Borrego Springs; January 2016
We went to the desert so my wife could shoot some time lapse footage through the night. Happily, I had my tripod with me too.
Youāll want to view this one as large as possible.
Claire Keane
sheepfilms

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Lint Roller? I Barely Know Her

JBB: An Artblog!

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@dodgemedlin
Borrego Springs; January 2016
We went to the desert so my wife could shoot some time lapse footage through the night. Happily, I had my tripod with me too.
Youāll want to view this one as large as possible.

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Are you aware that you have the same name as a beloved character from the Broadway show rent
The correct answer here is: āWhich one?ā
Also, now following the entertaining Maureen.
Birds Wire Tower
1550 wooden chairs placed between two buildings on a street in IstanbulĀ
*WhyĀ
Peter Josefsson
Limited palette, deep shadows - wow.

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-Ā Through an old train window 2. Pozuelo, Madrid
Photograph byĀ Nur Nielfa
nurnielfa.tumblr.com
Team member ofĀ ms-excuse-me
From The Inner Circle of Europe
Gert Verbelen
Bruce Gilden: Facing Up
Itās hard to grasp how the press materials for Bruce Gildenās new book Face can blithely describe the work as consisting of ācollaborativeā portraits when the pictures resemble nothing so much as frontal assaults. Itās doubtful that anyone would willingly ācollaborateā on the effort to produce images that are so deeply unflattering. Gilden prides himself on his honesty, which is opposed in this case to the artificiality of social media portraits and the ubiquitous selfie (if we are to believe the accompanying essay). But here he has strayed so far into cruel grotesquerie that the results have, ironically, an acute falseness to them, far more so than the deliberate choice of a flattering profile picture on Facebook, for example. These are not real, living people at all, at last not in the way theyāre seen here. Theyāre just a chance to stare in a way that would not be otherwise permissible - and that actually isnāt. It might well be a novel idea for Gilden, but ācollaborationā involves a great deal more than just asking someone can you take their picture before blasting away.
Making a photographic portrait almost always involves an unequal power relation; the photographer holds all of the cards. They control the framing, the background, the moment in which the picture is made, the final selection of an image to be printed or published, to a certain extent they also control the pose of their subject, who admittedly might have agreed to be photographed, but doesnāt always grasp exactly what theyāre giving up in doing so. For a portrait to be ācollaborativeā even in the general sense there has to also be a relinquishing of control on the part of the photographer rather than just the subject. It involves a willingness to include the subjectās own view of themselves and allowing that view to determine what the finished picture will be. Just asking someone if you can photograph them might not be Gildenās usual method, but it falls far sort of collaboration as such. Similarly, asserting that the subjects āengage directly with the cameraā doesnāt mean that they have any meaningful role in what the picture will actually look like or in how they are portrayed. In this case it just implies theyāre looking at the camera and that in itself is still a fairly long way from engagement.
Isnāt class the real issue with this work? I would argue that it is, given that the pictures are made to be viewed - possibly owned - by people of means and they feature exclusively people whose relative lack of means is written all over their faces. So, whatever Gildenās actual intentions might have been, the impression the work creates is of it being a freak-show, a sort of pictorial slum tour, amusing and enlightening the well-to-do. In the context of economic thinking that suggests poverty isnāt the result of gross systemic inequality, but of people just not trying hard enough, the message of these pictures is particularly egregious, perhaps doubly so since Gildenās work on the issue of sub-prime mortgages and home foreclosures displayed an unexpected sensitivity on this issue. But Face lacks even the visual interest that enlivened his earlier work, such as the pictures he made in his native New York, arguably his best. But here the repetitive format of full face close-up offers no variation and his use of flash rather brutally exaggerates the features of people chosen for their supposed authenticity, but who actually seem to have been selected by Gilden because they look weird - thereās no more depth here than that.
It could be he really does empathize with these people and in that respect we could be (marginally) willing to give him the benefit of the doubt. But at the same time there is scant trace of that empathy in these pictures. They have a cruelty that serves no purpose, it doesnāt tell us anything at all about these people, their lives, their stories. Theyāve been reduced to masks, a surface for Gilden to work about his superficial ideas about whatās real and fake. The ācollaborativeā tag is just a marketing hook intended to soften the ethical implications of photographing people in this way. It is a means of selling what is actually a rather exploitative and mean-spirited series of pictures to an audience that wants to be seen as engaged, but without actually having to do anything about - and that still wants to enjoy the voyeuristic thrill of peering at the (economic) other. The truth is that Gildenās artistic persona has largely usurped whatever potential that might once have existed in his work and all that remains is a demeaning caricature - of his subjects and, increasingly, of himself.
I watched "Everybody Street" today, and while I'm no expert, it sure didn't look to me like Gilden respected his subjects. Made me cringe to watch him in action.

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Ellsworth Kelly -Ā Broken Window
water XX, 2015
a tribute to the Bechersā¦..
Sebastiao Salgado, Workers, 1987
I'm following too many people on Tumblr, so I'm doing a purge. Obviously, The Night Picture Collector stays.
untitled
Scott D. Norris
Wayne Thiebaud (American, b. 1920), Shelf of Pies, 1960. Watercolor, gouache and charcoal on paper, 48.2 x 62.8 cm.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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That one fantasy writer who tries too hard to makeĀ āoriginalā names ...
Imagine if she got divorced, then married Harvey Manfrengensengensen (sp?) from "A Fish Called Wanda."
Matthias Heiderich, 2015
Shadows are usually a pretty important part of photography. But sometimes they're completely unnecessary. Man, this guy is good.