Shooting Wide Open

I been learning the ropes on a stereo Holga, but in the process of acquiring one I looked at a lot of possibilities, including the Loreo 3D converter and an old Pentax beam splitter. None of them really seemed all that worthwhile considering how bulky and optically meh they were. But then there’s the other extreme – cutting apart and welding two cameras together, which seems a bit overkill when you consider what older technology is out there (via Horses Think).

As for viewing the images, it’s a bit costly to shoot slides for slide viewers, so I’m leaning toward the old fasioned stereoscope with printout cards. There is of course, cross-viewing by naked eye on a computer screen, but somehow it always leaves me feeling even more ridiculous to Ooo and Ahhh cross-eyed in front of a computer than to Ooo and Ahhh while a gigantic wooden structure sits in front of my face.

Alex Prager

It’s irresistable, isn’t it? Though I dare say, strangely, the woman in the first picture looks incidental and inessential, which you can’t really say about any of the other work.

Eugene Richards’ The Blue Room

via Mon Mignon

Do you require Language Removal Services?

Most of their projects sound a bit too much like heavy breathing to be immersively interesting, but this one ends impressively, though it resembles a ghost sound effect in a movie…

Yosigo | Flickr

Ambroise Tezenas

To continue the chairs theme…

Carlos Lobo

Get out those band photos. And the Irony.

Classes are over, portfolios are turned in. A list of my own – tentative summer plans:

- rock the Yellowstone hotspot
- work in school photo lab
- use grant to shoot
- process backlog
- install better website template (get Fusion! found album together too?)
- pick up a little Max
- go to World Expo

!

So for now once again I leave you to the WordPress bot.

If you hadn’t seen this news yet – Vast photo collection shown in SF warehouse:

Pilara, 68, has built a collection of 20th century American documentary photography so vast and comprehensive that he had to rent a vacant warehouse on the Embarcadero just to display it.

Located below the Bay Bridge, Pier 24 offers 28,000 square feet of display space. To put that in perspective, it is four times the size of the photography galleries on the third floor of the San Francisco Museum of Modern Art, one of the largest dedicated photography spaces at any museum in the United States.

To visit Pier 24 is free if you make an appointment. Pilara has bought 2,000 vintage pictures and opened the single largest venue for looking at photography in this city and this state and this country. It is not a museum, because there are no boards or committees or docents or fundraisers. It is not a commercial gallery, because nothing is for sale.

300 out of the collection of 2,000 photos are shown in any given show (check out the walkthrough, it’s impressive), and he seems to display the works without the title cards. The idea is to get the viewer to concentrate on the worker rather than the name and personality. I wonder if the strict appointment-only set up is supposed to also give viewers the optimal experience, or if it’s something else.

When the article came out, the website was still under construction, but as of now, anyone can make an appointment to visit online, as an individual, group or institution. I’ll be travelling for the next couple of weeks, so I won’t be able to rush in to give first impressions, but Bay Area folk, reserve your slots!

Ancillary question: will there ever be an article written about the art world without the use of a $ in the mainstream media?