In the Paris set, it’s cool how the primitive coloring job kind of flattens the images. They look almost like paper cut-outs or watercolor:
I’ve really been loving The Big Picture, the Boston Globe’s photojournalism blog.
An audio slideshow about competing in the Barkley Marathon. Over the 22 years of the 100-mile race, only 7 have finished. It’s fondly called “the race that eats its young.” [via trails and tribulations]
From the Library of Congress’ Flickr photostream.
ROTHKOesque, a group of photos with Mark Rothko-ish qualities.
The earliest known photo of Helen Keller, pictured in 1888 with Anne Sullivan. Things like this remind me that they were actually real people, not just nice little characters in a story.
Selections from the 1962 Sears Christmas catalog.
Spent some time playing with Flickr stats the other day. I’m not really looking to be known for my photographs, but I am a sucker for data. As expected, my stats don’t demonstrate that internet users worldwide have come to appreciate my uncanny eye for composition and form, but rather that one can leverage Flickr’s hard-won Google ranking and search relevance to own some obscure keywords.
- I was happy to see that two photos of mine are being used in the Wikipedia article on Pine Grove Furnace State Park, from my earlier hike this summer. I think that makes me some kind of expert.
- Another photo from my hike is at some random $noring-related blog, of the dedicated snoring shelter at Tumbling Run, Pennsylvania. Of course, next door there’s the non-snoring shelter.
- If you happen to Google for “big hanging balls,” (I recommend you don’t) my photo of a big hanging ball sculpture in the High Museum comes up on the first page.
- My photos also come up for Schatten Gallery and El Toro Ferocio, both parts of recent exhibitions at Emory University.
- Lastly, one of my favorites: I’m the number 2 result for 65536 iv, a screenshot from when I ventured to the very end of an Excel spreadsheet.
In the NYT, a reflection on the newly-discovered photos of Abraham Lincoln at Gettysburg:
What would the photographic record show if it reached back, say 500 years, instead of 180?
One answer is that it would show us this same structure over and over again: a fiercely concentrated knot of people hanging on the words of someone at the center of the crowd. And around them? People standing in looser and looser concentrations, until finally Äî far enough from the epicenter Äî their attention turns away from history and focuses on the abiding interest of almost anything else. And this is somehow the inherent bias of the camera. It always directs us toward the center of attention, never away to the periphery, even though that is where our attention eventually wanders.
A long essay on Errol Morris’ long, three-part investigation of a Roger Fenton photograph: “Fenton’s mild rearranging of some cannonballs presumably went unremarked because no one at the time would have thought it worth remarking on. To subject him to the standards of our own time is otiose; it’s like complaining that Wagner’s Ring cycle is missing a backbeat.” But, then again, that’s rather beside the point: “I don’t care why he chose to pursue this particular topic at such fantastic and disorderly length. It’s a great thing to find in a newspaper.”