These essays all link themselves in diverse ways to each other. The last-named pair, for instance, connect to the Mortensen essay, on the one hand, and to "The Vanishing Borderline" -- a rumination on the relationship between photography and computer art -- on the other. Similarly, the Curtis essay profits from consideration alongside the Mortensen piece, since both address the inevitable excesses of ideologically biased historianship and its consequences; yet it also functions as a case study to which the more general ideas propounded in "Documentary, Photojournalism and Press Photography Now" can be applied.
By the same token, "Mutant Media," "Documentary, Photojournalism and Press Photography Now" and "On Redaction" strike me as interrelated in that all concern themselves in good part with the absence of clear definitions for such fundamental terms as photomontage, photocollage, the several forms of informationally oriented photography, and the body of work in this medium. They set out to propose and substantiate such definitions -- for my own use as a working critic, of course, but also for anyone else who finds them convenient and helpful. (Perhaps they can also even serve as articulated reference points for those who would dispute them, giving them something fixed and carefully reasoned to counter with their own alternatives.) Yet my impulse is far from merely lexicographic; those essays also speak to other, larger issues, for the consideration of which I felt some commitment to a precise vocabulary was vital.
The following 42 pages are in this category, out of 42 total. This list may not reflect recent changes ( learn more ).
Everyone will be shooting digitally, but this course is not about using a computer to manipulate your images. It’s about how to look for, see, and evaluate your images. It is most certainly not about Photoshop, which we will not discuss. You will end up a better photographer, if not a better human being. If this is not specific enough, please read the quotes from my former students .
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Comment by Alec Soth — December 3, 2006 @ 1:12 am
Once I have fully absorbed what I have looked at, I then ask the photographer, “Do you want me to give you an honest critique?” This helps the photographer getting the feedback and opportunity to mentally prepare for what he/she is going to hear. If they say “yes”- they will expect some of the negative feedback you will give them (instead of it coming out of nowhere).
Then, chime in below–what was the most helpful piece of constructive criticism you’ve ever received? Why was it helpful? What was the least helpful? Why?