Monday, 27 December 2010
Monday, 13 December 2010
Saturday, 11 December 2010
FROM MR. WORTH, IN ENGLAND:“So this week’s phonar class session had over 700 people “drop by” and reached over 42,000 people via Twitter http://www.phonar.org , I’ve asked a few people for nominations of a book that “is notable/ inspiring/ seminal/ provocative, in it’s narrative structure/approach or perhaps in it’s ‘discussion’ of narrative”.“Would you possibly mind nominating a tome ?”—MY RESPONSE:There are three that come to mind (two short stories and a hypertextual poem):“BORGES Y YO” (Borges and I), the extraordinary short story by Sr. Borges about him and him“LAS BABAS DEL DIABLO” (The Devil’s Spittle), Julio Cortázar’s short story about photography, literature and life, with shifting pronouns, translated as “Blow-Up” for the Antonioni movie that it did and did not inspire“CENT MILLE MILLIARDS DE POÈMES” (One Hundred Thousand Billion Poems), by Raymond Queneau, the simplest and most beautiful of hypertext poems, from 1961The final list will appear at phonar.org
Wednesday, 8 December 2010
ALSO – stay tuned for a new phonar book list next week. Inspired by Wayne’s post here, we have contacted a selection of world’s most inspiring practitioners and thinkers for their own recommendations "
Monday, 29 November 2010
Thursday, 21 October 2010
Wednesday, 29 September 2010
Wednesday, 15 September 2010
Timetable structure and assignments will follow, however, and unfortunately due to copyright restrictions I won't be able to publish all the material that I'll be using for inspiration and reference. I can though, list artists and subjects I'll be talking about in lectures, and where possible, I'll teach from material that's openly available to all.
Likewise you're encouraged to share any expanded research (the purpose of our open forums and discussion), if there's a pertinent subject or practitioner that should be included then please do comment or tweet it and I'll endeavour to include an update accordingly.
In preparation for this module you should continue to garner images every day, either by making photographs or collecting them.
When editing your photographs you should title each with a single word.
At the end of each week you should group the pictures into sets.
You should consider each picture a word within a sentence.
From this material please prepare one or more short photographic poems or aphorism for the first session back after the Summer break (Wednesday 13th Oct).
These will be reviewed by John Levy of FOTO8 Magazine at Host Gallery in London.
Wednesday, 8 September 2010
The geek is an avid collector, an expert in their field and a font of knowledge. They’re the person one goes to when faced with a buying quandary. They’re the trusted source who will actively search out the very best answer and probably come back with options for various hitherto unconsidered scenarios. In so doing the geek will probably turn your initial quandary into a multiplicity of micro dilemmas which, once navigated, will lead you into the dangerous realm of justified expenditure and easy credit.
What geeks have in specialist authority theytend to lack in social skills. Conversely the socially prominent individual must be many things to many different people and so (unless polymathic) will defer to the trusted source that is: the geek. They, in turn will broadcast this reliably informed advice to their broad social circle of friends, colleagues and acquaintances so sowing a crop of potentially active customers.
The best bit of all is that they do it (the geeks) because they have to, they are genetically programmed to geekiness, just as the socialiser can’t stop talking, geeks love shiny stuff with buttons. The challenge for all of us is to work out who and where our geeks are. They’re preferred habitats are the shady areas around bulletin boards, news groups and blog comment sections but they do venture out occasionally into the open on Twitter.
They can be encouraged to flock when coveted product information is laid out and some can be tamed this way - unlike their socialiser brethren. Do not be tempted to tame or buy a socialiser, it doesn’t work, spend the money on another customer service agent instead and think of it as the organic alternative.
So there we have it: behold the power of the geek and woe betide whomsoever chooses not to.
"The mechanics of how he does what he does are also detached from the end product. You read his books, you don't watch him write them, and so there's an element of mystery, wherein for the fan there's an inherent value. ................ the trick is enabling every level of fan to access their particular version of the product."
Wednesday, 14 July 2010
Tuesday, 13 July 2010
Saturday, 10 July 2010
Wednesday, 7 July 2010
The degree's core tenet is to actively research and embed sustainable working practices throughout and beyond the course, with an outward facing philosophy that pro-actively connects with like-minded, global communities of learner practitioners.
Tuesday, 6 July 2010
"Through my practice as a photographer and recently in my role at Coventry University, I research, develop and share new business models, and modes of working for photographers. My academic role is specifically to open out our teaching strategies to invite in the broader global community, engage the students with international practitioners and practices."
On joining the Fellowship: "I was very flattered to be asked to join, in recognition of my work. Specifically noted was a live trial that applied lessons learned from the sci-fi writer Cory Doctorow (who makes money from giving his books away free). This involved what Chris Anderson in his book "Free", calls 'versioning'. It meant in this case, allowing people to download my images for free but also enabling them to purchase a range of "exclusive" versions of the same thing. In a nutshell; Free brought a wave of followers and granted me access to people who demanded a premium product."
On contributing to Fellowship/Society: "Hopefully I can contribute as part of a conversation about the topics mentioned above. My role at Coventry University enables me to learn a great deal from the young people that I work with, helping me to begin to understand how their digital media habits will shape our futures. And likewise how we and they, might use those habits to inform our practices."
On what he would change in society given the chance: "As the internet is providing new architectures for collaborative learning, I'd remove traditional (broadcast) 'hierarchical modes of teaching', stop tethering learners to single location based institutions and recognise new, and ongoing, qualifying criteria."
On another Fellow he has spoken to: "Cory Doctorow and Jon Levy are inspirations to me, with both being very patient and generous in their support."
On connecting with other Fellows: "I always love to meet people trying to exploit the very things that most threaten their traditional modes of working. On a more practical note, I’m currently sourcing families of serving military personnel for a photographic project about the invisible and involuntary support network on which our soldiers rely. Broadly it is a quiet homage to those mums, dads, sisters, wives, children etc.
Monday, 14 June 2010
Tuesday, 8 June 2010
So, true to my word I'll be destroying the remaining prints and signed "For The Win' manuscript pages, likewise there'll be no more editions, and no discounting. I promised the buyers of the prints that I'd do this only after putting the images on sale a second time to coincide with the official publication date. That's now approaching a month passed.
You can still buy the remaining signed prints and corresponding signed manuscript pages as well as the last of three massive 1mx1.5m composite prints - this one is the artist's (my) own. Cory owns one, and a collector in Australia bought the the other.
Tuesday, 18 May 2010
Here's the list, any comments I'll add to the list.
"5000+ Days: Press Photography in a Changing World" by BPPA
"After Photography" by Fred Ritchin
"Beautiful Suffering" by M. Reinhardt
"Case History" by Boris Mikhailov
"Cocaine True, Cocaine Blue" by Eugene Richards
"Disciplinary Frame: Photographic Truths and the Capture of Meaning" by John Tagg
"Dorchester Days" by Eugene Richards
"Life of a Photograph" by Sam Abell
"No Caption Needed" by Robert Hariman
"On Being a Photographer" by Bill Hurn and David Jay
"The Knife and Gun Club: Scenes from an Emergency Room" by Eugene Richards
"The Ongoing Moment" by Geoff Dyer
"Things as They are: Photojournalism in Context Since 1955" by Mary Panzer, Christian Caujolle and World Press Photo.
Thank you to these generous sharers, all photo-people well worth a follow on Twitter :
Friday, 16 April 2010
Read the full article at FastCompany here.
Sunday, 11 April 2010
Tuesday, 6 April 2010
It came out as we were poring over yet another edit of her project detailing her recovery from skin cancer and Hepatitis C. We were wrapping up when she asked if I'd also write a letter to confirm that she was my photography student. She went on to explain how she'd made some pictures for a friend but when that friend had tried to have them printed, the store clerk refused, because the images were "too professional". She (the friend and subject of the photographs) would have to prove that they were hers to print.
Joanna didn't know how she could do this - she'd since gone to the store with her friend the clerk hadn't believed her. She'd not embedded any file information (as she normally would) because she'd no intention of keeping the images. She'd made them (in camera) away from University as a quick gift, a favour for a friend to take home to her family in Poland. That was the end of it.
How could she now prove that she hadn't stolen these images and was in the act of having someone else illegally infringe another party's copyright?
The clerk demanded a headed letter (does anyone still emboss their stationary?) with her business address and details on it. She explained that she was a student and not self-employed yet, could she instead bring a letter from her University ?
The clerk wouldn't accept a letter from me (her tutor) to confirm that she was a photography student of mine.
I tweeted the story.
We worked on the premise that out of this frustration we would make something good. We would raise her profile and use Boots' to do it; did you see the work that she does copyright by the way? It's very good, you really should, here.
There are though a bunch of other things that interest and concern me with this little story:
The issues of Authorship versus Ownership (ironically I see that Joanna isn't being credited in many of the picture usages and to the best of my knowledge is receiving no fees).
The life of content once we release a digital version into the internet (many of the stories have varying details and often fail to mention Joanna by name).
How we perceive and value the life of that content (often inappropriately applying analogue attitudes and sensibilities).
And most pertinent today (as the Digital Economy bill is debated in the UK House of Commons): the default action of a store to arbitrarily assume an individual to be guilty, until they're able to (again arbitrarily) prove their innocence.
Thursday, 11 March 2010
Monday, 8 March 2010
I sent a tweet out the other day asking, “What do people think about portfolio reviews that cost £250?”
I couldn’t fit it all within Twitter’s 140 character limit, but I was specifically referring to an event where photographers could have their books reviewed in 20 minute meetings with three different photography agents.
Such an event is certainly worthwhile for those hosting it — 20 minutes per review x 10 experts x 8 hours = £60,000 in revenue for the day. But is it worth it to those who pay to attend?
“Agents You Just Never Can Get Hold Of”
A few Twitter friends responded that paid portfolio reviews are worthwhile and help a lot of people. Others — including a couple of experienced reviewers — informed me that these events are hit and miss, largely due to the process, which can cause fatigue and rapid photo-blindness among reviewers.
Most respondents were as shocked about the price, and cynical about the value, of such reviews as I was.
To be clear, I believe that having your work honestly reviewed by someone whose opinion you trust is valuable and worthwhile. For example, the two reviewers who responded to my tweet would be among my prime targets for insightful critical input.
But pricey events like this one pitch themselves differently — offering you a chance to meet “agents you just never can get hold of.”
And what is the value of meeting people like this, exactly? .........
The full article is here.
Tuesday, 2 March 2010
Here's a longer interview with Hornstra by Joerg Colberg in which he picks his working practices apart further.
"I don't view self-publishing as extra work. It is a part of my work and actually one of the parts, which I like the most. I don't see myself as a photographer in a way that I am always carrying a camera or that I always need to make pictures. I never make pictures, only when I am working on a documentary. Actually, I think when asked for my occupation I should answer that I am not a photographer, but a documentary maker. In this profession you need to do lots of things: Organizing money, a lot of self-study, of course making photos, publishing books, writing articles etc etc. Making photos is only a small part of the job." RH.
Saturday, 16 January 2010
I'm thinking this is a really quick and simple solution for the remote student, and as the movies are easily downloaded, a quick return movie showing the correct method or solution to the student's original problem, could be auto embedded into a FAQ section removing the need to do it again. ( #ReducedWorkloadTeachingJoy )