Whatever happened to Camera-craft?

nope the image would have the same impact if it was korea and the destruction was caused by shellfire - you can see that its US troops because they are pictured... this is my point the picture is powerful in its own right without needing the context explained
But the context adds so much more, makes it a truly powerful image and I've never seen the image without the description, the background, it's linked now.
This image affected the US peoples views towards the war. What if the description had been that the American troops had just narrowly avoided an attack, but the villagers suffered instead. Look at the atrocities inflicted that we're fighting against, trying to protect the people. Would that have galvanised the US to continue the war

You could have easily have writtenthat story from the pictures taken
http://www.apimages.com/Collection/...Napalm-Girl-/ebfc0a860aa946ba9e77eb786d46207e

http://www.people.com/article/nick-ut-napalm-girl-photo-kim-phuc
 
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I'm still groping for understanding here:D You (Pookeyhead) said about the fire and pumpkin picture, "The IMPLIED meaning is obvious. The callousness of the fireman choosing a pumpkin while the house burns is obviously speaking of the selfishness of humanity and the duplicity of your fellow man"

I didn't find that obvious at all. To me the picture showed the triumph of the human spirit over adversity - normal life must continue despite disasters. As it turns out we were both wrong, since what we thought we were looking at was false.:) But do our interpretations not say more about our differing views of humanity than about art? And is the artist's interpretation any more valid than the viewer's? Does it really matter what he is trying to say? It is nice to know the reasons behind the taking of a picture but do they validate the picture as art?
 
nope the image would have the same impact if it was korea and the destruction was caused by shellfire - you can see that its US troops because they are pictured... this is my point the picture is powerful in its own right without needing the context explained

The impact is not in question, it's whether the image alone can give the full story, which you seem to insist a good image needs to be able to do. You would have no idea if it was Korea or Vietnam, you'd have no idea if it was shell fire or napalm or even just a forest fire, nor whether it was US troops who deployed it. THAT information HAD to come from words [and even then that's not proof those words are true], and the ONLY reason you can now talk about that image saying so much about the Vietnam war is because you've read news stories that accompany the image, or read about the image's history in books, or online. All the information you insist comes from the image alone, in fact, does not. All the image can possibly tell you is that it's Asia somewhere [possibly]... it's a conflict [possibly].. some ordnance has been deployed [possibly] and some asian civilians are being escorted somewhere by US troops. That's it. [ In fact, without words, the fact that the US troops are escorting the civilians would probably make you think it was NOT US fire causing the problem]

It HAS to be it the case, because that is all that's contained in the image. Everything else you are talking about has not come from the image at all. It would be impossible.

It is a myth that great imagery needs no words. Nick Ut's image is one of the most powerful photojournalist images of all time, and even THAT needs words to give the story. If great images didn't need words, then newspapers would just be full of images. Of COURSE you need words to give context. To suggest otherwise is clearly wrong. A picture without words is open to interpretation, and it will have as many meanings as there are people to look at it. This is true for ALL images [assuming there is a meaning to be read].

I'm still groping for understanding here:D You (Pookeyhead) said about the fire and pumpkin picture, "The IMPLIED meaning is obvious. The callousness of the fireman choosing a pumpkin while the house burns is obviously speaking of the selfishness of humanity and the duplicity of your fellow man"

I didn't find that obvious at all. To me the picture showed the triumph of the human spirit over adversity - normal life must continue despite disasters. As it turns out we were both wrong, since what we thought we were looking at was false.:)

Only if you didn't know it was false... however...

Which is why you need words :) We're both on the same page... everyone would have realised that the fireman choosing a pumpkin while a house burns was the POINT of the photograph, but how you read that will vary depending on who you are, what your experiences have been, and what your opinions, ideologies and politics are. However, once words anchor the meaning, it's very hard to UNSEE the intended meaning. Images never, ever have one meaning. There are as many meanings as there are people to view them. This idea of an image having one fixed meaning, and that great images need no words is nonsense.

But do our interpretations not say more about our differing views of humanity than about art?

Of course they do. That's the point... this is what makes it art.

And is the artist's interpretation any more valid than the viewer's?

Not at all. You just have to realise that if you want the audience to think something in particular, you're going to need words, because they invariably will not think what you want them to think at all. That doesn't make the image bad, it makes people, people.... we all have led different lives and have different opinions. There's no such thing as one meaning in an image, and if you want to say something, you need to SAY it. Going back to Nick Ut.. the image that's always trotted out in these debates... it still needed words, otherwise you only get a half truth, and you could fill in the blanks how you see fit.

Does it really matter what he is trying to say? It is nice to know the reasons behind the taking of a picture but do they validate the picture as art?

Not really, no. What makes it art is that there IS something to discuss. How many times on here do you look at work and discuss it? I don't mean technically.... I mean actually discuss the image, it's meaning, how it works upon you, what it makes you think, feel... whether you agree with he meaning you have derived from it... how often does THAT happen in these forums? Hardly ever... why is that? Because with a great deal of the images, there's nothing to discuss other than how sharp it is, how well composed it is, it's depth of field etc. Take all that away and there's nothing left for the vast majority of amateur images, and for THAT reason most are not art as we have come to think of it in the post modern era. It may be decorative art... but not much else.

because you can see it ?

You can SEE what's in the Nick Ut image... but you still don't really know what's going on until you're told.

i'm still waiting for the "explanation" that acompanies the shot David posted - it will be interesting to see if the words add any power or impact to the picture

You'd only say that they don't any way Pete... is there really any point?
 
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If a photograph cannot convey the experience of the event depicted, then John Berger in the ways of telling called this discontinuity and argued that this makes the photograph ambiguous.
Without words to fill the gaps left by the broken continuity, people fill in those gaps based on their experiences, culture, everything mentioned above really. Once words are used, Berger states 'they produce together an effect of certainty, even dogmatic assertion'.
 
If a photograph cannot convey the experience of the event depicted, then John Berger in the ways of telling called this discontinuity and argued that this makes the photograph ambiguous.
Without words to fill the gaps left by the broken continuity, people fill in those gaps based on their experiences, culture, everything mentioned above really. Once words are used, Berger states 'they produce together an effect of certainty, even dogmatic assertion'.


Exactly... but then the onus is on the author of the words to get a true meaning across... otherwise people will believe anything... it's called PROPAGANDA.... which if you all recall has been put to quite effective use by some very infamous characters over the centuries :)

[edit]

You may also wish to read The Death of The Author by Barthes.
 
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Exactly... but then the onus is on the author of the words to get a true meaning across

It's perfectly possible for the author to use words to subvert the apparent meaning of the image if read without the text.

Case in point: Renée Magritte's La trahison des images ('The treachery of images')

MagrittePipe.jpg


The text contradicts the image, but reveals the true meaning of the work, which is that the image is not identical to the thing it depicts.

The title of the painting calls out the untrustworthiness of reading the image alone.
 
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... and those issues raised by Magritte are even more important to appreciate with photographs where a tendency to read image == reality is even more compelling than it is with a painting.
 
It's perfectly possible for the author to use words to subvert the apparent meaning of the image if read without the text.

That's exactly the point I'm making, yes.

We've already done the Magritte thing a few pages back... it didn't convince the ignorant then, and it won't now.
 
Nice try... but you're using the wrong tactics if you wish to annoy me. Your opinion of my work is worthless. You've already demonstrated your total inability to judge the worth of any work quite satisfactorily. I do not take you seriously. :) You're like a performing seal. It approximates intelligent behaviour, and that's why we find it amusing. You're kind of like that :) However, you can always have too much of a good thing.

I realise that having a worthy opinion relies on intellect, knowledge and study rather than actually being a photographer (Barthes, Sontag, Clarke et al), but YOU would clearly disagree with that as these are all intellectuals who are not photographers, and that would fly right into the teeth of your argument, so... your knowledge, opinions etc, must be because your such an experienced, talented and well respected photographer, right?

Post away... show us the way. We'd love to see the work of someone who single handedly dismisses the whole art world as charlatans. It must be seminal, ground-breaking stuff. I can't wait.

Oh... sorry... I've asked that of you before. You never do, do you? :)

[edit]

Out of curiosity... I've just looked at your post history. The word "troll" comes to mind. It's always a good idea to not feed trolls, so I'll be ignoring you in this thread from now on... unless that is, you start making some points that are worth reading, and are more than just posting a link to Burtinsky, followed by "if this was Lik you'd hate it because you are a [insert derogatory comment about artists here]"

Don't flounce off yet.

I was reading a piece by a curator in San Francisco who said they were inundated with people doing what you're doing. Copying Gursky, Burtnysky, (Sherman and Barbara Cole too) and their narrative. It seemed he was hoping to see a rock, a tree or a milky stream just to break the sheer monotony, and that was from 3 years ago. Not surprising given this explosion in the green scene. With this environmentally sustainable narrative you are advancing do you even believe in this 'bright green future' message, or is it merely baiting the hook for peers etc? I ask because it doesn't strike me that you are particularly concerned about being green. Is it just another case of a hook to hang your work on or are you a champagne environmentalism, do as I say not as I do, or are you actually trying to change and influence?

On the jargon it does seem like it is compensating for something. Medicine and science have their own sometimes impenetrable jargon and that will be slipped into when two like minded people meet, I appreciate that. But even string theory or complex medical procedures I've heard explained to me more concisely and relevantly than I heard a Glasgow school of art graduate explain her work to me. It just sounded so w***y and pretentious and difficult to follow her explanation and relate it to what I was looking at. I can't really blame her for this though because that is the language she will need in that industry if she wants to succeed. There doesn't seem to be much room for transparency.
 
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Don't flounce off yet.

I was reading a piece by a curator in San Francisco who said they were inundated with people doing what you're doing.

Source? I'm heading there soon I'll look up their exhibitions...
 
I ask because it doesn't strike me that you are particularly concerned about being green. Is it just another case of a hook to hang your work on or are you a champagne environmentalism, do as I say not as I do, or are you actually trying to change and influence?

So have you seen his work on the railway, read the desciptions, about why he produced the work?

On the jargon it does seem like it is compensating for something. Medicine and science have their own sometimes impenetrable jargon and that will be slipped into when two like minded people meet, I appreciate that. But even string theory or complex medical procedures I've heard explained to me more concisely and relevantly than I heard a Glasgow school of art graduate explain her work to me. It just sounded so w***y and pretentious and difficult to follow her explanation and relate it to what I was looking at. I can't really blame her for this though because that is the language she will need in that industry if she wants to succeed. There doesn't seem to be much room for transparency.

There are times the 'jargon' as you put it confuses me, but then it's usually as I've come across an unfamiliar word and I don't know the context. Thats no different to talking to education specialists with their three letter acronyms, or anyone in it to be honest. Several fields have confusing 'jargon'
 
There are two different things going on with a captioned photograph at an exhibition.
First the picture has to be strong enough and interesting enough to catch the eye. At that stage it might be thought to be a "Good" photograph. Or dismissed as an uninteresting image.

However it is only then that the caption comes into play.

The caption can show a number of things,
Firstly: it can fill in the gaps in your knowledge about the subject.
Secondly: It can can explain the intention or situation of the Photographer
Thirdly: it can give background to both the situation, and the context.

All this, in no particular order of importance, but one which compliments the appreciation of the Photograph.

A weak image is not improved by a caption. It remains weak.

At an Exhibition I look seriously at all the photographs.
However I only read a few of the captions.
Unfortunately, too often, the captions do nothing to enlighten, educate, or cause you to think, but become self indulgent "artistic" nonsense.
 
Well unless you are going on holiday to 2012 then they might not be there.
But they curate in San Francisco, or have they died? Curators tend to organise exhibitions around a theme, but heavily influenced by their own judgement as to what to include. As such it's often worth knowing about the backgrounds, previous exhibitions etc. As I'm travelling to the area I'm hunting places to see art.

Have you the article, it'll make interesting background reading. As such in the case of this discussion and the summary you've presented it sounds like it might be worth reading
 
It's perfectly possible for the author to use words to subvert the apparent meaning of the image if read without the text.

Case in point: Renée Magritte's La trahison des images ('The treachery of images')

MagrittePipe.jpg


The text contradicts the image, but reveals the true meaning of the work, which is that the image is not identical to the thing it depicts.

The title of the painting calls out the untrustworthiness of reading the image alone.


I lived and worked in Holland in the late 70's and part of my responsibilities was to "run" a small office in Brussels

The manager of the office was a nice guy and in the Belgian way used to bring my presents

One day it was my birthday and he turned up with a small gift wrapped box

I opened in and it was a pipe exactly like the image posted

I said to him "Christian, you know I don't smoke"

He said to me ……… "I know, but it for the (your) image"
 
I opened in and it was a pipe exactly like the image posted

I said to him "Christian, you know I don't smoke"

He said to me ……… "I know, but it for the (your) image"

I have a pipe like that which I will never smoke. Pipes make great comedy props and are perfect to use for pointing at things on engineering drawings, maps and pieces of machinery.


Steve.
 
To Pookyhead,

First of all, thanks for your detailed replies. I think I'm beginning to see what you mean by art but I still have questions:rolleyes: Most of the art which arouses scorn or worse in the layman is, on the face of it, ugly and mundane and as you yourself said earlier about some images, not the sort of thing you would hang on your wall. Yet the opposite applies to, for example, Turners and Constables. Are today's artists in effect saying that there is nothing new which can be said about beauty?

For something to be considered art today, does it have to deal with a subject in a new way? I recall a judge at a photographic competition dismissing a picture as 'oh another sunset, I'm sick of them, they've been done to death' and I recall you saying earlier in the thread something about 'just another sunset'. Now, I've seen more than a few sunsets in my life and they all differ and they all speak of the wonders of nature and uplift the spirit and lead to thoughts of the smallness of man in an infinte universe etc. etc. And they are beautiful and you could hang them on your wall. Yes, they HAVE been 'done to death' in one sense but the thoughts and meanings they can provoke have not. Unless I'm reading you wrongly, you would not consider such images as art, why?

I'm not decrying Burtynsky as an artist, I don't know enough about art to do so, but slagheaps and tangled bushes are as common as sunsets if not more so since they are accessible all the time. Why are his images of these things considered to be art? Is it because he has photographed something no-else has thought wothwhile photographing, therefore 'new', and been able to attribute a deeper meaning to it?
 
I'm not decrying Burtynsky as an artist, I don't know enough about art to do so, but slagheaps and tangled bushes are as common as sunsets if not more so since they are accessible all the time. Why are his images of these things considered to be art? Is it because he has photographed something no-else has thought wothwhile photographing, therefore 'new', and been able to attribute a deeper meaning to it?

See post https://www.talkphotography.co.uk/t...d-to-camera-craft.592367/page-10#post-6919987

The ted talk is really short
 
As this thread seems to have largely morphed into a discussion of the relative merits of Burtynsky and Lik, might I humbly suggest that they might both have value?

While the latter is describing the environment in entirely positive terms, the former is pointing out what a mess we're making of it. A bit like the positive message that, for example, David Attenborough puts out in his tv wildlife series, and the negative messages that can be found elsewhere. One supports the other, in a way.

Lik's work may be more popular ( at least he claims it is) because it is attractive in a purely visual sense. Burtynsky may be more of an acquired taste but it is equally powerful or possibly more so. Whether one is art and the other not, I wouldn't like to say.

It has not really been my experience that the art world is particularly interested or concerned about the natural world or environmental issues. My impression of "art" is that it is largely concerned with us (possibly even just itself) and it is therefore largely inward looking. So if a photographer like Burtynsky can get environmental messages out in his work then that's important.

One other thing comes to mind. Both photographers must have massive carbon footprints. If either or both have environmental messages within their work, how do they put that into practice?

I noticed that the carbon emissions generated during the making of the feature film related to Burtynsky's Water project were offset. This is just an observation and not a suggestion to begin arguing about the value of offsetting........
 
Photography differs from other means of visual representation, or straight photography does, in that it records what is before the camera. As such photographs can fulfil many different, and sometimes apparently contradictory, functions. The same photograph can be both a documentary picture or an art picture depending on how it is presented, for example. I think this is a problem some people have with accepting or understanding photographs as art.

Martin Parr is interesting to consider in this respect. He's a member of Magnum, the most famous photojournalist collective in the world, famed for its documentary photography. Parr considers himself to be a documentary photographer, yet he produces art pieces from his (essentially) documentary photographs which appear in art galleries. At the same time one of his aims is to make pictures which people want to look at. Hence his saturated colours and habitual use of flash. Some are horribly brash and garish, some seem cynicall, some mockingly critical, some are amusing, some affectionate. If nothing else he's a commentator on our times.

As I see it Burtynsky's photographs are similar. One the one hand they are documentary, and clearly intended to show mankind's effect on the landscape. They show things as they are. yet they often have compositions which suggest a concern with image making on a formal basis. To show what he wants to show this aesthetic aspect isn't really necessary. That's photojournalism. But by making them visually interesting people will want to look at them, and hence there's a chance that the issues he feels need raising get aired.

I'm reminded of a quote from Tom Wood which I keep in mind when making pictures myself: "When the stuff is too journalistic and documentary then it is journalism, if it is too conceptual and arty then that is another thing, but where the two meet - that is interesting."

I reckon that both Parr and Burtynsky work at that intersection, but the likes of Lik do not.
 
It's Dave. :)

We all look at things differently, I saw Tom Wood's landscape exhibition at Llanddudno and was liked them so much I spent nearly two hours in the gallery. We're all different.

If you can find the 'What Do Artists Do All Day' programme on Tom Wood (there's a 'bootleg' on YouTube ;)) it's worth a watch, even if you don't like his pictures he says interesting things about making photographs. IMO. Some other good programmes in that series.
 
Yes, I've seen some of that series.

Tom Wood's landscapes were also on in Aberystwyth not that long ago. I just couldn't see why he had been so widely praised for them. His slice of life, documentary, portrait material, which he showed during a talk, was a different matter. I couldn't help thinking that if it hadn't been for the latter, no-one would have given his landscapes five seconds. But as you say, we're all different.

Gosh.....it's quiet in here........;)
 
You can SEE what's in the Nick Ut image... but you still don't really know what's going on until you're told.

But you do that's the point - especially as at the time it was taken people in the US and the west generally (which was the predominant market for that image) were already very aware of the Vietnam war, so the image required no explanation.

Likewise with Don McCullin's shell shocked marine at Hue - you don't need to know that he's a Marine or that hes in vietnam for that image to have power - it could be any soldier in any conflict zone and the impact would be no different - the impact is about what you can see.

Anyway these are documentary images and the colossal difference between text accompanying a combat photographers photo essentially reporting the news, and the sort of pretentious dross that accompanies a lot of artistic shots these days.

You don't see either Utt or McCullin writing "my work explores .... ever since i was a student.... with influences as diverse as ..... zzzz thunk
 
That's exactly the point I'm making, yes.

We've already done the Magritte thing a few pages back... it didn't convince the ignorant then, and it won't now.

As may have been mentioned on these threads before just because someone disagrees with your view point David doesn't make them ignorant - your opinion is just your opinion...I know you are probably used to being the most intelligent/educated person in the room when you are surrounded by undergrads, but that isn't the case here so the faux superiority is both wearing and irrelevant
 
To Pookyhead,

First of all, thanks for your detailed replies. I think I'm beginning to see what you mean by art but I still have questions:rolleyes: Most of the art which arouses scorn or worse in the layman is, on the face of it, ugly and mundane and as you yourself said earlier about some images, not the sort of thing you would hang on your wall. Yet the opposite applies to, for example, Turners and Constables. Are today's artists in effect saying that there is nothing new which can be said about beauty?

Not at all. I find lots of imagery beautiful. It's just not necessary to be interesting though is it? Some films are horrific, but excellent films. Some books are horrific, and unpleasant, but are excellent book, so why must photography be pretty to be good? It shows such a lack of imagination to only be interested in aesthetically pleasing photographs, when everyone acknowledges that other forms of media can be horrible, yet brilliant, but not photography? Why should that be? It's not about hanging it on your wall, or being pretty necessarily, it's about what makes you think.



For something to be considered art today, does it have to deal with a subject in a new way?

Not necessarily, no, but it would have to be original to SOME extent. Things tend to go in fashions and trends, like everything else of course. Art is no different.


I recall a judge at a photographic competition dismissing a picture as 'oh another sunset, I'm sick of them, they've been done to death' and I recall you saying earlier in the thread something about 'just another sunset'. Now, I've seen more than a few sunsets in my life and they all differ and they all speak of the wonders of nature and uplift the spirit and lead to thoughts of the smallness of man in an infinte universe etc. etc. And they are beautiful and you could hang them on your wall. Yes, they HAVE been 'done to death' in one sense but the thoughts and meanings they can provoke have not. Unless I'm reading you wrongly, you would not consider such images as art, why?

But we know all that. We know sunsets are beautiful. Yes you can hang it on a wall etc. but that has nothing to do with art. It's decorative art, yes, you can decorate a wall with it, but it's not what we regard as photographic art these days. You can have a sunset IN an image and it could be art depending on what the image is actually about, but to actually take a photo of a sunset, for no other reason to show a sunset, it's just pointless unless you just want to make a pretty picture. Nothing wrong with that by the way.. it's just not art.

Personally I'm sick of seeing them to, and I agree with the judge. Surely one of the things a competition entry at any level should have is some originality and thought put into it. A sunset image just doesn't cut it. Too many of them.


I'm not decrying Burtynsky as an artist, I don't know enough about art to do so, but slagheaps and tangled bushes are as common as sunsets if not more so since they are accessible all the time.

They're not common photographic subjects though, and it's not praised because it's slag heap... that image alone isn't praised.. the body of work it is from is. That's just one image from a whole book.


Why are his images of these things considered to be art? Is it because he has photographed something no-else has thought wothwhile photographing, therefore 'new', and been able to attribute a deeper meaning to it?

Because it was a topical subject at the time, and what often makes art is the subject the work questions, examines, and comments upon. With a sunset, there's nothing to question, or examine, or comment upon. It's a sunset, it's pretty.. the end. I get the smallness of man thing, sure... but you can say that about a landscape too, or a astro shot. The fact is, once you've seen your 10 millionths sunset image on Flickr, you just lose interest. They're all ultimately the same.
 
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But you do that's the point - especially as at the time it was taken people in the US and the west generally (which was the predominant market for that image) were already very aware of the Vietnam war, so the image required no explanation.

Yes.. that's my point.. they WERE aware of the Vietnam war... so the information they used to fill in the gaps still did not come from the photograph, it came from news reports. There is nothing in the actual image to give all those fasts. There just isn't. Look at it.



Likewise with Don McCullin's shell shocked marine at Hue - you don't need to know that he's a Marine or that hes in vietnam for that image to have power -


No... not to have power. We're back to that again. We're not discussing it's power.. we're discussing whether it needs words to give the story, which it clearly does. You can appreciate it without the words. You can appreciate ANY image without words, but you need words to ascertain what exactly it means.





it could be any soldier in any conflict zone and the impact would be no different - the impact is about what you can see.

If you mean an image should have impact without words, then I would partially agree, but that's not what you were saying before, You were saying a great image needs no explaining with words. I disagree. ALL images need words to fully explain them because ALL images are open to interpretation by the individual.



Anyway these are documentary images and the colossal difference between text accompanying a combat photographers photo essentially reporting the news, and the sort of pretentious dross that accompanies a lot of artistic shots these days.

And there we go.. sliding back from a reasoned argument, back into the gutter. Well done. You can't keep it up for long before reverting to type can you? :)



You don't see either Utt or McCullin writing "my work explores .... ever since i was a student.... with influences as diverse as ..... zzzz thunk

You don't see a great deal of documentary work doing that full stop, no. It's usually the mainstay of conceptual art of one form or another. They usually need explaining more than documentary images. Having said that though, documentary is usually accompanied by a great deal more than a mere statement. There's usually a whole damned book!
 
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As may have been mentioned on these threads before just because someone disagrees with your view point David doesn't make them ignorant - your opinion is just your opinion...I know you are probably used to being the most intelligent/educated person in the room when you are surrounded by undergrads, but that isn't the case here so the faux superiority is both wearing and irrelevant

Ignorant isn't an insult. It just means you aren't in full possession of the facts.

You can always place me back in ignore Pete. I don't mind at all :)
 
So, after 433 posts, a test.... Art or Record? (After all it is MY thread that has been derailed) ;)

A Burtynsky or a Lik?

 
So, after 433 posts, a test.... Art or Record? (After all it is MY thread that has been derailed) ;)

A Burtynsky or a Lik?



I'd say record, unless you can give me some information as to why you took it that goes beyond colour, form, composition etc. Is there any supporting information, text or back story?

I like it BTW, but there's nothing critical in it.. unless I need to be told about it, and you're not doing. It's an interesting building.. nicely done.. precise.. but I'd say record. Is it commenting on anything?

It's far better than a Lik.. at least this is interesting.
 
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We spent a long weekend in Paris, celebrating our wedding anniversary. We found this great hotel which was totally themed around French Cinema, Film Industry and Directors, etc.

This was part of the view from our room, across a small courtyard so the building in this image doesn't actually belong (as far as I could find out) to the Hotel but the owners seemed to have been given permission to decorate in such a way as to continue the theme 'out of the window' so to speak.(Hotel 123 Sebastapol)

Fascinating place and totally captured my imagination.
 
Oh... and all the coffee tables in the bar were on Manfrotto tripod bases, who could fault that!
 
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But you do that's the point - especially as at the time it was taken people in the US and the west generally (which was the predominant market for that image) were already very aware of the Vietnam war, so the image required no explanation.

Likewise with Don McCullin's shell shocked marine at Hue - you don't need to know that he's a Marine or that hes in vietnam for that image to have power - it could be any soldier in any conflict zone and the impact would be no different - the impact is about what you can see.

Anyway these are documentary images and the colossal difference between text accompanying a combat photographers photo essentially reporting the news, and the sort of pretentious dross that accompanies a lot of artistic shots these days.

You don't see either Utt or McCullin writing "my work explores .... ever since i was a student.... with influences as diverse as ..... zzzz thunk

Nick Uts image, as I said earlier, the image could be used either way, as an anti war image, or change the words and it's US soldiers defending the civilians against tyrannical attacks, hence for war.

The words and context do matter.
 
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