I am in the process of making my website mobile browser compliant. To do this I am using the Portfolio WordPress theme by Dalton Rooney. I have tweaked it some and will continue to for the rest of the week.
Checking out my old site on my wife’s iPhone made me realize the I needed to do something. I was about to use indexhibit after seeing the results David Bram was able to achieve. Shortly there after I came across Rooney’s theme and decided to go with that. I have WordPress here and on my teaching blog. I need to bring Frame Lines into the WordPress fold, just not this week.
If you are not reading this blog in an RSS reader, which you probably should, you can see that I have tweaked this place again. I went back to K2 because I wanted this to look like a blog.
She speaks about “The Innocents” and “The American Index of the Hidden and Unfamiliar”
From the TED website:
“With a large-format camera and a knack for talking her way into forbidden zones, Taryn Simon photographs portions of the American infrastructure inaccessible to its inhabitants.”
Susan kae Grant and everyone else at Texas Woman’s University have selected Corey Keller, from the San Francisco Museum of of Modern Art, to be the juror for the annual Joyce Elaine Grant Photography Exhibit. They are using Slideroom to handle all of the entries this year. This is an affordable and worthwhile exhibit. The deadline is Oct. 27, 2009.
So, this is it. I have narrowed it down to one blog. This one. I am sticking with wordpress and forgoing my other blogger blog. I have imported it, so everything is now in one place. I had to do it, two blogs were driving me crazy. Over the next week this blog will change a little cosmetically, but rest assured, it is now all here, and not going anywhere else. I can also be found on Lightstalkers, Twitter, Flickr and Facebook. You can occasionally find tdleininger on Skype. More than likely tdleininger is on Google Chat or on AIM with tdl50f2.So there you have it. I like blogger because I loves me some Google, but I decided to just stick with what I have here. Since a few of you have this RSS feed going. More to come.
I am honored and humbled to be a part of the new group show “Fathers and Sons” curated by Aline Smithson at Fraction Magazine. I have been photographing my children since they were born. Doing this I was able to see the joy and personal value of photography, something that had been missing in my life. Doing it also motivated me to go to graduate school. When I came to Texas, what had been my personal work took on a new focus. I was unsure it of because it is my family and had a seeming lack of gravitas. Well, I am not totally sure on how I feel about putting images of my family out there, but the project does have gravitas. I see that now.
When I made the decision to go to graduate school I was emailing any photographer who had an MFA whose work was remotely similar to mine. I cam across the work of Todd Deutsch, who suggested I look at the work of Brian Ulrich. I also found Dennis Chamberlin. All three of these men were kind enough to answer my questions about what graduate school I might fit in at. It is humbling that four years later I am included with both Todd and Dennis.
I do not know all of the photographers represented. I have been following the work of Timothy Archibald and Byron Wolfe for some time. But the others in the show amaze me. I need to step my game up. I need to be more intentional my camera, not just lazy with my mobile phone.
Like everything in photography, I think I am the only one photographing his kids in a serious manner. The internet reveals the truth, I am not. Places like Fraction Magazine really open my eyes to all of the amazing work out there. Thanks Aline for including Alex and I in this.
I have been trying to come up with a response to this Edgar Martins situation as it has been handled by Jörg Colberg, on his blog Conscientious. For a couple of days I have been frustrated by the lack of a willingness to take Martins to task for some of his statements in his one-sided response to why he digitally manipulated a recent commission from the New York Times Magazine, that was subsequently pulled.
I can’t really remember what my reaction was to this manipulation. I do know in the past couple of days I have been extremely frustrated with both Mr. Martins and Mr. Colberg. The first for his overwrought masking of the truth. To sum up, he lied to the New York Times about his manipulation policy.
What really got my hackles up was rather sophomoric post by Mr. Colberg today about what a photograph is as it compares to a photo-illustration. This post showed me that he is swimming in unfamiliar waters. He could have easily referenced the Reuters handbook on what is accepted digital processing. It is very clear, probably too clear for Mr. Colberg.
The lack of an ability to comment on this post directly, save for emailing him, also gets to me. How is this really a discussion in this day and age in the blogosphere? I am not always a fan of comments, but in this case, I wish they were there.
I wonder if, from Mr. Martins’ perspective, this is now a closed case. I wonder if someone from PDN had tried to contact him for a response if he would be willing too? The cynic in me says no because Mr. Colberg offered him an unquestioned platform for his views. Did this action by Mr. Colberg add to the supposed dialog he wants to create or hinder others from grilling him directly?
Well, I don’t know, but I would like to move the dialog along, so I am offering this space here as the an open forum for these topics. Feel free to comment. I welcome it. If you would like to directly respond to any of the above posts feel free to use this comment section. My response is a measured one, I am opening this blog for comments for responses from another blog.
A note of full disclosure: I do not know Mr. Martins or Mr. Colberg. I participated in a workshop in Jackson Hole, Wyoming in 1994 where Kathy Ryan, the picture editor of the New York Times Magazine was my team leader. Her words of advice and encouragement helped shape my view on photography. I have not had any contact with her since then. I worked for the New York Times once as a freelancer in 1993. For me this is not about the Times it is about journalistic photography. In my 11 years of newspaper photography there was always a very clear line of what was and was not acceptable in terms of digital manipulation. That line became blurry when I came to graduate school for my MFA in photography. Blurry in the sense that, the more mysterious I am about my process the better. I do not like working like this. I do not like deceiving the viewers of my photographs. That is the part of fine-art photography that still rubs me the wrong way.
I am standing on the podium for the Singular Image Curator’s Choice sponsored by Center in Santa Fe, New Mexico. Gobsmacked is how I fel when I got the call that my image Sale Day placed. An edit of the series from which it came is here.
I hoped to get this up sooner, but we just returned from a family trip to Santa Fe. I had the chance to stop in at Center and say hello and thank you. Both Laura and Maggie were very gracious with their valuable time.
© Elizabeth Fleming, Maplewood, NJ
Bookworm, Monaco – from the series In the Deep End © Damion Berger, NY, NY