March 2013


Mar 18 | By Joerg Colberg

Meditations on Photographs: Riverfront by Curran Hatleberg

For the past couple of weeks, I have come to this photography, Riverfront, by Curran Hatleberg (if you click on the image you’ll see a larger version). I’ve been trying to find out what actually intrigued me about it. Most likely, it’s a combination of factors. For a start, Riverfront is one of those photographs that is very smartly constructed. It’s complex without it being complex for complexity’s sake. It’s smart, without it being self-consciously smart (like, for example, so much of that “new formalism”/”triangle art” photography: I can’t escape the feeling it’s too satisfied with its own cleverness). It’s a contemporary photograph that, at the same time, feels like a classic; or maybe I should say it references the medium’s history without being nostalgic. (more)
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Mar 13 | By Joerg Colberg

On Process

This photographs looks like an image made using the wet-plate process, but it’s merely a simulation if you will. I took this picture with my minipad, using the Hipstamatic Tintype package. It’s fairly safe to assume that tor a sizable part of photoland, a digital image that looks like a wet-plate image cannot be judged the same way as a an actual wet-plate one. In the following, I will try to explain why that is a pretty severe mistake. (more; updated)
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Mar 4 | By Joerg Colberg

A Conversation with CPC 2012 Winner Karen Miranda Rivadeneira

Juror Michel Millard picked Karen Miranda Rivadeneira’s Other Stories/Historias Bravas as a winner of the Conscientious Portfolio Competition 2012, writing The images which have touched me and attracted me the most are Karen Miranda Rivadeneira’s. I found this series of images very interesting as they are a touching mix of reportage meets fiction meets mise en scene. They are very human as they deal with big general themes such as life, childhood, adolescence, motherhood, death, and at the same time with details and particularities. They are exotic and very personal. I like that the photographic approach is not overstated, it is precise but very simple. Every frame is filled with humanity. I’d like to see many more of them. In the following conversation, I spoke with the photographer about her work. (more)
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