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Posts Tagged ‘photo’

Jonathan Harris sounds like a kindred spirit. Of course, he’s a real photographer, and I’m not. But back in August 2010, he decided to take a photo every day of something that interests him and write a short piece about it for the web.

He made that decision on his birthday, writes Jennifer Preston in the NY Times.

“For the next 440 days, Mr. Harris, 32, a noted artist and digital technologist, whose work has been widely exhibited from MoMA to the Le Centre Pompidou in Paris, carried out his project. It has evolved into a new Web site he founded, called Cowbird — a social network that has attracted more than 7,000 people since it began last December, including award-winning photographers and writers. Mr. Harris said it is a place for slow, long-form storytelling, the ‘opposite of Twitter and Facebook .’ ” Read more.

The reason I say that he’s a kindred spirit is not just that he writes something longer than one would write on Twitter or Facebook, but because he makes a point of finding something that interests him and then writes about it for the length the topic requires.

When Suzanne and Erik said I could write about anything that interests me in the Luna & Stella blog, I couldn’t pass up an opportunity like that. Not sure how many of you go the birthstone-jewelry company from this blog, which probably doesn’t work like a regular business blog, but at least you know what Suzanne’s Mom is like and a bit about Suzanne and Erik and their extended family, too. They think that’s good, because jewelry that starts with birthstones is all about family and other close relationships.

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Sometimes a new perspective is called for. This is the hallway staircase, from below.

It’s a little weird how I discovered this might make a good shot.

Normally I do my back exercises in the dining room on a yoga mat, but because I hoped to catch the trash and recycling guys and give them their New Year’s envelope, I did the exercises in the hall where I could hear if a truck stopped. Hence.

P.S. I caught them.

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My sister buys a subscription to the Utne Reader even though you can read much of it online. She loves the variety of articles it reprints and thinks she should support the effort.

At Thanksgiving she told us about an article Rachel Kadish wrote that originally appeared in The Good Men Project Magazine. It’s about Kadish’s Israeli cousin, Noam Galai, and a photo he took of himself screaming up at the sky. It’s about how the photo struck a chord with Iranians and with Arabs working to overthrow oppressive regimes and how they used the photo widely, knowing nothing about the photographer.

Rachel Kadish writes that people originally lifted the photo from Flickr, and soon it went viral. “Shortly after Noam began investigating the spread of his scream photograph around the globe, he discovered something completely unexpected. Images of his face were turning up graffitied on walls in Tehran. In Tabriz City.

“His portrait, it turned out, had been picked up by some antigovernment protesters in Iran. In the year following the Green Movement’s first open clashes with Ahmadinejad’s government—a violent [June 2009] confrontation watched anxiously by the world—images of Noam’s face were reproduced by activist graffiti artists, sometimes veiled in red-painted blood. His anonymous face was rendered by anonymous Iranians on metal fuse-boxes and walls, alone or amid a crowd of other spray-painted images: part of a mute but vociferous message dangerous to utter aloud. …

“When Noam learned that his self-portrait was being used by anti-Ahmadinejad protesters, he emailed some of the Iranian graffiti artists through Flickr, where they’d posted images of their work under aliases.

“ ‘I told them, “It’s me. It’s cool. I’ll be happy to see more of what you do.’ ” ‘

“One of the Iranian graffiti artists wrote back. It was a two-line exchange.

“ ‘He was cool,’ Noam said. ‘He was “Nice to meet you, I like your picture.” I didn’t tell him I’m from Jerusalem.’ ”

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Michelle Aldredge once again introduces me to an artist I knew nothing about. Check out her wonderful post about the artist Slinkachu at her blog, Gwarlingo.

Like Banksy, Slinkachu is part of the London street art scene, Aldredge writes, but  “is everything Banksy is not — subtle, empathic, poignant, contemplative.”

I won’t try to replicate her post but will just mention that I especially like “The House of God” and “Dreams of Packing it All In.”

The photos are copyrighted by Slinkachu. If he doesn’t consider this “fair use,” I can take them down.

Update: He is in NYC until tomorrow, Oct. 7, 2012. Read up, here.

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I would like to tell you about Woophy, the international photo-sharing site. One of many great things about Woophy is its home page, which features a map of the world with each photo’s location. Do click on it.

I have uploaded photos to Woophy off and on since first reading about it in the Wall Street Journal. (That was when I was still reading the WSJ, which used to be full of great articles. I was one of the 170 people who cancelled their subscriptions the day Rupert Murdoch bought the paper. I know this because the WSJ wrote the next day that 170 subscribers out of 1.7 milion had cancelled.)

Woophy has always been managed by unpaid volunteers, and in recent years they struggled to keep up with the work. Loyalists worldwide helped out. Now Woophy has crossed a threshold and has partnered with a travel company. I’m glad because I would like to see it survive. I particularly enjoyed getting comments from far-away places whenever I posted a picture.

Here’s Wikipedia’s description: “Woophy (World of photography) is a photo sharing website and an online community where members can put their photos on a world map. Founded in 2005 by Joris van Hoytema, Hoyte van Hoytema and Marcel Geenevasen, the site has over 39,300 members and contains around a million photos from over 43,000 cities and villages in the world. Most of the uploaded pictures are from surroundings, buildings, nature and problems in the world. Woophy also has an active forum where photographers discuss their photos in a critical way. Woophy now has a finance deal with Eurobookings.com which should enable it to survive through the use of advertising.”

Woophians are planning a meeting in Madrid next spring. See photos of a previous Woophy forum (with music):

 

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Years ago, when we were living near Rochester, New York, it was pointed out to me that poverty in rural areas was often worse than in cities because people were more isolated and there were fewer services. That winter I contacted an outreach coordinator who had put out a call for warm clothing. I offered to drop off some clothes we no longer needed.

The coordinator, an African American, believed deeply that dropping off clothes was not the same as understanding what the need was. She herself had grown up in a family of migrant farm workers and was acquainted with grief. When she was small, I later learned, her family had even been assigned to a chicken coop for their housing.

The coordinator knew a family who needed my clothes, and she thought I should go with her to make the delivery. Somewhat reluctantly, I agreed.

I will never forget the wary, beaten-down look in the eyes of a young woman living with family members in a tumble-down old house. After handing over the donation, the coordinator and I hung around for a brief, awkward chat. I could see that my contribution could not scratch the surface of the family’s need and was mostly for my conscience (which is not a reason to give up on donations, of course).

The main thing that has changed in the America in 30-plus years is that greater percentages of Americans are poor.

That is why some photojournalists, outraged at the lack of serious coverage in the mainstream media and recognizing that a picture is worth a thousand words, have founded an organization to fight poverty called American Poverty. See their recent photos here.

Perhaps you know the work of Walker Evans and James Agee in the Great Depression. The photographers’ new antipoverty site may, like Walker and Agee’s “Let Us Now Praise Famous Men,” provoke the question, “Is this America?”

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