1. More of me. A lot more. This time I took my webcam and shot the screen at the same time, while also shooting with my slr on a tripod. I needed all of my hands to accomplish this, all  of them.


  2. A “selfie” I took recently using a projector and a good vimeo find. I especially like how the pixel grid of the screen is visible at this scale and blends with the macro check of my shirt. 


  3. Timothy Tai

    Window light really does make a big difference! Soft, yet dramatic. I like the washed out blue tones that ride through in this photo. In general, I’m not as concerned about the photo being colored true to life, so much as the composition and shadows are how I want them to be.


  4. Cindy Sherman’s work is remarkable due to both its awareness of the intricacies of the tropes she is playing off of in her photographs, and the attention to detail in their execution. I was so convinced of their being contemporary to the film eras they emulate (anywhere from the 40’s-60’s, depending on the still), that I started to write this critique with that assumption in mind. There is an air of subtlety to their composition that adds to this impression. The props and costumes she employs are evocative of certain genres and characters, yet not explicit enough to be easily pinned on any one particular character. The fact that the photographs are left untitled compounds this effect. This allows the viewer to write their own dialogue or premise around the particular scene being portrayed and the types of characters involved. A fitting end to the story surrounding this playful deconstruction of the American cinematic landscape is that Sherman reportedly ended her project only when she ran out of cliches to shoot.


  5. Francesca Woodman’s tragically brief but prolific life as a photographer is still as compelling today due to its cohesive vision and sense of unrestricted honesty. Overcome by her perceived failures, she committed suicide at the age of 22, leaving behind some 10,000 negatives, which her parents later exhibited, garnering her wide, posthumous fame. It’s curious to me that in this way we were exposed to a body of work which, had things gone differently, we may never have seen otherwise. Would Francesca have been as willing to share her captured, most private selves with the world so freely if she were alive? I like to think the answer is yes, as her ethereal portraits likely influenced a generation’s perception of themselves and how they display themselves to others.


  6. Berlin, again. A more lighthearted, less warped outtake from my concentration on mirrored images


  7. Berlin, playing with shutter speed in an already dim museum produces ghostly results.


  8. Catherine Wagner’s lecture at the American Academy was engaging and stimulating, in observing how a photographer approaches a subject in such a calculated and documentarian way. This was no doubt an adapted method made to complement the scientific and anthropological aspects of documenting cell structure and cataloging early prostheses, and is effective in displaying the subject matter properly. It was also interesting to see how freely she moves from one medium to the next, and how her strengths in photography can so easily be adapted to sculpture, installation, and architectural ornamentation. Even her approach to rendering a frozen pond seems cut from her same unique style of representation. In sealing acorns within layers of resin, she effectively creates a 3D piece out of layers of 2D images, achieving a highly realistic result (albeit far removed from the appropriate context).


  9. The exhibition of Robert Capa’s work at Palazzo Braschi was a refreshing take on war photography with an emphasis on the civilian’s perspective. Depicting his time following the Allied liberation of Italy, the photographer (or perhaps, the curator?), focuses on detailing the warm reception and subsequent intermingling between US troops and the people. Soldiers are seen receiving affection from local girls and interacting with friendly townspeople, a sharp turn from his visceral work at the landing at Normandy and later coverage throughout Europe. However, the peace the allies restored was an uneasy one, as the war was not yet over. This tension can be felt in his shots of women and children fleeing their mountainside towns as the allies push north against fascist troops, and more subtle shots of tanks rolling through the countryside a midst fields and cattle.


  10. To me, Horst Stien’s work can almost be seen as an extension and exaggeration of Bresson’s concept of “the decisive moment”. In his exhibition at Museo di Trastevere, he presents a series of diptychs with one image depicting an empty scene, and its pair the same scene but occupied. The person or thing that enters the frame is usually blurred or obscured in some way, so as to infer that their presence is the only thing necessary in the shot, not their character or look, per say, though we may get some in the process. Whereas Bresson waited to get just the action or expression he desired in his photos, Stein waits to snap his subjects as they fleetingly pass through, their passage in front of the camera at that moment in time being the most important thing to him..This is sometimes taken to humorous extremes, as in the above photo, wherein the viewer first assumes that this photo is an anomaly in the series, only to realize that a pigeon has replaced the hurried passersby that usually populate his shots.