Theoretical Positions affecting Photography

The Terry Barrett reading is an overview of the major theoretical positions affecting photography today. The discussion resolves around trustworthiness of a photo, modernism and postmodernism, Marxist theory and criticism, and feminist theory and criticism. This article explores the idea that a photo can be magic, trustworthy, and a natural phenomenon all at the same time. Just like any theoretical perspective, there will always be varying views on it. This article serves to emphasize the importance of affecting photographic purposes. Additionally, this theoretical scope helps us to comprehend and appreciate the medium as well as the means and ends of photography.

Photo competition

Soho Photo initiated its Annual Alternative Processes Competition in 2005 with the objective of recognizing the achievements of those photographers who continue to craft their images the way photographers have done since the beginning of the medium. These alternative processes include (but are not limited to) Albumen, Cyanotype, Van Dyke Brown, Platinum/Palladium, Gum Bichromate, Bromoil, Salt Print, Ambrotype, Tintype, Image Transfer and Ziatype. 19th century photographic processes dominate this genre, however some modern methods have joined the accepted ranks. Alternative photographic printing processes result in the creation of one-of-a-kind handmade images, with the imprint of each photographer’s special individuality and artistry.

• The juror will choose approximately 35 photographs for the exhibition.
• First (provided by the Center for Alternative Photography), second and third place prices will be awarded.
• At least two honorable mentions will be given at the discretion of the juror. Winning participants will be listed on our website: www.sohophoto.com

Juror: Jill Enfiel

Online submission of digital photographs spg.slideroom.com

Artist Statement

Artist statement
http://www.smnesbitt.com/about/

Making Sense of What We Have

I find that written and visual information has incredible power on our actions, thoughts and relationships. Information is formed effortlessly, through interpretation. When it’s created and executed, it is no longer in the sole possession of the creator, leaving it vulnerable and open to re-interpretation. Many times many people share similar thoughts, creating different ways of transferring those ideas. How that information survives, depends on the one(s) who decides to carry it forward. This constantly reshapes a concept for people to understand, and it could lose its original meaning. That’s what makes research important, providing substance from additional resources strengthens what is delivered, but how is it that we determine what information holds more value? These ideas are communicated by combining traditionally separate disciplines such as installation, sculpture and photography and the surfaces of the printed media used are disrupted by physical alterations through sewing, dissecting, writing and pinning. Using existing objects that contribute to the sculptural element of the work with stories of their own, that serve as tools of organizing, identification, and creation of these histories.

Sarah Nesbitt

Who Cares about Books Discussion Questions

 

1.     The author says that photography and books are, “burdened with sentimental value.” Do you think that this sentimental value is inherit with the medium or is it something created by the artist?

 

 

 

2.     Do you personally believe that books will ever disappear completely with innovative technology?

 

3.    Since after the democratization of photography books, what do you think is the future of the photo books? What would be our next step, or is there going to be one?

 

 

4.     The development of book production has allowed for many artists to bypass the process of editors, designers, and booksellers allowing for a lot more people to display their work to the public and allows for a diversity of voices. Do you believe that the mainstreaming of photography books takes away from the artistic value of a work? What influence does this have on the life of an image?  In other words, “How does an image stay memorable amongst such a vast sea of images?”

 

5.     Why do photographers feel the need to produce their work in a book? How did you fall in love with photography?  Did photo books have anything to do with it?

 

 

6.    Why do photographers care so much about books? Is it the same case for artists of other disciplines?

 

 

 

7.    What do you think is more effective way to illustrate and show a work of art/photography, in a book form or in an exhibition, or in any other forms? What's the best way to show photography work?

 

8.     Roth defines a great work as: “books whose images were destined to be seen printed in ink and bound between covers.” Do you think that an artist whose intent to produce a body of work specifically to be displayed on an online blog does not have the intent of creating a great work?

 

 

 

9.     Do you think a photo book is an art form?

 



 

10.     After reading this article, do you think you are more aware of how you will present your work in the future?

F-Stop Shutter Speed Fine Art

f/5.6 1/250s

 

 f/10 1/15s

f/3 1/15s

Conceptual Art: A Repetition of Impossible Originals

Conceptual art is quite basically the idea that a concept becomes a driving force behind a piece of art. The concept takes precedence over tradition aesthetics and material concerns. This forms the challenging idea of what a photo is of and what a photo is about. The two hold very different meanings. The conceptual focuses on the about while the aesthetic and material concern addresses the of. The problematic nature with conceptual art is determining where it begins; does it start with an idea or with an aesthetic?

We're looking for something dumb to do. Hey baby, I think I wanna marry you