You can replace this text by going to "Layout" and then "Page Elements" section. Edit " About "
Pague com LPs do Mister Colibri
Quer comprar celular,Tablet,pen drive, GPS e muito outros produtos e ainda podendo pagar tudo em LPs ?Pois saiba que isso é possível,basta você visitar o site downloadstotal.com e realizar a sua compra com toda tranquilidade e segurança!!!
FlakPhoto Digest is a free, reader-supported publication. Writing this newsletter takes hours of work. If you appreciate my writing, consider becoming a paid subscriber. For $5/month, paid subscriptions keep the FlakPhoto project going. Thanks so much for your financial support. I appreciate it!
Still, plenty of people teach it, so it’s worth considering advice from those who know. The medium is ever-changing, which is why it’s so exciting. And the question is, how to do it well? Is there a formula or a set of rules? Maybe, and maybe not.
I met Charles Traub when he invited me to New York to serve on the Aaron Siskind Foundation judging panel in 2016. That was a thrill because I worked with Deb Willis and Vince Aletti, two bona fide photography legends. It was a long, image-filled day, and after we finalized our selections, Charles took me to the Strand Bookstore — my first time inside that hallowed place. Afterward, we hung out on his front stoop, sipping wine, eating cheese, and talking pictures.
Suffice it to say, it was a lovely afternoon and a day I’ll never forget.
Charles is one hell of a photographer. He is wildly productive and constantly sends me project updates. I love hearing from him because I know I’ll see something cool when I open his emails. That was the case when he wrote me recently to share a new piece of writing. Actually, it was a revised piece of writing. He described it like so:
I thought you might be interested in my Dos and Don’ts — all a bit tongue-in-cheek. This list was inspired by my cantankerous teacher at the Institute of Design, Chicago, Arthur Siegel. I first readdressed his “rules” in 1984 and re-edited them in the mid-90s; now, this is the 2024 edition.
There is a lot of good stuff here — some of his notes will make you smile. I asked Charles if we could publish it, and he graciously agreed. Like all rules, these are meant to be broken. They’re also a lot of fun. I suspect some of them will resonate.
Let me know what you think of these Dos and Don’ts. If you know someone who would appreciate it, please share this link with them. Okay, take it away, Charles!
Don’t do it about yourself — or your friend — or your family.
Don’t dare photograph yourself nude.
Don’t dare photograph your own apartment.
Don’t look at old family albums — you might learn something by looking at others’ albums, videos, or films.
Don’t artificially color it — or write on it.
Don’t put more than four lines of text in a video.
Don’t use alternative processes, deliberately deteriorating your film — if it needs any adornment, at least do it on the computer.
Don’t gild the lily — AKA less is more again.
Don’t use computer-generated glitches; while often abstract, it is only just that — a glitch.
Don’t go to video when you don’t know what else to do.
Don’t record indigenous people, particularly in foreign lands; at least ask them for permission.
Don’t whine, produce.
Charles H. Traub, Skid Row, Chicago, 1977.
Some More Not To Do’s:
Photograph dust, particularly avoid it in your grandmother’s house.
And your grandmother — certainly not when she is sick and dying.
Adolescent girls sitting or resting on their beds expressionless.
Adolescent girls, in grass fields, standing on beaches, or in pools of water, expressionless.
All adolescents, particularly gathered in a swimming hole looking forlorn.
Cats.
Goldfish.
Food you have eaten.
Food you are about to eat.
Looking out your window pensively.
People wearing masks.
Yourself, nude. Your lover, nude. And certainly not yourself in any way.
People looking at art (unless they are looking at yours).
Make a big print just because you can.
Put tape on it.
No suburban houses with lawn ornaments or children's toys.
Rusty cars, rusty signs, rusty bridges, rusty anything, forget about it.
Detritus on cracked pavements, especially shot from above.
Old books, stacks of books, ripped books, and libraries in general.
Stark portraits against a white background, black and white, or color.
Use the abstracted, montaged, cubist assemblages of junk, old photographs, or new photographs.
Collages of your photographs — they are not necessarily synergistic.
Assemble your photographs as an installation on the floor.
If the image or film has to be explained in more than ten words, it's likely not an image but an illustration. *A vague metaphysical-sounding explanation will not serve.
All imagery is meaningful in the right context at the right time.
Sooner or later, someone will say it is art — but if the curator says it is art… it must be art.
The lens image is always a historical document.
One picture is not worth 1,000 words, and if 1,000 words tell us little, 1,000 images tell us something.
Any photographer can call themselves an artist — but not every artist can call themselves a photographer.
Compulsiveness helps; Neatness helps, too; Hard work helps the most.
The style is felt — fashion is a fad.
Remember, it’s usually about who, what, where, when, why, and how.
It is who you know. It’s good to know a curator.
Installations from found detritus may be mistaken by maintenance personnel for garbage. *Images of garbage may be indeed just that.
Many a good idea is found in a garbage can.
But darkrooms are dark… and dank…fuhgeddaboudit.
Avids are too cumbersome.
Expose for the shadows and develop for the highlights — Or better yet, shoot digitally.
The best exposure is the one that works.
Cameras don’t think; they don’t have memories — digital cameras have something called memory.
Learn to see as the camera sees; don’t try to make it see as you do.
Remember, a good digital point-and-shoot is just as fast as a Leica — and the new video cameras are a hell of a lot lighter than their predecessors.
Though the computer can correct anything, a bad image is a bad image. If all else fails, you can remember, again, to either do it large or red — Or tear it up and tape it together.
It always looks better when framed on the wall.
If it doesn’t sell, raise your prices.
Self-importance rises with the prices of your work — A dead artist's work is always more valuable than the work of a living one. You can always pretend to kill yourself and start all over. (See the film TheAmerican Friend)
Good work gets recognized sooner or later — there are many good photographers who need it before they are dead.
If you walk the walk, sooner or later, you’ll learn to talk the talk — If you talk the talk too much, sooner or later, you are probably not walking the walk (don’t bullshit).
Photographers are the only creative people who don’t acknowledge their predecessors’ work — if you imitate something good, you are more likely to succeed — Whoever originated the idea will surely be forgotten until they are dead. Corollary: steal someone else’s idea before they die.
All artists think they’re self-taught, and all artists lie, particularly about their dates and who taught them.
No artist has ever seen the work of another artist (the exception being the postmodernists, who’ve adapted appropriation as another means of reinventing history).
Critics never know what they really like. They are the first to recognize the importance of what is already known in the community at large. The best critics are the ones who like your work.
Theoreticians don’t like to look — they’re generally too busy writing about themselves. Given enough time, theoreticians will contradict and reverse themselves.
Theoreticians who find that something works in practice will then pose it has a theory — Practice does not follow theory; theory follows practice.
The curator or the director is the one in black, the artist is the messy one in black, and the owner is the one with the Prada bag.
The gallery director is the one who recently uncovered the work of a forgotten person.
Every gallerist has to discover someone, every curator has to rediscover someone, and new galleries have to discover old photographers.
Galleries need to fill their walls — corollary: thus, new talents will always be found.
Gallerists say hanging pictures is an art.
There are no collectors, only people with money.
Anyone who buys your work is a collector — your parents don’t count.
The best of them is the one who shows your work.
Every generation rediscovers the art of photography.
Photography history gets reinvented every ten years.
Video has a relatively short history, but much of its earlier works are only just recently being rediscovered.
All photographers are voyeurs; admit it and get on with looking.
Everyone is narcissistic; thus, anyone can be captured with the camera.
You are certainly a narcissist if your work is about yourself.
The lens and screen arts are about looking.
Learning how to look takes practice.
Serendipity, coincidence, and change are more interesting than any preconceived constructs of our human encounters.
The character of the image-maker is tied to the compulsion to rediscover oneself in their art.
Charles H. Traub, photographed by Daniel Traub
About the author
Charles H. Traub has been a photographer and educator for over 50 years. His work is represented in major museums and collections around the world. In 1988, he founded the MFA program of Photography, Video, and Related Media at the School of Visual Arts in New York City and still serves as its Chair.
I’ll leave you with this: iidrr Gallery released In the Realm of Charles Traub, a documentary about Charles, his work, and his thoughts on what he calls “lens and screen arts” last year. It’s an excellent portrait of one of our great living photographic artists. I enjoyed this and think you will too. Thanks again, Charles!
Writing FlakPhoto Digest takes hours of work. If you enjoy my newsletter, consider becoming a paid subscriber. For $5/month, paid subscriptions keep me going. Thanks so much for your support. I appreciate it!
0 comentários:
Postar um comentário