Savor these photobooks

Alec Soth’s Dog Days Bogota: for its pacing and its weaving of subject matter.

James Luckett’s Suginami: although you can easily find larger versions of these images, (in order) on flickr and on Google (but out of sequence).

…and here’s an informative interview with Mr. Luckett and Elijah Gowin:

W. o’ W.: Alfred Stieglitz

“If you place the imperfect next to the perfect, people will see the difference between the one and the other. But if you offer the imperfect alone, people are only too apt to be satisfied with it.”

This year’s STD has run its course.

Senior Teach Day occurred early this year (or so it seems), and once again, the photographer did not see his shadow (hey, it’s a darkroom).

The man known as Saigon took his role in stride. There were no casualties, and he issued only one detention all day. The press sent an unannounced representative:

…others appeared to be making contingency plans.

Sally Mann: pictures on the radio

A handy-dandy MF reference link

Until I begin a career on youtube, this will suffice as the clearest explanation of how to load roll film:

Where Joseph Campbell intersects with jazz

Which comments in these excerpts, from an article in Downbeat by Todd Kelly about a music workshop for adolescents, are lucid and instructive, and which are muddled? Is any of them a useful parallel to photography?

Keith Pray: “The importance of learning by ear is the simple fact that if you know how to listen and think for yourself, you have a large advantage over many people… especially in an age where the education system has been turning out students who can’t think for themselves and can’t problem solve. Kids are very good at learning and accessing information, but fewer and fewer people can actually use their skill set to solve problems in their lives. The camp is about showing students what is possible, then helping them explore those possibilities.

“We don’t teach theory or use written music, but we do teach them some of the basic notes, idiomatic phrases and stylistic techniques that work traditionally and encourage them to play those notes and techniques with their own voice. It is about increasing their awareness and allowing them to make choices that immediately affect the music they are playing.

“We hope that they then take these skills and apply them to everything they do, in or out of a classroom.”

Arthur Falbush: “We knew above all the program had to be fun and challenging and that our curriculum should reflect how jazz had been taught before academia became involved.

“Over the years, I’ve had the good fortune to talk to many of my musical heroes and ask them how they learned. Without exception, the answer was by ear and on the bandstand. So this is the path we tried to take. The other ingredient was passion. I always think of a quote by the mythologist Joseph Campbell, ‘Preachers err by trying to talk people into belief; better they reveal the radiance of their own discovery’ …instead of teaching scales and chords, we teach melody and harmony, phrasing and nuance – which is the poetry that is built out of scales and chords. So many times in school, jazz is taught so that the theory comes first before the music. But inspiration comes from the music, not from the theory.”


A few of us are currently inspiring others in our midst by dabbling in photograms. This process is basic; it seems retro at times, which actually kind of guarantees that it will never “go away;” some value it for its subtlety, some for its potential for simplicity and scale. Here is an exhibit that informs current good work:

Fame and/or Fortune for someone (you?) at BFHS

The Barrington Area Conservation Trust ( wants you to enter their Winter Scene Photography Contest. It’s open to all students at Barrington Fun High School.

“We are looking for striking winter images highlighting the natural beauty of Barrington. Your images may be taken anywhere in Barrington and may include portraits of wildlife in their natural habitat, natural landscapes or people interacting with  nature. Five original photos per student (color or black and white) may be entered. They must have been taken between December 2010 and March 2011. Only digital copies saved in a jpeg format will be accepted.

“Email your entry to, attention Lisa Woolford. Entries must be received by 5:00 p.m. on March 31, 2011. Subject line should read ‘PHOTO CONTEST ENTRY.’ Include your name, grade, photo title, phone number and mailing address.

“Three winning entries will be chosen by judges from the Barrington Area Conservation Trust (BACT) and used for holiday cards to benefit BACT. Three winners will be chosen and each will recieve a $100 cash prize as well as a special plaque. Winners will be announced during Earth Week on April 20.”

(Sponsored by the Barrington Area Conservation Trust.
Contact Mrs. Lisa Woolford @ 224.735.6963 for more information.)

(BTW: Lemme know if you’re participating. For, y’know, the Bonus Karma.)

21st Century Photography

Next Year’s AP Roster!

A note to Guidance.

Here are the names of those who applied for next year’s Advanced Placement 2-D Design studio course, and were accepted by the Art Department faculty: Alexa Hanaford, Caroline Horswill, Fay Jenson, Jesse Filian, Joyce Gaffney, Justine Kaszynski, Kendall Wallin, Kristina Bastidas, Lauren Captain, Margaret Rajic, Matt Wloch, Nikki Nixon, Rachel Parker, Sam La Bar, Victoria Taylor, Zach Rowe.

7 students, already in the course, are returning. They are Chanelle Biangardi, Corey Nguyen, Jamie Gray, Emma Haney, Michelle Henneberry, Melissa Jones, and Nicole Galanti.

For the convenience of counselors, here are excerpts from the application form: “All senior class AP Studio students must enroll in a second visual art course. (AP Art History may qualify as this second course only for those seniors returning to the AP Studio program.)… Students intending to graduate early are not eligible to apply, due to AP Portfolio submission… All students will be required to submit a portfolio in May.”