/tagged/photography/page/2

Lewis Hine child labor photos + Newt Gingrich = fun with viral video! This viral video has gone around the web over the last few days. Among other things, it excoriates Newt Gingrich for his comments about how schoolchildren would be a lot more useful if they just learned some hard work already. Like the really poor ones can be janitors at school!

Of interest to me, of course, is the video maker’s appropriation of Lewis Hine’s Progressive Era child labor photos to offer some perspective by incongruity. While most folks probably couldn’t place them or their time period directly, the Hine photos signal to viewers that Newt’s ideas are, shall we say, more than a little old school. Furthermore, if you’ve spent enough time with the pro-child labor rhetoric of Hine’s period (as I have), you’ll be pleased to know that Newt’s arguments are the exact same arguments folks made back then. Everything old is new(t) again.

The video’s Christmas theme brought to mind another child labor image, this one published in John Spargo’s 1906 The Bitter Cry of the Children. If you look closely at this photo of boys working the night shift at a glass factory (click on photo to make it bigger), you can see the word “xmas” written at the lower left corner of the chalkboard in front of which they are working. It makes one wonder who wrote that, or what precisely Christmas might have meant to these child workers - a blessed day off, perhaps? And while I’m not sure why there were chalkboards in the glass factory, it does eerily visualize the video’s Gingri(n)chian narrative whereby children combine school and labor and it’s all for their own good.

image credits: freeze frame from video by Adam Kontras; John Spargo, Bitter Cry of the Children, 1906.

Photographer and blogger Pete Brook of Prison Photography is in the midst of an 8,000 mile cross-country road trip. I’ll let him tell you about it:

‘Prison Photography’ on the Road is about photography. I’ll be meeting the most creative and celebrated photographers who, through their work in prisons, have shaped America’s visual culture and the debate on U.S. criminal justice.

This is an important, innovative project that’s using Kickstarter as a funding mechanism. Check out Pete’s video and track him on the road.

BAGnewsSalon, Oct. 16: Analyzing Media’s Visual Framing of the “Great Recession.” Join us for a real-time, online discussion starting at 1 pm EST. Nate Stormer of UMaine (go Black Bears!) moderates, and there’s an amazing lineup of photographers, including Anthony Suau and Michael Williamson. I’ll be there (late, sadly), commenting on the history of visual representations of poverty. Join us, and send your students and friends!

BAGnewsSalon, Oct. 16: Analyzing Media’s Visual Framing of the “Great Recession.” Join us for a real-time, online discussion starting at 1 pm EST. Nate Stormer of UMaine (go Black Bears!) moderates, and there’s an amazing lineup of photographers, including Anthony Suau and Michael Williamson. I’ll be there (late, sadly), commenting on the history of visual representations of poverty. Join us, and send your students and friends!

Grad Student Research Alert! #teamrhetoric Where do ideas come from? I found this today, in an old “idea” notebook. Dated 8.29.95, it’s my first recorded mention of the dissertation idea that eventually became my first book. Note that I started out pretty ignorant: “WPA” in confident blue pen got crossed out in pencil for the more accurate “FSA.” Gotta start somewhere, people!

Grad Student Research Alert! #teamrhetoric Where do ideas come from? I found this today, in an old “idea” notebook. Dated 8.29.95, it’s my first recorded mention of the dissertation idea that eventually became my first book. Note that I started out pretty ignorant: “WPA” in confident blue pen got crossed out in pencil for the more accurate “FSA.” Gotta start somewhere, people!

Grad Student Research Alert! #teamrhetoric, the Library of Congress Prints and Photographs Division offers hundreds of potential seminar papers, conference essays, and dissertations. Indulge your curiosity and do some idle browsing now, before the semester gets away from you. You know you want to.
(image credit: Lewis Hine, NCLC Collection, Library of Congress, Nov. 1908)

Grad Student Research Alert! #teamrhetoric, the Library of Congress Prints and Photographs Division offers hundreds of potential seminar papers, conference essays, and dissertations. Indulge your curiosity and do some idle browsing now, before the semester gets away from you. You know you want to.

(image credit: Lewis Hine, NCLC Collection, Library of Congress, Nov. 1908)

Picturing America?

David Campbell has a really smart commentary today on why photojournalism seems to be “afraid of home.” Though he admits he’s generalizing a bit, he observes that photojournalism seems most vital and romantic when it’s operating offshore. But he also argues that there is much good work happening on the home front, and mentions specifically a project I’m especially excited about: Facing Change/Documenting America, a collective of photographers and writers that claims to be inspired by the FSA and devoted to the creation of a digital, visual public sphere. Now, comparisons to the FSA might be more figurative than literal (the FSA was funded by the federal government while Facing Change is an independent non-profit), and the question of what constitutes a “public sphere” and whether we have one is complex to say the least (I’m teaching a whole class on that this fall). Even so, I’m all in.

Take a look at the archive they’ve built already, and you’ll see why.

How to Photograph the Entire World: The Google Street View Era

bremser:


Doug Rickard, Helena-West Helena, Arkansas, 2008

The drum machine arrived in popular music in the late 1970’s. By 1983, only a few years later, after 50,000 years of live human drumming, mainstream audiences had fully embraced this sound in hits like “Rockit.” Just as remarkable, Herbie Hancock was able to pioneer both acoustic jazz and a song created with electronic drums.

A similar shift is happening in photography. Looking at projects based on Google Maps Street View (GSV), particularly large photographs in physical galleries, makes me wonder: Is Street View a camera? Or a repository of source images? Or both?

Read More

BAGnews named a top 20 photo blog!

Breaking news! BAGnewsNotes was just named a top 20 photo blog by LIFE.com. Of The BAG, it wrote

Examining the tiniest, seemingly mundane details of an image to extract its power, its meaning, and its message, the Notes blog (part of a larger site featuring original photography and live interactive discussions) fulfills its mission of “reading the pictures” by starting provocative conversations about how the media illustrate the biggest stories of the day.  …  BagNews Notes may not have all the answers, but in raising the questions, it offers a compelling new lens through which to view our politics, culture and, of course, pictures.

Congrats to the BAG and also to my BAGNews and Twitter friend Pete Brook at Prison Photography. Check out the other blogs on this list too. Several of them are new to me and I can’t wait to get lookin’.

THE PHOTO: Everyone’s talking about the White House’s situation room picture. After taking a few days to contemplate things, here’s my take.
Over at the BAG, Michael Shaw and a long thread of commenters examine Obama’s body language and the gendered nature of power. At the NYT, David Brooks and Gail Collins discuss emotion and gender. Says Collins, “It would be nice if the definitive photo didn’t show the only woman in the room looking stricken.” And, in a move near and dear to my heart, CNN doesn’t read the photo, it reads the comments about the photo posted to Flickr.
I notice that many commentators are emphasizing how “diminuitive” or off to the side Obama appears in this photo. I disagree. He is in fact the singular subject of this photo, despite Hillary Clinton’s emotive gesture. True, the president is not sitting in the big leather chair, which one assumes is his typical seat. But it’s wrong to suggest he’s less visually important simply because he’s not in the “power chair” or because he’s not towering over everybody else. Compositionally, he is the most prominent thing in this photo. Here’s why:
(a) Space and bodies. Obama is not one of the crowd here. He’s physically separated from nearly all of the other bodies in the room, even Webb’s right next to him. This gives him prominence.
(b) Light. Yes, Obama’s sitting in the corner, but the light coming from above shines down upon him in that corner, further inviting our attention to his body and his focused gaze.
(3) Obama is the photo’s vertical “nerve center.” Above, I divided the image into three roughly equal vertical parts (red dots). Notice that when we do this, Obama lines up perfectly with the walls that come together to form the corner. Obama thus lives right along the line that separates the left and center third of the picture; he can’t be shunted off to either side. What else rides along that line? The technology enabling communication of the operation as it unfolds. Note that tangle of yellow and green wires and the laptop right below Obama’s face: nerve center.
As for the gender trouble in Hillary’s seemingly emotional state? She spins a more prosaic explanation: allergies.

THE PHOTO: Everyone’s talking about the White House’s situation room picture. After taking a few days to contemplate things, here’s my take.

Over at the BAG, Michael Shaw and a long thread of commenters examine Obama’s body language and the gendered nature of power. At the NYT, David Brooks and Gail Collins discuss emotion and gender. Says Collins, “It would be nice if the definitive photo didn’t show the only woman in the room looking stricken.” And, in a move near and dear to my heart, CNN doesn’t read the photo, it reads the comments about the photo posted to Flickr.

I notice that many commentators are emphasizing how “diminuitive” or off to the side Obama appears in this photo. I disagree. He is in fact the singular subject of this photo, despite Hillary Clinton’s emotive gesture. True, the president is not sitting in the big leather chair, which one assumes is his typical seat. But it’s wrong to suggest he’s less visually important simply because he’s not in the “power chair” or because he’s not towering over everybody else. Compositionally, he is the most prominent thing in this photo. Here’s why:

(a) Space and bodies. Obama is not one of the crowd here. He’s physically separated from nearly all of the other bodies in the room, even Webb’s right next to him. This gives him prominence.

(b) Light. Yes, Obama’s sitting in the corner, but the light coming from above shines down upon him in that corner, further inviting our attention to his body and his focused gaze.

(3) Obama is the photo’s vertical “nerve center.” Above, I divided the image into three roughly equal vertical parts (red dots). Notice that when we do this, Obama lines up perfectly with the walls that come together to form the corner. Obama thus lives right along the line that separates the left and center third of the picture; he can’t be shunted off to either side. What else rides along that line? The technology enabling communication of the operation as it unfolds. Note that tangle of yellow and green wires and the laptop right below Obama’s face: nerve center.

As for the gender trouble in Hillary’s seemingly emotional state? She spins a more prosaic explanation: allergies.

Taryn Simon on how she accesses secret sites where she photographs. More TED talks for this week in visual politics.

Edward Burtynsky’s large-format photographs chronicle the life of oil in modern society.  More TED talks for this week in visual politics.

This week in visual politics, a sampler of TED talks about photography. First up: Nick Veasey.

Lewis Hine child labor photos + Newt Gingrich = fun with viral video! This viral video has gone around the web over the last few days. Among other things, it excoriates Newt Gingrich for his comments about how schoolchildren would be a lot more useful if they just learned some hard work already. Like the really poor ones can be janitors at school!

Of interest to me, of course, is the video maker’s appropriation of Lewis Hine’s Progressive Era child labor photos to offer some perspective by incongruity. While most folks probably couldn’t place them or their time period directly, the Hine photos signal to viewers that Newt’s ideas are, shall we say, more than a little old school. Furthermore, if you’ve spent enough time with the pro-child labor rhetoric of Hine’s period (as I have), you’ll be pleased to know that Newt’s arguments are the exact same arguments folks made back then. Everything old is new(t) again.

The video’s Christmas theme brought to mind another child labor image, this one published in John Spargo’s 1906 The Bitter Cry of the Children. If you look closely at this photo of boys working the night shift at a glass factory (click on photo to make it bigger), you can see the word “xmas” written at the lower left corner of the chalkboard in front of which they are working. It makes one wonder who wrote that, or what precisely Christmas might have meant to these child workers - a blessed day off, perhaps? And while I’m not sure why there were chalkboards in the glass factory, it does eerily visualize the video’s Gingri(n)chian narrative whereby children combine school and labor and it’s all for their own good.

image credits: freeze frame from video by Adam Kontras; John Spargo, Bitter Cry of the Children, 1906.

Photographer and blogger Pete Brook of Prison Photography is in the midst of an 8,000 mile cross-country road trip. I’ll let him tell you about it:

‘Prison Photography’ on the Road is about photography. I’ll be meeting the most creative and celebrated photographers who, through their work in prisons, have shaped America’s visual culture and the debate on U.S. criminal justice.

This is an important, innovative project that’s using Kickstarter as a funding mechanism. Check out Pete’s video and track him on the road.

BAGnewsSalon, Oct. 16: Analyzing Media’s Visual Framing of the “Great Recession.” Join us for a real-time, online discussion starting at 1 pm EST. Nate Stormer of UMaine (go Black Bears!) moderates, and there’s an amazing lineup of photographers, including Anthony Suau and Michael Williamson. I’ll be there (late, sadly), commenting on the history of visual representations of poverty. Join us, and send your students and friends!

BAGnewsSalon, Oct. 16: Analyzing Media’s Visual Framing of the “Great Recession.” Join us for a real-time, online discussion starting at 1 pm EST. Nate Stormer of UMaine (go Black Bears!) moderates, and there’s an amazing lineup of photographers, including Anthony Suau and Michael Williamson. I’ll be there (late, sadly), commenting on the history of visual representations of poverty. Join us, and send your students and friends!

Grad Student Research Alert! #teamrhetoric Where do ideas come from? I found this today, in an old “idea” notebook. Dated 8.29.95, it’s my first recorded mention of the dissertation idea that eventually became my first book. Note that I started out pretty ignorant: “WPA” in confident blue pen got crossed out in pencil for the more accurate “FSA.” Gotta start somewhere, people!

Grad Student Research Alert! #teamrhetoric Where do ideas come from? I found this today, in an old “idea” notebook. Dated 8.29.95, it’s my first recorded mention of the dissertation idea that eventually became my first book. Note that I started out pretty ignorant: “WPA” in confident blue pen got crossed out in pencil for the more accurate “FSA.” Gotta start somewhere, people!

Grad Student Research Alert! #teamrhetoric, the Library of Congress Prints and Photographs Division offers hundreds of potential seminar papers, conference essays, and dissertations. Indulge your curiosity and do some idle browsing now, before the semester gets away from you. You know you want to.
(image credit: Lewis Hine, NCLC Collection, Library of Congress, Nov. 1908)

Grad Student Research Alert! #teamrhetoric, the Library of Congress Prints and Photographs Division offers hundreds of potential seminar papers, conference essays, and dissertations. Indulge your curiosity and do some idle browsing now, before the semester gets away from you. You know you want to.

(image credit: Lewis Hine, NCLC Collection, Library of Congress, Nov. 1908)

Picturing America?

David Campbell has a really smart commentary today on why photojournalism seems to be “afraid of home.” Though he admits he’s generalizing a bit, he observes that photojournalism seems most vital and romantic when it’s operating offshore. But he also argues that there is much good work happening on the home front, and mentions specifically a project I’m especially excited about: Facing Change/Documenting America, a collective of photographers and writers that claims to be inspired by the FSA and devoted to the creation of a digital, visual public sphere. Now, comparisons to the FSA might be more figurative than literal (the FSA was funded by the federal government while Facing Change is an independent non-profit), and the question of what constitutes a “public sphere” and whether we have one is complex to say the least (I’m teaching a whole class on that this fall). Even so, I’m all in.

Take a look at the archive they’ve built already, and you’ll see why.

How to Photograph the Entire World: The Google Street View Era

bremser:


Doug Rickard, Helena-West Helena, Arkansas, 2008

The drum machine arrived in popular music in the late 1970’s. By 1983, only a few years later, after 50,000 years of live human drumming, mainstream audiences had fully embraced this sound in hits like “Rockit.” Just as remarkable, Herbie Hancock was able to pioneer both acoustic jazz and a song created with electronic drums.

A similar shift is happening in photography. Looking at projects based on Google Maps Street View (GSV), particularly large photographs in physical galleries, makes me wonder: Is Street View a camera? Or a repository of source images? Or both?

Read More

BAGnews named a top 20 photo blog!

Breaking news! BAGnewsNotes was just named a top 20 photo blog by LIFE.com. Of The BAG, it wrote

Examining the tiniest, seemingly mundane details of an image to extract its power, its meaning, and its message, the Notes blog (part of a larger site featuring original photography and live interactive discussions) fulfills its mission of “reading the pictures” by starting provocative conversations about how the media illustrate the biggest stories of the day.  …  BagNews Notes may not have all the answers, but in raising the questions, it offers a compelling new lens through which to view our politics, culture and, of course, pictures.

Congrats to the BAG and also to my BAGNews and Twitter friend Pete Brook at Prison Photography. Check out the other blogs on this list too. Several of them are new to me and I can’t wait to get lookin’.

THE PHOTO: Everyone’s talking about the White House’s situation room picture. After taking a few days to contemplate things, here’s my take.
Over at the BAG, Michael Shaw and a long thread of commenters examine Obama’s body language and the gendered nature of power. At the NYT, David Brooks and Gail Collins discuss emotion and gender. Says Collins, “It would be nice if the definitive photo didn’t show the only woman in the room looking stricken.” And, in a move near and dear to my heart, CNN doesn’t read the photo, it reads the comments about the photo posted to Flickr.
I notice that many commentators are emphasizing how “diminuitive” or off to the side Obama appears in this photo. I disagree. He is in fact the singular subject of this photo, despite Hillary Clinton’s emotive gesture. True, the president is not sitting in the big leather chair, which one assumes is his typical seat. But it’s wrong to suggest he’s less visually important simply because he’s not in the “power chair” or because he’s not towering over everybody else. Compositionally, he is the most prominent thing in this photo. Here’s why:
(a) Space and bodies. Obama is not one of the crowd here. He’s physically separated from nearly all of the other bodies in the room, even Webb’s right next to him. This gives him prominence.
(b) Light. Yes, Obama’s sitting in the corner, but the light coming from above shines down upon him in that corner, further inviting our attention to his body and his focused gaze.
(3) Obama is the photo’s vertical “nerve center.” Above, I divided the image into three roughly equal vertical parts (red dots). Notice that when we do this, Obama lines up perfectly with the walls that come together to form the corner. Obama thus lives right along the line that separates the left and center third of the picture; he can’t be shunted off to either side. What else rides along that line? The technology enabling communication of the operation as it unfolds. Note that tangle of yellow and green wires and the laptop right below Obama’s face: nerve center.
As for the gender trouble in Hillary’s seemingly emotional state? She spins a more prosaic explanation: allergies.

THE PHOTO: Everyone’s talking about the White House’s situation room picture. After taking a few days to contemplate things, here’s my take.

Over at the BAG, Michael Shaw and a long thread of commenters examine Obama’s body language and the gendered nature of power. At the NYT, David Brooks and Gail Collins discuss emotion and gender. Says Collins, “It would be nice if the definitive photo didn’t show the only woman in the room looking stricken.” And, in a move near and dear to my heart, CNN doesn’t read the photo, it reads the comments about the photo posted to Flickr.

I notice that many commentators are emphasizing how “diminuitive” or off to the side Obama appears in this photo. I disagree. He is in fact the singular subject of this photo, despite Hillary Clinton’s emotive gesture. True, the president is not sitting in the big leather chair, which one assumes is his typical seat. But it’s wrong to suggest he’s less visually important simply because he’s not in the “power chair” or because he’s not towering over everybody else. Compositionally, he is the most prominent thing in this photo. Here’s why:

(a) Space and bodies. Obama is not one of the crowd here. He’s physically separated from nearly all of the other bodies in the room, even Webb’s right next to him. This gives him prominence.

(b) Light. Yes, Obama’s sitting in the corner, but the light coming from above shines down upon him in that corner, further inviting our attention to his body and his focused gaze.

(3) Obama is the photo’s vertical “nerve center.” Above, I divided the image into three roughly equal vertical parts (red dots). Notice that when we do this, Obama lines up perfectly with the walls that come together to form the corner. Obama thus lives right along the line that separates the left and center third of the picture; he can’t be shunted off to either side. What else rides along that line? The technology enabling communication of the operation as it unfolds. Note that tangle of yellow and green wires and the laptop right below Obama’s face: nerve center.

As for the gender trouble in Hillary’s seemingly emotional state? She spins a more prosaic explanation: allergies.

Taryn Simon on how she accesses secret sites where she photographs. More TED talks for this week in visual politics.

Edward Burtynsky’s large-format photographs chronicle the life of oil in modern society.  More TED talks for this week in visual politics.

This week in visual politics, a sampler of TED talks about photography. First up: Nick Veasey.

Picturing America?
How to Photograph the Entire World: The Google Street View Era
BAGnews named a top 20 photo blog!

About:

Visual Politics: All things visual in public life. Presented by Cara Finnegan, scholar, teacher, rhetoric geek. Lover of photography, art, print culture, politics, and troublemakers.

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