 exhibitions from 1929 through 1989.
Shown above are some notable works of art pictured among the first times they were displayed at the museum…the top one is from that first show in 1929. I happily spent an hour browsing through these exhibitions1 and I haven’t been gripped with this powerful of a desire to travel through time in quite some time. To be able to see that first exhibition…what a thing that would be. In part, I love going to museums for this very reason: standing in the very spot where the artist stood in making their drawing or painting is a very cheap form of time travel.
Craig Mod and Dan Rubin recently walked the Kumano Kodo pilgrimage path in Japan, taking thousands of photos along the way. They made a book of the photographs and have launched a Kickstarter project to make more copies of the book and do some other fun stuff.
The book, of course, is beautiful — Rubin and Mod are great photographers and designers - but direct your attention to the economy of their project description:
In March of this year, Dan Rubin and I went on a walk. The walk was along Japan’s 1,000+ year old Kumano Kodo pilgrimage path.
From that walk, we made one copy of a book of photographs called Koya Bound.
Together, with your help, we’d like to make/do a whole lot more…
This is what we did, here’s what we made, and we’d like your help to do more. That’s how you do Kickstarter, folks.
Update: The website Rubin and Mod made for the project is live. It’s super simple but extensive…I especially like how the journey progresses as you scroll down and the photos “spotlight” out from the path. Strong web design work.
Carl Van Vechten moved to New York in the early 20th century and became “violently interested in Negroes”. As part of that interest, Van Vechten got to know many of the leading black figures in the city and photographed them, first in black & white but later in vibrant Kodachrome. Almost 2000 of his color photos are available at Yale’s Beinecke Library (direct search). Pictured above are Van Vechten’s photos of Ella Fitzgerald, Eartha Kitt, W.E.B. DuBois, Dizzy Gillespie, and a young James Earl Jones. (via the new yorker)
John Francis Peters photographed San Diego cliff jumpers for a series he calls Falling. My favorites are the shots where he catches the jumpers in mid-air, before they hit the water. On the cusp, just like that Nirvana video from yesterday. A book of the photographs, published in a limited edition of 300, is available.
I had heard months ago that Errol Morris was releasing a new documentary called The B-Side but couldn’t really find any information about it (it’s not even listed on Wikipedia). But the film is being screened soon at both the Toronto and New York film festivals, so some information is filtering out there. The film is about photographer Elsa Dorfman, who is known for her use of the large-format Polaroid 20” x 24” camera. From the description of the film on the New York film festival site:
Errol Morris’s surprising new film is simplicity itself: a visit to the Cambridge, Massachusetts studio of his friend, the 20x24 Polaroid portrait photographer Elsa Dorfman, who specifies on her website that she likes her subjects “to wear clothes (and to bring toys, skis, books, tennis racquets, musical instruments, and particularly pets…).” As this charming, articulate, and calmly uncompromising woman takes us through her fifty-plus years of remarkable but fragile images of paying customers, commissioned subjects, family, and close friends (including the poet Allen Ginsberg), the sense of time passing grows more and more acute. This is a masterful film.
And from the Toronto festival:
“My style of photography is very literary,” she says, “influenced by Ginsberg’s poetry in the acceptance of detail, everydayness. What you’re wearing is okay and who you are is okay. You don’t have to be cosmeticized.” For her portrait clients, she took two pictures. The client got one and she kept “the B-side.” For music fans, the B-sides of vinyl singles had a reputation for being unpredictable and extra precious. The same can be said for Morris’ touching portrait of Dorfman.
Sounds great…I’m definitely keeping an eye out for a trailer and release dates.
These composite photos from the NY Times of athletes competing at the Olympics are fantastic. See also the same treatment for Simone Biles and Usain Bolt. (via @feltron, who wrote the book on this stuff)
During the medals ceremony for the 200 meter race the 1968 Olympics, gold medalist Tommie Smith and bronze medalist John Carlos, both standing shoeless on the podium, each raised one black-gloved fist in the air during the playing of the US national anthem as a gesture in support of the fight of better treatment of African Americans in the US. It was an historic moment immortalized in photos like the one above.
The white man in the photo, silver medalist Peter Norman from Australia, could be considered a sort of symbolic visual foil against which Smith and Carlos were protesting, but in fact Norman was a willing participant in the gesture and suffered the consequences.
Norman was a white man from Australia, a country that had strict apartheid laws, almost as strict as South Africa. There was tension and protests in the streets of Australia following heavy restrictions on non-white immigration and discriminatory laws against aboriginal people, some of which consisted of forced adoptions of native children to white families.
The two Americans had asked Norman if he believed in human rights. Norman said he did. They asked him if he believed in God, and he, who had been in the Salvation Army, said he believed strongly in God. “We knew that what we were going to do was far greater than any athletic feat, and he said “I’ll stand with you” — remembers John Carlos — “I expected to see fear in Norman’s eyes, but instead we saw love.”
Update: In 2011, Democracy Now! interviewed Carlos about the salute and the aftermath. He was joined by sportwriter Dave Zirin and the pair told a story about why Norman didn’t want to be represented alongside Carlos and Smith with a statue on the San Jose State campus:
DAVE ZIRIN: OK, just checking. Well, they made the decision to make this amazing work of art, these statues on campus. And they were just going to have Tommie Smith and John Carlos, with a blank space where Peter Norman stood. And when John heard about that, he said, “Oh, no, no. I don’t want to be a part of this. And I don’t even want this statue if Peter Norman’s not going to be on it.” And the people at San Jose State said, “Well, Peter said he didn’t want to be on it.” And John said, “OK, let’s go to the president’s office and get him on the phone.” So they called Peter Norman from the president’s office at San Jose State, and sure enough, they got Peter on the phone. I believe Peter said-what did he say? “Blimey, John”? What did he say?
JOHN CARLOS: Yeah, “Blimey, John. You’re calling me with these blimey questions here?” And I said to him, I said, “Pete, I have a concern, man. What’s this about you don’t want to have your statue there? What, are you backing away from me? Are you ashamed of us?” And he laughed, and he said, “No, John.” He said-you know, the deep thing is, he said, “Man, I didn’t do what you guys did.” He said, “But I was there in heart and soul to support what you did. I feel it’s only fair that you guys go on and have your statues built there, and I would like to have a blank spot there and have a commemorative plaque stating that I was in that spot. But anyone that comes thereafter from around the world and going to San Jose State that support the movement, what you guys had in ‘68, they could stand in my spot and take the picture.” And I think that’s the largest thing any man would ever do. And as I said, I don’t think that my co-partner, my co-heart, Tommie Smith, would have done what Peter Norman done in that regards. He was just a tremendous individual.
Alec Garcia has built an extension for Chrome that lets you view the Instagram Stories of the people you follow. You can even save/download them.
BTW, I am really liking Instagram Stories. Yeah, sure, Snapchat rip-off blah blah blah,1 but Insta nailed the implementation and my network is already all there, so yeah. I’ve been posting occasional Stories, which you can see if you follow me on Instagram.
And yes, like Craig Mod, I use Instagram’s website many times a day. What percentage of their users even knows they can check Instagram on the web? 50%? 30%? 10%?
A cute Ikea ad imagines what Instagram might have been like in the 18th century…it involves a painter and a lot of driving around in a carriage soliciting likes.
Photographer Oliver Curtis visits famous landmarks and takes photos faced the wrong direction, capturing essentially what these landmarks see all day. From the top, the Taj Mahal, the Wailing Wall in Jerusalem, and Stonehenge.
Stacey Baker, who is a photo editor at the NY Times, spends some of her leisure time photographing the legs of women on the streets of NYC. Her Instagram account has 78K+ followers and now she’s turned the project into a book: New York Legs.