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10 Dec 15:40

Shooting Sites of Execution

by Laura C. Mallonee
"Private Joseph Byers,  Private Andrew Evans, 
Time unknown / 6.2.1915; Private George E. Collins, 07:30 / 15.2.1915; Six Farm, Loker, West-Vlaanderen" by Chloe Dewe Mathews, 2013

Chloe Dewe Mathews, “Private Joseph Byers, Private Andrew Evans, 
Time unknown / 6.2.1915; Private George E. Collins, 07:30 / 15.2.1915; Six Farm, Loker, West-Vlaanderen” (2013)

In 2006, Britain’s Ministry of Defense officially pardoned 306 soldiers it had executed for cowardice or desertion during World War I. Many of them were underage, suffered from post-traumatic stress disorder, and hadn’t been given a fair trial. Among them, 16-year-old Herbert Burden had lied about his age so he could join the army; after he fled a massacre 10 months later, he was shot by firing squad. Burden later came to represent these ill-fated young men: his likeness was used in a monument commemorating them, titled “Shot at Dawn.” Photographer Chloe Dewe Mathews borrowed that name when she embarked on her own photographic tribute, commissioned by the Ruskin School of Art as part of 14–18 NOW and currently on view at Stills center for photography in Scotland.

For the series, the photographer visited 23 execution sites around the same time and season as when the soldiers died there. These landscapes may now be quiet and even bucolic, but Mathews’s photographs ensure that their past horrors are not forgotten. As Geoff Dyer, who introduced the accompanying monograph by Ivorypress, wrote in Harper’s, “When no grave or memorial is in view, one still understands — one feels — that this is more than just a conventionally pleasing landscape, even if the particulars of what has happened remain unknown. History has taken root here.”

"Soldat Ahmed ben Mohammed el Yadjizy, Soldat Ali ben Ahmed ben Frej ben Khelil, Soldat Hassen ben Ali ben Guerra el Amolani, Soldat Mohammed Ould ben Ahmed, 17:00 / 15.12.1914, Verbranden-Molen, West-Vlaanderen" by Chloe Dewe Mathews, 2013

Chloe Dewe Mathews, “Soldat Ahmed ben Mohammed el Yadjizy, Soldat Ali ben Ahmed ben Frej ben Khelil, Soldat Hassen ben Ali ben Guerra el Amolani, Soldat Mohammed Ould ben Ahmed, 17:00 / 15.12.1914, Verbranden-Molen, West-Vlaanderen” (2013)

"Soldaat Jean Raes, Soldaat Alphonse Verdickt, Time unknown / 21.9.1914, Walem, Mechelen, Antwerpen" by Chloe Dewe Mathews, 2013

Chloe Dewe Mathews, “Soldaat Jean Raes, Soldaat Alphonse Verdickt, Time unknown / 21.9.1914, Walem, Mechelen, Antwerpen” (2013)

"Private Herbert Chase, 04:30 / 11.6.1915, Sint-Sixtusabdij, Proven, Westvleteren" by Chloe Dewe Mathews, 2013

Chloe Dewe Mathews, “Private Herbert Chase, 04:30 / 11.6.1915, Sint-Sixtusabdij, Proven, Westvleteren” (2013)

Shot at Dawn, Chloe Dewe Mathews is on view at Stills (23 Cockburn Street, Edinburgh, Scotland) through January 25, 2015.

18 Nov 16:43

Skeleton Hand Hair Clips

Skeleton Hand Hair Clips, from etsy seller Always Anchors…..(Read...)

15 Oct 14:39

I Send On Average Five Takedown Notices To Web Hosts Every Day

by A Photo Editor

I sent takedown notices to a store selling phone cases, to Etsy for an artist hawking pirated prints of a fire ant, and to Twitter for an exterminator heading his company account with one of my bed bug photographs.This rate of commercial infringement is normal, as photographers and other online visual artists can attest. I deal with most cases by using a provision of the 1998 Digital Millennium Copyright Act DMCA that requires Web hosts to remove infringing content when informed. I send, on average, five takedown notices to Web hosts every day, devoting ten hours per week to infringements. Particularly egregious commercial infringers get invoices.

I actually have let a few of my most commonly infringed images go unenforced. I could not keep up, so I left these as a natural experiment. The result confirmed what I suspected: images that become widespread on the Internet are no longer commercially viable. Thousands of businesses worldwide now use one of my Australian ant photographs to market their services, for example, and not a single paying client has come forth to license that image since I gave up.

Copyright infringement for most artists is death by a thousand paper cuts. One $100 infringement here and there is harmless enough. But they add up, and when illegal commercial uses outnumber legal ones 20 to 1 in spite of ambitious attempts to stay ahead, we do not have a clear recourse. At some point, the vanishing proportion of content users who license content legally will turn professional creative artists into little more than charity cases, dependent only on the goodwill of those who pity artists enough to toss some change their way.

via Bugging out: How rampant online piracy squashed one insect photographer | Ars Technica.

02 Oct 19:11

Daughter of Hong Kong leader thanks "taxpayers" for diamonds on Facebook

by Cory Doctorow

Chai Yan Leung thanked the taxpayers who paid for it, and then dismissed her critics as non-taxpayers, since employed people wouldn't have time to comment on Facebook. Read the rest

02 Sep 14:11

The Best Work I Saw at Review Santa Fe ’14

by Jonathan Blaustein

My father reads my column every week. Without fail. Recently, he took exception to the fact that I labeled my writing “nonsense.” Thank goodness for encouraging parents.

I try to keep these articles entertaining, and have found that a little self-deprecation goes a long way. Occasionally, I revel in it, because I used to have very thin skin, as a youth. I’d fall to pieces if anyone made fun of me. (As Dad can attest.)

That’s why I love to start these travel pieces and festival reviews with a funny story, making me look foolish. Like the time I set off the fire alarm at the NY Times review. Or the time a heavy door at Gagosian hit me in the stomach, right in front of a gorgeous gallerina.

Eventually, though, I was bound to run out of embarrassing incidents. It was inevitable.

And here we are.

Nothing funny happened to me at Review Santa Fe this past June. I was invited as a roving reviewer, and as the guy who announces their raffle at the Saturday night party. (Yes, I broke into Spanglish, but it was more ha-ha funny than Ricky Gervais cringe-worthy. So not relevant here.)

I had a very nice time, as it was my sixth consecutive trip to the review. Good food, good weather, lots of nice people from around the world. I think I’ll even skip the part where I defend the review process from those who get upset about having to pay for meetings.

Overall, I saw the best work of any review I’ve yet attended. Polished, relevant, accomplished projects, professionally presented.

So if nothing bad happened, nor anything eventful to recount here…let’s get on to showing the best work I saw at the RSF ’14.

Qian Ma is a photographer based in Brooklyn, who recently finished a degree at ICP. In a perfectly strange coincidence, he just finished studying with my former professor, the great Allen Frame. I wasn’t surprised to hear that, as Allen is adept at pushing young artists to dig into a practice that allows their personal aesthetic to shine.

Qian’s black and white prints were totally gorgeous, and admittedly, the jpegs don’t do them justice. People literally lined up to see this work. I loved the otherworldly, odd, metaphysical qualities. How a simple cell phone can make you think of a parallel universe. So of course I asked him if he read Haruki Murakami, and of course he said, “Yes. Everything he’s written.” The project is called “Luminance,” and if you happen to see a sheep man lurking in a corner, at least you were warned.







I met Julia Cybularz within seconds of walking into the open portfolio viewing at the Santa Fe Farmer’s market. Normally, you wander around such events, looking for the juicy bits. Not that night. Hers was the first work I saw, and I loved it.

She’s photographed her niece, who has horrible scoliosis. Debilitating stuff. The photos were elegant, razor sharp, and visceral. Apparently, Ms. Cybularz suffered from the same affliction, which adds to the resonance. She also had a concurrent project which featured her cousin, who has schizophrenia and is mentally challenged. And he has scoliosis as well. It made for a fascinating mix of family, malady, and personal connection.







Meike Nixdorf is an artist who was visiting from Germany. Again with the Japanese references, she was showing a project that was inspired by Hokusai’s “36 Views of Mt. Fuji.” She was looking for a mountain that she could photograph from many different angles, that would allow the structure of the pictures to change radically.

She found one, El Teide, in the Canary Islands. I asked her why there, as it seemed so random, and she told me she visited the mountain many times, flying over it in a virtual flight simulator. If that’s not updating Hokusai’s vision to the 21st Century, I’m not sitting at my kitchen table on a rainy day in the mountains. (In fact, I am.)

Vordergrund_Linie 001

Vulkanfeld 001

wüstenberg_46_4989 001

Regen_grün_baum 001

Rückweg 001

observatory_cloud 001

montana_nebel 001

I also met Miki Hasegawa that night. (Two women with different spellings of the same name?) Miki had a series of images that she photographed from the vantage point of her young daughter.

As we all know, life is lived at eye level. We grownups make the world in our image, but our offspring are always looking up at a reality they must grow into. Terrific color palette as well, and the prints managed to capture the wonder and curiosity of childhood. I loved them immediately.








I had a long, rambling, roving review with the Denver-based photographer Benjamin Rasmussen, who’s originally from the Faroe Islands. (They’re in-between Norway and Iceland, so you don’t have to Google it.) He’s interested in issues of identity and displacement, and his project “By the Olive Trees” focuses on both.

He photographed Syrian refugees in Jordan. And he was apparently in Ferguson, MO, last week, so you can check his website to see what’s going on in America’s homegrown war-zone. (Hands up, Don’t shoot.)









According to Twitter, Russia invaded Ukraine today. Is that news? Haven’t they invaded several times already, including when they swiped Crimea? Hard to imagine a more topical project than one which examines the cross-cultural divide between the two countries. (Soon to be re-united?)

Sasha Rudensky was born in Russia, and studied in the famed Yale program. With her project, “Brightness, she has given us some seriously strange pictures that do just that. She photographed in both places, and the image of the thugs holding a giant snake was my favorite single picture at RSF. (Unfortunately, she isn’t ready to publish it yet.)

2.Rudensky_Sixth Sense


4.Rudensky_Hannibal Lector

9.Rudensky_Law Office

11.Rudensky_Waiting Room

Self-Defense2 001

15.Rudensky_Night Market

Finally, I got to see the work of Jeanine Michna-Bales, who was one of Center’s Prize winners. I’d seen a couple of her prints on the wall of the Center for Contemporary Arts, and was transfixed. You won’t believe the premise.

Ms. Bales was interested in understanding the reality of the underground railroad, that patchwork network that led escaped slaves to freedom. A beacon of light in America’s bleak past.

So, she recreated it herself.

She stopped every 20 miles or so, between Louisiana and Canada, which was the supposed average distance an escaped slave could have covered. Then, she made pictures at night. It was so sketchy that she had to hire bodyguards to protect her, out in the middle of nowhere, under black skies.

Obviously, the premise is terrific. But the pictures are every bit as good.

Decision to Leave

Cypress Swamp

Hidden Passageway

Hunter's Bottom

Moonrise over Northern Ripley County

Look for the Grey Barn Out Back

'Welcome to the Fugitive Captive'

18 Sep 15:31

L’Officiel Hommes Italia

by Jonathan Shia


L’Officiel Hommes Italia packs in the star power for its Fall 2014 issue More...
19 Sep 00:03

Unsettling Psychic Photography from the 1930s

by Allison Meier
"A Psychic Figure," from a series of lantern slides on "Psychic Photography From A New Angle" (via Tyne & Wear Archives & Museums)

“A Psychic Figure,” from a series of lantern slides on “Psychic Photography From A New Angle” (via Tyne & Wear Archives & Museums)

On May 15, 1934, a man named Mr. C.P. MacCarthy of Sheffield sent a letter confirming a meeting where he would “demonstrate under test conditions Fake Psychic Photography.” Decades later, his lantern slides of “supposedly paranormal and unknown forces caught on camera” turned up in the collections of Tyne & Wear Archives & Museums, which recently uploaded the profoundly strange photographs to their Flickr Commons.

A scan of the letter is included, where MacCarthy writes his “Psychic Photography From A New Angle” discussion will “indicate the increasing scope for fraud with the advancement of science — though not to disprove the probability of genuine Spirit Photography.” That last comment showing he was something of a believer. Tyne & Wear explains that not much “is currently known of the Psychic demonstration. Who sat on the invited committee? Who was Mr MacCarthy? Why was he investigating Psychic Photography?”

All we have to go on are the lantern slides, yet standing alone they are an unsettling, surreal assortment. Even out of context, each implies the intervention of something supernatural, whether it’s a shawl hovering against darkness, or text reading “Kate Fox,” a likely reference to Kate of the famous Fox Sisters mediums. As a commenter points out, one of the slides reproduces William Henry Fox Talbot’s 1835 shot of a window at Lacock Abbey, known as the oldest surviving photographic negative. It’s possible others might be culled from sources lost to time.

MacCarthy wasn’t alone in demonstrating against psychic photography. Harry Houdini created a debunking spirit photograph of himself with Abraham Lincoln, and publicly warred with believers like Arthur Conan Doyle, who got taken in by the “Cottingley Fairies” photos supposedly showing two girls with the mythical sprites. MacCarthy would have been right on the edge of this fad for psychic photography, but in the growing shadow of imaging technology, new possibilities may very well have implied the opening of portals to the unknown.

"Psychic Photography From A New Angle" (via Tyne & Wear Archives & Museums)

“Psychic Photography From A New Angle” (via Tyne & Wear Archives & Museums)

"A Psychic Apparition" (via Tyne & Wear Archives & Museums)

“A Psychic Apparition” (via Tyne & Wear Archives & Museums)

"A Psychic Portrait" (via Tyne & Wear Archives & Museums)

“A Psychic Portrait” (via Tyne & Wear Archives & Museums)

"Broken Glass" (via Tyne & Wear Archives & Museums)

“Broken Glass” (via Tyne & Wear Archives & Museums)

"Ectoplasm" (via Tyne & Wear Archives & Museums)

“Ectoplasm” (via Tyne & Wear Archives & Museums)

"Ectoplasm" (via Tyne & Wear Archives & Museums)

“Ectoplasm” (via Tyne & Wear Archives & Museums)

"A Psychic Apparition" (via Tyne & Wear Archives & Museums)

“A Psychic Apparition” (via Tyne & Wear Archives & Museums)

"A Psychic Message" (via Tyne & Wear Archives & Museums)

“A Psychic Message” (via Tyne & Wear Archives & Museums)

"A Psychic Message" (via Tyne & Wear Archives & Museums)

“A Psychic Message” (via Tyne & Wear Archives & Museums)

"Technical Psychic Photography" (via Tyne & Wear Archives & Museums)

“Technical Psychic Photography” (via Tyne & Wear Archives & Museums)

"Psychic Causes" (via Tyne & Wear Archives & Museums)

“Psychic Causes” (via Tyne & Wear Archives & Museums)

View more of the “Psychic Photography From A New Angle” lantern slides on the Tyne & Wear Archives & Museums Flickr Commons.

17 Sep 13:20

Признание в любви Concorde с помощью Hasselblad

139 0

Фотограф Фрэнк Шрамм (р.1957 г.) любил самолеты с самого детства. В 1989 году во время обеда в аэропорту в Париже, он увидел как взлетает Concorde. Невероятная машина проплыла над ним ниоткуда взявшись и в никуда. Фрэнк чуть не подавился куском пирога. С тех пор вооруженный Hasselblad он по всему миру еще долго охотился за этими металлическими птицами. Выставки Френка проходят по всему миру. Отпечаток 48x48 стоит от $ 3000.

Автопортрет #1, Франческа Вудман (Рим, 1978) Игры с зеркалом знаменитых фотографов

Зеркало всегда привлекало к себе художников и фотографов в основном из-за его зазеркальной сущности. Изображая зеркало они всегда имели в виду не столько прямое отражение, сколько возникновение самостоятельной параллельной реальности.

thomasherbrich_00 Thomas Herbrich на три месяца погрузился в магический дымок

Немецкий фотограф Thomas Herbrich провел последние три месяца за съемкой струй дыма. Его голова кружилась и мозг раздражали разные специфические образы.Он сделал 100 000 фотографий дымовых шлейфов, пытаясь поймать идеальный момент, когда она образует неясные знакомые очертания.

11 Aug 16:35

hollyhocksandtulips: Hermosa Beach, CA, 1948 Photo by John...


Hermosa Beach, CA, 1948

Photo by John Florea

09 May 07:59


Olena Bulygina

I don't dress even for the weather :(

12 Jul 21:08

Fine Art Photography by Emma Hartvig

by antonliberant

Emma Hartvig 650x433 Fine Art Photography by Emma Hartvig

Emma Hartvig is a talented fine art photographer from Sweden, who currently based in London, UK. She studied at London College of Communication and Nicolai School of Arts.

Emma Hartvig2 650x347 Fine Art Photography by Emma Hartvig

Emma Hartvig3 650x376 Fine Art Photography by Emma Hartvig

Emma Hartvig4 650x367 Fine Art Photography by Emma Hartvig

Emma Hartvig5 650x433 Fine Art Photography by Emma Hartvig


Design You Trust is proudly supported and powered by WebHostingBuzz Premium Infrastructure & Network.

09 Jul 11:45


07 Jul 03:34


01 Jul 06:56


27 Jun 22:10

"Oh little one, you’re growing up You’ll soon be writing C You’ll treat your ints as pointers You’ll..."

Oh little one, you’re growing up
You’ll soon be writing C
You’ll treat your ints as pointers
You’ll nest the ternary
You’ll cut and paste from github
And try cryptography
But even in your darkest hour
Do not use ECB

CBC’s BEASTly when padding’s abused
And CTR’s fine til a nonce is reused
Some say it’s a CRIME to compress then encrypt
Or store keys in the browser (or use javascript)
Diffie Hellman will collapse if hackers choose your g
And RSA is full of traps when e is set to 3
Whiten! Blind! In constant time! Don’t write an RNG!
But failing all, and listen well: Do not use ECB

They’ll say “It’s like a one-time-pad!
The data’s short, it’s not so bad
the keys are long—they’re iron clad
I have a PhD!”
And then you’re front page Hacker News
Your passwords cracked—Adobe Blues.
Don’t leave your penguin showing through,
Do not use ECB

- Ben Nagy, Ode to ECB, POC||GTFO, issue 0x04, p. 46
25 Jun 07:54

Leo Tolstoy’s Family Recipe for Macaroni and Cheese

by Dan Colman


In 1874, Stepan Andreevich Bers published The Cookbook and gave it as a gift to his sister, countess Sophia Andreevna Tolstaya, the wife of the great Russian novelist, Leo Tolstoy. The book contained a collection of Tolstoy family recipes, the dishes they served to their family and friends, those fortunate souls who belonged to the aristocratic ruling class of late czarist Russia. Almost 150 years later, this cookbook has been translated and republished by Sergei Beltyukov. Available in an inexpensive Kindle format ($3.99), Leo Tolstoy’s family recipe book features dozens of recipes, everything from Tartar Sauce and Spiced Mushrooms (what’s a Russian kitchen without mushrooms?), to Stuffed Dumplings and Green Beans à la Maître d’Hôtel, to Coffee Cake and Viennese Pie. The text comes with a translation, too, of Russian weights and measures used during the period. One recipe Mr. Beltyukov provided to us (which I didn’t see in the book) is for the Tolstoy’s good ole Mac ‘N’ Cheese dish. It goes something like this:

Bring water to a boil, add salt, then add macaroni and leave boiling on light fire until half tender; drain water through a colander, add butter and start putting macaroni back into the pot in layers – layer of macaroni, some grated Parmesan and some vegetable sauce, macaroni again and so on until you run out of macaroni. Put the pot on the edge of the stove, cover with a lid and let it rest in light fire until the macaroni are soft and tender. Shake the pot occasionally to prevent them from burning.

We’ll leave you with bon appétit! — an expression almost certainly heard in the homes of those French-speaking Russian aristocrats.

Related Content:

Rare Recording: Leo Tolstoy Reads From His Last Major Work in Four Languages, 1909

Vintage Footage of Leo Tolstoy: Video Captures the Great Novelist During His Final Days

The Complete Works of Leo Tolstoy Online: New Archive Will Present 90 Volumes for Free (in Russian)

Works by Tolstoy can be found in our collections, 600 Free eBooks for iPad, Kindle & Other Devices and 550 Free Audio Books: Download Great Books for Free

Leo Tolstoy’s Family Recipe for Macaroni and Cheese is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.

The post Leo Tolstoy’s Family Recipe for Macaroni and Cheese appeared first on Open Culture.

03 Jul 11:24

The Web We Lost

Update: A few months after this piece was published, I was invited by Harvard's Berkman Center to speak about this topic in more detail. Though the final talk is an hour long, it offers much more insight into the topic, and I hope you'll give it a look.

The tech industry and its press have treated the rise of billion-scale social networks and ubiquitous smartphone apps as an unadulterated win for regular people, a triumph of usability and empowerment. They seldom talk about what we've lost along the way in this transition, and I find that younger folks may not even know how the web used to be.

So here's a few glimpses of a web that's mostly faded away:

  • Five years ago, most social photos were uploaded to Flickr, where they could be tagged by humans or even by apps and services, using machine tags. Images were easily discoverable on the public web using simple RSS feeds. And the photos people uploaded could easily be licensed under permissive licenses like those provided by Creative Commons, allowing remixing and reuse in all manner of creative ways by artists, businesses, and individuals.
  • A decade ago, Technorati let you search most of the social web in real-time (though the search tended to be awful slow in presenting results), with tags that worked as hashtags do on Twitter today. You could find the sites that had linked to your content with a simple search, and find out who was talking about a topic regardless of what tools or platforms they were using to publish their thoughts. At the time, this was so exciting that when Technorati failed to keep up with the growth of the blogosphere, people were so disappointed that even the usually-circumspect Jason Kottke flamed the site for letting him down. At the first blush of its early success, though, Technorati elicited effusive praise from the likes of John Gruber:
[Y]ou could, in theory, write software to examine the source code of a few hundred thousand weblogs, and create a database of the links between these weblogs. If your software was clever enough, it could refresh its information every few hours, adding new links to the database nearly in real time. This is, in fact, exactly what Dave Sifry has created with his amazing Technorati. At this writing, Technorati is watching over 375,000 weblogs, and has tracked over 38 million links. If you haven’t played with Technorati, you’re missing out.
  • Ten years ago, you could allow people to post links on your site, or to show a list of links which were driving inbound traffic to your site. Because Google hadn't yet broadly introduced AdWords and AdSense, links weren't about generating revenue, they were just a tool for expression or editorializing. The web was an interesting and different place before links got monetized, but by 2007 it was clear that Google had changed the web forever, and for the worse, by corrupting links.
  • In 2003, if you introduced a single-sign-in service that was run by a company, even if you documented the protocol and encouraged others to clone the service, you'd be described as introducing a tracking system worthy of the PATRIOT act. There was such distrust of consistent authentication services that even Microsoft had to give up on their attempts to create such a sign-in. Though their user experience was not as simple as today's ubiquitous ability to sign in with Facebook or Twitter, the TypeKey service introduced then had much more restrictive terms of service about sharing data. And almost every system which provided identity to users allowed for pseudonyms, respecting the need that people have to not always use their legal names.
  • In the early part of this century, if you made a service that let users create or share content, the expectation was that they could easily download a full-fidelity copy of their data, or import that data into other competitive services, with no restrictions. Vendors spent years working on interoperability around data exchange purely for the benefit of their users, despite theoretically lowering the barrier to entry for competitors.
  • In the early days of the social web, there was a broad expectation that regular people might own their own identities by having their own websites, instead of being dependent on a few big sites to host their online identity. In this vision, you would own your own domain name and have complete control over its contents, rather than having a handle tacked on to the end of a huge company's site. This was a sensible reaction to the realization that big sites rise and fall in popularity, but that regular people need an identity that persists longer than those sites do.
  • Five years ago, if you wanted to show content from one site or app on your own site or app, you could use a simple, documented format to do so, without requiring a business-development deal or contractual agreement between the sites. Thus, user experiences weren't subject to the vagaries of the political battles between different companies, but instead were consistently based on the extensible architecture of the web itself.
  • A dozen years ago, when people wanted to support publishing tools that epitomized all of these traits, they'd crowd-fund the costs of the servers and technology needed to support them, even though things cost a lot more in that era before cloud computing and cheap bandwidth. Their peers in the technology world, though ostensibly competitors, would even contribute to those efforts.

This isn't our web today. We've lost key features that we used to rely on, and worse, we've abandoned core values that used to be fundamental to the web world. To the credit of today's social networks, they've brought in hundreds of millions of new participants to these networks, and they've certainly made a small number of people rich.

But they haven't shown the web itself the respect and care it deserves, as a medium which has enabled them to succeed. And they've now narrowed the possibilites of the web for an entire generation of users who don't realize how much more innovative and meaningful their experience could be.

Back To The Future

When you see interesting data mash-ups today, they are often still using Flickr photos because Instagram's meager metadata sucks, and the app is only reluctantly on the web at all. We get excuses about why we can't search for old tweets or our own relevant Facebook content, though we got more comprehensive results from a Technorati search that was cobbled together on the feeble software platforms of its era. We get bullshit turf battles like Tumblr not being able to find your Twitter friends or Facebook not letting Instagram photos show up on Twitter because of giant companies pursuing their agendas instead of collaborating in a way that would serve users. And we get a generation of entrepreneurs encouraged to make more narrow-minded, web-hostile products like these because it continues to make a small number of wealthy people even more wealthy, instead of letting lots of people build innovative new opportunities for themselves on top of the web itself.

We'll fix these things; I don't worry about that. The technology industry, like all industries, follows cycles, and the pendulum is swinging back to the broad, empowering philosophies that underpinned the early social web. But we're going to face a big challenge with re-educating a billion people about what the web means, akin to the years we spent as everyone moved off of AOL a decade ago, teaching them that there was so much more to the experience of the Internet than what they know.

This isn't some standard polemic about "those stupid walled-garden networks are bad!" I know that Facebook and Twitter and Pinterest and LinkedIn and the rest are great sites, and they give their users a lot of value. They're amazing achievements, from a pure software perspective. But they're based on a few assumptions that aren't necessarily correct. The primary fallacy that underpins many of their mistakes is that user flexibility and control necessarily lead to a user experience complexity that hurts growth. And the second, more grave fallacy, is the thinking that exerting extreme control over users is the best way to maximize the profitability and sustainability of their networks.

The first step to disabusing them of this notion is for the people creating the next generation of social applications to learn a little bit of history, to know your shit, whether that's about Twitter's business model or Google's social features or anything else. We have to know what's been tried and failed, what good ideas were simply ahead of their time, and what opportunities have been lost in the current generation of dominant social networks.

So what did I miss? What else have we lost on the social web?

A follow-up: How we rebuild the web we lost.

23 Jun 20:04

Favorite Banksy of the last few years. Downtown, Los Angeles.

Favorite Banksy of the last few years. Downtown, Los Angeles.

24 Jun 14:03

The Daily Edit – Damon Casarez: The New York Times Magazine

by Heidi Volpe

Screen shot 2014-06-22 at 12.08.22 PM


-1 -2 -3 -4

The New York Times Magazine

Directory of Photography: Kathy Ryan
Photo Editor: Amy Kellner
Photo Editor: Christine Walsh
Photographer: Damon Casarez


Heidi: I know you started the project with just 3 photos, is that all you had pitched to the NYT for the story and then it developed from there?
Damon: Yes. I was marketing myself for a NYC editorial meetings trip for the following week and I had emailed Amy Kellner at the NYT about a week before going, letting her know I would be coming to town and would love to meet her and show my work. Towards the end of the email, I had one sentence telling her about the project and I attached 2 out of the 3 photos. That’s how this all started.

-1 -2 -3
( 3 photos that started the project out)

Who did you address to the pitch to and what was your presentation?
The pitch was to Amy Kellner at the NYT. It was super basic, along the lines of “Here is a new project I’m working on about Boomerang kids, young adults who’ve had to move back home after college.” I got a response within the hour, asking if the photos had been published anywhere. We had a phone call shortly after that and she let me know that she would be pitching it to the editorial team and to not show anyone else the photos for now. The next day I received an email saying that it went over great with the team and they wanted me to continue it across the country as a photo essay. It was a dream come true.

Did you send it to anyone else besides the NYT?
I did, I sent it out to about 4 other news based magazines that I thought it would be a great fit for. I didn’t receive any other responses and stopped pitching it.

Was this your first big national news story?
Yes, this was my first national feature story and first cover, of course. I shoot a lot for Los Angeles Magazine, have shot a couple profiles for Bloomberg Businessweek and have had a couple of photos in Pacific Standard Magazine. I assist half time and shoot half time for my income as I’m starting out.

Were you concerned about rejection or did you have enough positive reinforcement prior to reaching out to them?
I’ve learned over the last couple of years after graduating and trying to get my name out in the photo world that rejection is a big part of marketing. You have to have thick skin when you are starting out and no one has heard of you. After making the 1st photo (Jacqueline Boubion,) I knew that the project had potential. Also, after trying to find people on craigslist, I had more responses from writers and photographers who wanted to jump on the project with me. I even got a call from some Hollywood book agent who wanted me to think about making the project into a book or sitcom, since it’s such a relevant topic. I took it down shortly after, ha.

Were you in despair when you decided to to this project, thus it was cathartic?
Yes and no. I had to move back home after having a rough summer where assisting work and shooting work was extremely slow and I had no savings because my overhead was so high with student loans, rent, insurance, etc. Moving back home was my last resort and I felt like a failure for a bit. After beginning the project and realizing how many others were out there like me, it was clear that I needed to bring this story to light and share the experience of the “Boomerang Kids,” including my own story.

What advice would you give to young photo college students?
I would tell students that you have to prepare yourself as much as you can in college. A lot of students don’t and have no idea what they will do after art school and begin trying to figure it out, and then the loans start coming. I had two amazing internships and a few mentors in college and I always tried to meet with other LA photographers, show them my work and get feedback and ask all kinds of questions. I first interned with Maren Levinson, owner of Redeye Reps photo agency, where I learned the business side and marketing side of photography. Next, I interned with Amy Feitelberg, who is photo editor at Los Angeles Magazine. I was able to see how the magazine was run and witness stories from their beginning to it being published. I’m still good friends with both Maren and Amy and constantly ask them for advice and feedback on new work, which is another reason why you should intern.

How receptive has your former school been about this body of work?
My school was extremely receptive. They were very happy to hear the news and hopefully will have me speak there soon! I learned so much on this job and have a lot of insight I could share with students.

How did you decide who you would shoot and how did you go about finding them? Did the magazine get involved?
I found most of the people through a mix of craigslist, and friends of friends. I used Facebook to have my friends reach out to their network of friends and so on. I also found one person, Jessica Meyer, on instagram, by searching hashtags. When I had a potential subject, I would have a long phone conversation with them to see if they were a good fit for the project, then we would talk about their home life so I could get a better idea how I would photograph them. From that point, I would send a brief about each person to the photo editor and we would figure out together if they were right for the story. There were a lot of factors involved for choosing the people, such as what was their major, age, if they had loans, what they were doing now and when they moved back home.

01 Jul 03:22

Rennie Ellis No Future 1980

Rennie Ellis No Future 1980

22 Jun 15:50


24 Jun 10:44

James Ensor, Skeletons Fighting over a Pickled Herring 1891

Olena Bulygina

19 век!

James Ensor, Skeletons Fighting over a Pickled Herring


20 Jun 19:27

:James Kerr’s Jesus on an Inflatable Tube Man How...

:James Kerr’s Jesus on an Inflatable Tube Man

How whimsically sacrilegious! James Kerr, a.k.a. Scorpion Dagger, has been posting hundreds of these Renaissance-era GIFs on his Tumblr. 

via paddyjohnson

17 Jun 22:33

Photographer Annie Leibovitz Bailed on the Kimye Wedding

by Alix Taylor
Screen Shot 2014-06-17 at 4.52.58 PM

Kimye: the most “liked” photo ever on Instagram (via Kim Kardashian’s Instagram)

According to Kanye West, acclaimed photographer Annie Leibovitz is “like, scared of the idea of celebrity.”

The smack-talking rapper complained about the normally celebrity-loving photographer at the Cannes Lions Creativity Conference today, claiming she bailed on shooting the Kimye wedding a mere 24 hours before the nuptials. It’s not clear if she offered a reason.

In his musical hit “Bound 2,” Kanye prosaically asks, “How you gonna be mad on vacation?” Leibovitz has now answered West’s previously existential question. The rapper says that Leibovitz’s flakiness forced him and Kim Kardashian to spend multiple days of their honeymoon editing their own wedding pictures to make them look like Leibovitz had indeed taken them. Which begs the question: how many Photoshop web tutorials did it  take Kimye to make the most “liked” photo ever on Instagram?

17 Jun 16:25

Above: Ed Ruscha painted exterior of a private jet Middle: Jeff...

Above: Ed Ruscha painted exterior of a private jet

Middle: Jeff Koons painted exterior of a private yacht

Bottom: Os Gêmeos painted exterior of a bigger jet for the World Cup.

Who wore it best?

17 Jun 16:15

Every Russian Novel Ever

Olena Bulygina


russiaPreviously: Every English novel ever.

1. A Philosophical Murder

2. A Washerwoman Is Insulted

3. The Student’s Emotional Isolation Is Complete

4. The Estate Is Sold Off

5. Uuuuuughhhh

6. An Argument That Is Mostly In French

7. It’s Very Cold Out And Love Does Not Exist Also

8. The Nihilist Buffs His Fingernails While Society Crumbles

9. There Is No God

10. 400 Pages Of A Single Aristocratic Family’s Slow, Alcoholic Decline

11. Is This A Dinner Party Or Is This Hell?

12. The Wedding Is Interrupted

13. Friendship Among The Political Prisoners

14. A Lackluster Duel

15. The Countess Attempts Suicide

16. Back From Siberia, Unexpectedly

17. A Fit of Impetuousness

18. Someone Middle-Class Does Something Awful

19. A Prostitute Listens To A Ninety-Page Philosophical Manifesto

20. I Advise You To Display More Emotional Control In The Future

21. The Manservant Dies Alone

22. Is This A Murder Mystery Or An Exploration Of The Nature Of Religious Faith? Turns Out, A Little Bit Of Both

23. The Mayor Tells A Self-Serving Lie

24. The Countess Finds Religion

25. New Political Waves of Liberalism, Radicalism, and Nihilism Wash Over Russia

26. The Time When We Might Have Found Happiness Together Has Passed

[Image via]

Tags: books, chekhov, dostoevsky, gogol, pushkin, russian novels, tolstoy
16 Jun 13:05

Don’t Compete; Find What’s Uniquely Yours And Obsess Over It

by A Photo Editor

“By my fourth year in school, I was shooting every day and every night. I photographed every little thing—all my food, doorways covered in graffiti, and my friends and roommates. I tortured my first boyfriend, Marc, by capturing each moment of our relationship. I was obsessed with documenting my life. So that’s my advice to you: Find something to be obsessed with, and then obsess over it. Don’t compete; find what’s uniquely yours. Take your experience of life and connect that with your knowledge of photographic history. Mix it all together, and create an artistic world that we can enter into.”

via Ryan McGinley’s Advice to Young Photographers | VICE United States.

Buying a new website? builds portfolio websites for photographers.
Have a look (here).

09 Jun 22:01

Ana Mendieta, Untitled, from the series Silueta Works in Iowa,...

Ana Mendieta, Untitled, from the series Silueta Works in Iowa, 1978

San Francisco Museum of Modern Art

Read up on Ana Mendieta!

16 Jun 03:05

annaehrgott: Pants + Knife


Pants + Knife

15 Jun 10:36

Photo of the Day: Making Up

by Dmitry
Olena Bulygina

Clinique chubby stuck?

1100 Photo of the Day: Making Up

A female honour guard has lipstick applied as they prepare for an official welcoming ceremony for Italy’s Prime Minister Matteo Renzi outside the Great Hall of the People in Beijing, June 11, 2014. (Photo by Jason Lee/Reuters)

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