How to destroy a photo agency.

This story on PDN feels as if it’s straight out of a Hollywood.

Struggling to explain their impressions of Clark, some fell back on characters from fiction. Eskenazi compares him to Leonardo DiCaprio’s con artist character in Catch Me If You Can. Reed says Clark was like the elderly man who told fantastic tales of his own life in the film Big Fish. Cuscuna invokes a hapless Frank Sinatra in A Hole in the Head.

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To pay or not to pay? To stage or not to stage?

Hello Athens.

Jenn and I just got back from a nice little road trip from Utah to Ohio, which also means I’m back in the blogging saddle. I’ll post more from the trip when I get settled in.

In the meantime I found this post and discussion interesting and wanted to pass it on.

Just a bit of what you’ll find on Michael’s post about Manufactured Landscapes:

Right after, there’s a scene where Burtynsky’s assistant pays a man carrying firewood. You get the feeling that the payment was given because each man was halted from what they’d been doing, and asked to do it again, for the benefit of a photograph.

There’s something about the photograph above that feels lessened, after learning it was staged. You might say more is manufactured than just the landscape in Burtynsky’s work. Documentary images needn’t always be candid, but I always thought payment was a no no.

Back to unpacking.

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