W. o’ W.: Morton Feldman

“As a rule I write in ink. It sharpens one’s concentration. Erasure gives you the illusion you’re going to make a more meaningful solution.


Some pages, there is nothing crossed out and it’s usually those pages when there is something of a continuity.”

Bad news; good news

Blake Andrews: “Spending time in front of a screen editing images seems to be the way of photography nowadays. For my last few shows I haven’t even made prints. I’ve just sent someone a file. It’s Photoshop this, Facebook that, Flickr the other thing. Here I am this morning, typing this. Sometimes it’s hard to remember the joy of daily practice, just walking by a river on a nice day with a camera.”

OTOH: http://www.eugenegrid.org/pages/about.html

“B” on cameras & film

“…how do the tactile aspects of a camera affect the pictures you make with it? For me that is the big hump with digital. I hate the chintzy plastic feel of new cameras. They don’t engage me. I’d rather look through a viewfinder than at an LCD screen. I enjoy dealing with film, unwrapping it like a present, spooling it, and winding the advance with my thumb. Like records and bicycles, film cameras may be old fashioned yet they feel real and unmediated and good. The result of all this, for me at least, is that I make different photos with a film camera than I do with a digital one.”


Is the creative act of writing different from the creative act of photographing?

 “Photography is a foreign language that everybody thinks they know how to speak.” -Philip-Lorca Dicorcia

“What exactly is it that makes the work of a… photographer so much harder given that everybody else also takes photographs? Why do we never hear this kind of complaint from writers? After all, we are also all writers now, the only difference being that the changes in education that made this possible date back a bit further. But you never get to hear writers complaining about how hard it is to write a novel or a non-fiction book given that everybody else can write.”


I was just in Paris, too (with film)

…but not in harm’s way:


W. o’ W.: Brian Eno

“The trouble begins with a design philosophy that equates ‘more options’ with ‘greater freedom.’ Designers struggle endlessly with a problem that is almost nonexistent for users: ‘How do we pack the maximum number of options into the minimum space and price?’ In my experience, the instruments and tools that endure (because they are loved by their users) have limited options.

“When you use familiar tools, you draw upon a long cultural conversation – a whole shared history of usage – as your backdrop, as the canvas to juxtapose your work. The deeper and more widely shared the conversation, the more subtle its inflections can be. This is the revenge of traditional media. Even the ‘weaknesses’ or the limits of these tools become part of the vocabulary of culture. I’m thinking of such stuff as Marshall guitar amps and black-and-white film – what was once thought most undesirable about these tools became their cherished trademark.

“Although designers continue to dream of ‘transparency’ – technologies that just do their job without making their presence felt – both creators and audiences actually like technologies with ‘personality.’ A personality is something with which you can have a relationship. Which is why people return to pencils, violins, and the same three guitar chords.”

Read the entire piece here: http://www.wired.com/wired/archive/7.01/eno.html

Crisis, Photoshopped

File this under Humour. At least (at last) we find out what happened to Tom Servo and Crow.

Once again, Products British seems to be bungling its public relations with the Wonderful World of Photography.


Next up: anorexic fuel pumps.

“I don’t know WHAT I am!”


I’m pretty much at a loss for words. The only appealing improvement is the option that accommodates the 15% of us.

Film Still Rules (Apparently)


A Negative Aspect (Joel Meyerowitz)

Mr. Meyerowitz: “With digital, it is a negative aspect that you can immediately see what you have got. I observed it in other photographers, and it is a temptation for me, to look straight at the image just taken. When you only have film in the camera, and you start to shoot something, a small event is transpiring in front of you. Well, you move closer and keep pushing and keep moving all the time, only focusing on the event. But with digital, I have noticed so consistently that photographers take a picture and then look at the back to see what came out, while the event is still going on. The event might be getting better, but they are looking at the camera. I have been training myself not to look at the back of the camera, but to stay with the event. It is like a sin to be looking at the camera when the next moment actually was the best picture, but you missed it because you were looking at the last moment!”