Everything we do is now influenced by the pandemic. Can you see it in your photography? Are you trying to show it in your photography?
Report:
The audio recording from yesterday’s FAP:O meet is HERE. I’ve included only our reports of our activity, not the initial 20 minutes of logging in although I will note Geoffrey’s comment “Update your Zoom application as often as possible! They are actively dealing with security issues”.
Links on topic today:
Readings this morning, before FAP:O 2.08:
- How to Be a Photographer Right Now – Aperture
- A NY Times Opinion piece by DIANA SPECHLER: The Nude Selfie Is Now High Art
- It has become an act of resilience in isolation, a way to seduce without touch.
- Selfies in covid isolation and through the ages. Particularly:
- Picasso’s “Self Portrait Facing Death”
- Frita Kahlo’s “The Broken Column”
- “In these disorienting times, we are psychologically naked, but our nudes are aspirational: We are breasts propped on pillows and Facetuned. We are headless, proof that we’re not overthinking or panicking. We are free, cast in a single ray of sunlight, not stuck inside with a vitamin D deficiency. We are taking a risk at a time when we are not allowed to take risks, baring our bodies with no guaranteed reaction. We hit send and hold our breaths, silently asking until we receive the reply, am I safe am I safe am I safe?”
- Tony Fouhse’ HYPO: 07, last section: How Do You Photograph This?
- Connecting with people through street portraits
- Recording a break-in through the keyhole
- And, from Maria Popova’s BRAIN PICKINGS, James Baldwin’s ruminations on 4 AM – the end of a day and beginning of a next:
- Sometimes, at four AM, this knowledge is almost enough to force a reconciliation between oneself and all one’s pain and error. Since, anyway, it will end one day, why not try it — life — one more time?
- Memory depends on a protein developed by early mammals from a virus.
- A NY Times Arts Obituary: John Pfahl, Photographer Who Played With Landscapes, Dies at 81
- Long before Photoshop, he manipulated landscapes with everyday objects, and found beauty in compost piles and other peculiar places.