jenny thought it important to leave a note for housekeeping:
we're hillbillies on tour.
we're hillbillies on tour.
Tuesday, December 1, 2009
Saturday, November 14, 2009
As flattered as I was
that Paul Graham was writing to me, this isn't exactly what I'd hoped for.
Dear Friend,
With due respect to your person,I Paul Graham kindly wish to ask for
your attention and consideration just for a while. I know this is
certainly not the appropriate channel to contact you but situation
necessitated me to do this. However,I am sincerely sorry for any
inconveniences this may cause you. I am a senior staff of a bank here
in LONDON, and I have a business proposal which will benefit you and i
if it is properly executed.
I was the account officer and personal friend to Colin Morley who died
in the July 2005 London bomb blast. Colin Morley was a reputable
customer of my bank before he died in the 2005 London bomb blast.
He however had a deposit of Nine million two hundred thousand British
Pounds(9.2Million GBP) with the bank and his family members are not
aware of this particular account due to the perennial crisis in his
marital home.
As his confidant and an account officer, he warned me on the
implication of disclosing his account status to
any member of his family.
For more details and confirmation please try and visit this site
below for clarification:
http://news.bbc.co.uk/2/hi/uk_news/4741333.stm
Based on this, I want you join me in my plans to get this money.
All I need do is to present you as the next of kin to the deceased,the
bank would transfer the funds to you as the beneficiary .Please note
the urgency in this transaction and a timely response is required so
that we can meet with the bank's deadline.
Please have no fear for I assure you that all relevant documents
needed to make this deal successful shall be forwarded to you as soon
as I receive a positive response from you. Note that we need joint
effort to make this deal successful.
I believe strongly that if this deal is carefully executed, it would
be of great benefit to both us.
Waiting earnestly for your response.reply me on my private mail on
p.graham1111@yahoo.de
Best regard,
Paul Graham
Dear Friend,
With due respect to your person,I Paul Graham kindly wish to ask for
your attention and consideration just for a while. I know this is
certainly not the appropriate channel to contact you but situation
necessitated me to do this. However,I am sincerely sorry for any
inconveniences this may cause you. I am a senior staff of a bank here
in LONDON, and I have a business proposal which will benefit you and i
if it is properly executed.
I was the account officer and personal friend to Colin Morley who died
in the July 2005 London bomb blast. Colin Morley was a reputable
customer of my bank before he died in the 2005 London bomb blast.
He however had a deposit of Nine million two hundred thousand British
Pounds(9.2Million GBP) with the bank and his family members are not
aware of this particular account due to the perennial crisis in his
marital home.
As his confidant and an account officer, he warned me on the
implication of disclosing his account status to
any member of his family.
For more details and confirmation please try and visit this site
below for clarification:
http://news.bbc.co.uk/2/hi/uk_news/4741333.stm
Based on this, I want you join me in my plans to get this money.
All I need do is to present you as the next of kin to the deceased,the
bank would transfer the funds to you as the beneficiary .Please note
the urgency in this transaction and a timely response is required so
that we can meet with the bank's deadline.
Please have no fear for I assure you that all relevant documents
needed to make this deal successful shall be forwarded to you as soon
as I receive a positive response from you. Note that we need joint
effort to make this deal successful.
I believe strongly that if this deal is carefully executed, it would
be of great benefit to both us.
Waiting earnestly for your response.reply me on my private mail on
p.graham1111@yahoo.de
Best regard,
Paul Graham
Monday, October 26, 2009
Owner of This World: Available Now! well, almost...
Owner of This World is a book of photographs made by Shawn Records during the four months that his son, Max Records, spent working as an actor on the set of Where the Wild Things Are, Spike Jonze's film adaptation of the Maurice Sendak classic. Max was nine-years old at the time, and neither he nor his family had been involved in the film industry before. Records, the elder, is convinced that this book will disappoint anyone looking for insight into the film or the filmmakers and offers it as a manifestation of his own anxieties; a collection of fears and reassurances, upon letting his son out into a world that is beyond his control.
The book is available in a softcover edition for $45, or in softcover with a signed archival inkjet print of your choice (8" x 12" on 11"x 14" paper) for $120. You may order now, but book orders will not be fulfilled until the end of October and print orders not until the end of November. Inquire for prints at other sizes.
88 pp., 54 photographs
8 3/8" x 11" x 3/8"
Xerox laser printed pages, bound in Publication Studio's signature file folder softcover bind
available through Publication Studio
also, a significant preview on We Love You So
I'd share my book announcement with you
via an email, but I'm afraid that my hosting company, ipower, sucks. On the lookout for a new host.
Sunday, August 23, 2009
Wednesday, August 12, 2009
Monday, June 1, 2009
Wednesday, May 20, 2009
Monday, May 18, 2009
Wednesday, May 13, 2009
Sunday, May 3, 2009
Thursday, April 23, 2009
my major motion picture debut
between 6:00 & 6:03:
Not to brag, but I've heard comparisons between myself and Deniro, Pacino, and Keitel.
It's a long story, I'll tell you sometime...
Not to brag, but I've heard comparisons between myself and Deniro, Pacino, and Keitel.
It's a long story, I'll tell you sometime...
Sunday, April 5, 2009
sexy
hmmm... I woke up this morning to a barrage of spam comments from "sexy." I'm guessing that if you're linked on this blog, you did too. Sorry. If it was something I could control, I would. I'll try to enable comment moderation in the hopes that it makes our lives better.
Monday, March 9, 2009
it happened again
One day it was fine. I opened it, resized it, saved it, etc. The next day it looked like this.Could it have anything to do with squirrels? We've got a lot of squirrels here.
Thursday, March 5, 2009
HOW MANY RADICAL FEMINISTS DOES IT TAKE TO SCREW IN A LIGHT BULB?
Shut up, that's not funny.
© Sherrie Levine, After Walker EvansHey ladies, Women in Photography is offering a $3000 grant.
APPLICATION PROCESS OPENS: Wednesday April 1, 2009 12am
Link to online application will be made available on wipnyc.org.
DEADLINE: FRIDAY, MAY 1, 2009, 12AM
Apply, apply, apply. Well, when you can.
Wednesday, March 4, 2009
what just happened?
yesterday this file looked like a picture. when I opened it today, it looked like this:
Tuesday, March 3, 2009
At Your Own Risk
Damn... Mel, you had to go and post this. Then of course, it made me think of the last time I got sucked into a youtube background replay day. How come there aren't more crude rap songs about contemporary art?
Well, now that I've posted something I should be ashamed to spread around, let me bring attention around to two things I'm downright excited about:
- I mean, come on, just look at all the great people involved and the exceptionally affordable price tag. I'm really just downright honored to be included in this one.
Well, now that I've posted something I should be ashamed to spread around, let me bring attention around to two things I'm downright excited about:
- I mean, come on, just look at all the great people involved and the exceptionally affordable price tag. I'm really just downright honored to be included in this one.
50 States Project
- this one too. 50 photographers and their different takes on one challenge/assignment. What I especially love about this one is that problem-solving aspect. I have to admit, when I was first approached, I was reluctant to take on any new commitments, but when I saw how many people were involved who I've been admiring for awhile now, I couldn't say no. This is a party I was excited to be invited to. Thanks Stuart.
Wednesday, February 25, 2009
my new favorite thing ever:
just press it over and over and over.
oh wait, this one does it to photos. even better:
note: the photo is from my self-imposed studio lighting practice last weekend to see if I could make some sort of intense action-y basketball pictures. It was inspired by Sam's birthday gift- tickets to see the Harlem Globetrotters.Friday, February 20, 2009
the random number generator
is here.
While most of my work is shot on film, I do still have plenty of photos here that have been made with my Canon 5D. So, the premise of the game is simple: Use the random number generator to choose the photo to post.
While most of my work is shot on film, I do still have plenty of photos here that have been made with my Canon 5D. So, the premise of the game is simple: Use the random number generator to choose the photo to post.
today's number: 1531
Saturday, February 14, 2009
Wednesday, January 28, 2009
cover songs: Justin James Reed sings Moonrise
© Justin James Reed, Coeur d' Alene, Idaho, 2004
© Ansel Adams, Moonrise, Hernandez, New Mexico 1941Awfully handsome. Both. Thanks Justin.
Tuesday, January 27, 2009
The List
Each term in my intro digi classes, I force each student to draw a number out of a hat, and then give them an hour of class time to research the photographer that corresponds to the number on "the list." From that research, they're expected to give a 5 minute presentation basically covering the time frame of the work and the big ideas & images. I also schedule an additional 5 minutes for me to correct, add, blab, etc.
So basically we cram 170 years of photography into about 4 hours.
Each time I do this though, I can't decide on the list itself. In some cases, a photographer makes it on simply because their contribution must be noted. In some cases, because their work uses some important element that I feel like I should talk about and can't really think of anyone better. So, I guess I'm asking for input/advice/argument. Unless someone changes my mind in the next 6 hours, the list, this time around anyway, is going to be:
Niepce vs. Daguerre
Timothy O'Sullivan
August Sander
Lewis Hine?
Pictorialism
Paul Strand?
F-64 (Adams, Weston, Cunningham)
Man Ray
FSA (Evans, Lange)
The Family of Man
Robert Frank's The Americans
John Szarkowski's Mirrors and Windows
Eggleston's Guide
New Topographics
Richard Avedon's In the American West
Cindy Sherman's Untitled Film Stills
Gregory Crewdson
Maggie Taylor
Sherrie Levine and/or Richard Prince
Jeff Wall
Jason Salavon?
Who am I missing? Who am I including who I should let go of?
Also, keep in mind the academic context: community college, 4th week of class in an intro digi class.
So basically we cram 170 years of photography into about 4 hours.
Each time I do this though, I can't decide on the list itself. In some cases, a photographer makes it on simply because their contribution must be noted. In some cases, because their work uses some important element that I feel like I should talk about and can't really think of anyone better. So, I guess I'm asking for input/advice/argument. Unless someone changes my mind in the next 6 hours, the list, this time around anyway, is going to be:
Niepce vs. Daguerre
Timothy O'Sullivan
August Sander
Lewis Hine?
Pictorialism
Paul Strand?
F-64 (Adams, Weston, Cunningham)
Man Ray
FSA (Evans, Lange)
The Family of Man
Robert Frank's The Americans
John Szarkowski's Mirrors and Windows
Eggleston's Guide
New Topographics
Richard Avedon's In the American West
Cindy Sherman's Untitled Film Stills
Gregory Crewdson
Maggie Taylor
Sherrie Levine and/or Richard Prince
Jeff Wall
Jason Salavon?
Who am I missing? Who am I including who I should let go of?
Also, keep in mind the academic context: community college, 4th week of class in an intro digi class.
Thursday, January 22, 2009
Cover Songs: Brian Widdis
Many thanks to Brian for being generous enough to send us a photograph that he'd made years ago, inspired by Ralph Eugene Meatyard's "no focus" pictures. Brian writes, "At the time, I justified it by claiming that since it was for a band and the style suited their music, that it was a legitimate choice. Fair enough, I suppose, but not something I would feel comfortable with today."
© Ralph Eugene Meatyard
© Brian Widdis
And a great post on Brian's blog from last Valentine's day to accompany it.
If you ask me, you're both just kind of honoring extra terrestrials:
© Ralph Eugene Meatyard
© Brian WiddisAnd a great post on Brian's blog from last Valentine's day to accompany it.
If you ask me, you're both just kind of honoring extra terrestrials:
Wednesday, January 21, 2009
cover songs
Years ago, while still in grad school, I had the good fortune to have my work reviewed by John Gossage. Moments before my scheduled session, painfully aware of the incomplete and foggy state of my work at the time, I mentioned to my good friend Mericle, that I really didn't want to have him even look at my work, but I just wanted to sit and hear him dispense wisdom. I didn't really want counseling, or advice even, I just wanted inspiration. I wanted a sermon.
Fortunately, for me, that's almost exactly what happened. At one point, fairly early on in the process, Gossage stopped at this photograph and said "You've got to get rid of that one. It's too much like the Stephen Shore picture. You know the one."
mine. forgive the color/sloppiness. This is the only one I could find and it's not worth the time today.
He was right. It was like the Stephen Shore photograph, but that was intentional. At the time, I felt like it was an allusion; a tip of the hat, a nod to a respected forefather, the recognition of my own life intersecting with that of the photographs that had inspired me or some such thing, but when Gossage came across it, he seemed to read it simply as some poor schmuck copying Stephen Shore. It left me feeling sheepish, as if I'd been caught trying to get away with something. Luckily, that photo led Gossage to some Stephen Shore story which led to some sort of Bill Eggleston-with-drink-in-hand-in-the-back-of-the-car story which led to some Bob Adams story, etc. and fortunately, we both just kind of ignored the work that I'd spread out before him and I soaked up his tales as if I were drinking beer in an Elk's Lodge.
Since that time, I've made the occasional photographic nod to other images, but never anything that sticks or seems to be anything more significant than blog fodder. Even so, I'm still really excited about the idea of "covering" other photographs, the way that musicians do. But of course, I guess the trick is that your work is good enough that it's got a voice of its own first (in hindsight, that was my problem with Gossage), but also that the original is recognizable enough that it's properly acknowledged & respected. Of course, you also need to be playing for the right audience too.
I don't know if there's anyone still out there, but if so, please, send in your "cover song" photographs or others that you're aware of. I know Aperture used to have a section devoted to this sort of thing: was it "Photo Echos" maybe? Something like that. How many of you have done a version of Eggleston's red ceiling /light bulb, or maybe even an Ansel Adam's Yosemite or some such thing?
Fortunately, for me, that's almost exactly what happened. At one point, fairly early on in the process, Gossage stopped at this photograph and said "You've got to get rid of that one. It's too much like the Stephen Shore picture. You know the one."
mine. forgive the color/sloppiness. This is the only one I could find and it's not worth the time today.He was right. It was like the Stephen Shore photograph, but that was intentional. At the time, I felt like it was an allusion; a tip of the hat, a nod to a respected forefather, the recognition of my own life intersecting with that of the photographs that had inspired me or some such thing, but when Gossage came across it, he seemed to read it simply as some poor schmuck copying Stephen Shore. It left me feeling sheepish, as if I'd been caught trying to get away with something. Luckily, that photo led Gossage to some Stephen Shore story which led to some sort of Bill Eggleston-with-drink-in-hand-in-the-back-of-the-car story which led to some Bob Adams story, etc. and fortunately, we both just kind of ignored the work that I'd spread out before him and I soaked up his tales as if I were drinking beer in an Elk's Lodge.
Since that time, I've made the occasional photographic nod to other images, but never anything that sticks or seems to be anything more significant than blog fodder. Even so, I'm still really excited about the idea of "covering" other photographs, the way that musicians do. But of course, I guess the trick is that your work is good enough that it's got a voice of its own first (in hindsight, that was my problem with Gossage), but also that the original is recognizable enough that it's properly acknowledged & respected. Of course, you also need to be playing for the right audience too.
I don't know if there's anyone still out there, but if so, please, send in your "cover song" photographs or others that you're aware of. I know Aperture used to have a section devoted to this sort of thing: was it "Photo Echos" maybe? Something like that. How many of you have done a version of Eggleston's red ceiling /light bulb, or maybe even an Ansel Adam's Yosemite or some such thing?
Sunday, January 4, 2009
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