Switch to English Language Passer en langue française Omschakelen naar Nederlandse Taal Wechseln Sie zu deutschen Sprache Passa alla lingua italiana
Members: 70,212   Posts: 1,532,032   Online: 1167
      
Page 2 of 3 FirstFirst 123 LastLast
Results 11 to 20 of 23
  1. #11
    Schlapp's Avatar
    Join Date
    Nov 2004
    Location
    Isle of Lewis, Scotland
    Shooter
    Medium Format
    Posts
    738
    Images
    99
    Quote Originally Posted by benjiboy View Post
    I greatly admire Sally Mann's work and although I would love to see the exhibition, a four hundred mile round trip is just is just too far to go.
    Hey up. Twas 900miles each way for me!

    The family prints are just amazing I admit, however, I'm still not convinced the large prints in the entrance room of the London exhibition are silver gelatin, varnished or not.

  2. #12
    SuzanneR's Avatar
    Join Date
    Sep 2004
    Location
    Massachusetts
    Shooter
    Multi Format
    Posts
    5,730
    Images
    139
    Here's a recent review of the show in the Huffington Post.

    http://www.huffingtonpost.com/marina...?ref=fb&src=sp

  3. #13

    Join Date
    Oct 2006
    Location
    Arizona
    Shooter
    35mm RF
    Posts
    4
    Proud Flesh is just intense. For the curious, Aperture had an article about the series a year or so ago. While the subject matter is similar, the sytle of the photography was quite different than Immediate Family.

  4. #14
    Ian Leake's Avatar
    Join Date
    Mar 2005
    Location
    Switzerland
    Shooter
    8x10 Format
    Posts
    1,363
    Images
    48
    Quote Originally Posted by Schlapp View Post
    The family prints are just amazing I admit, however, I'm still not convinced the large prints in the entrance room of the London exhibition are silver gelatin, varnished or not.
    I popped in on Sunday, and the large prints in the entrance room are definitely labelled: "Silver Gelatin Print with Varnish"

  5. #15

    Join Date
    Nov 2009
    Location
    Switzerland
    Shooter
    Multi Format
    Posts
    229
    I saw here work at Musée de l'Elysée, Lausanne, and i dont care for here work at al. Its blurred, out of focus, photographs of either nude children or dead people. They even had a movie about her and that just made me more sick. I also saw some picture of here pore dog that had died and after 6 months she had dug it up again and taken pictures of it, just plane sad.

    I consider here work either pornographic or just plane boring, like photographed /dead people/dead dogs/peeing nude children/, just to try to evoke peoples feeling, its just boring.
    Last edited by sandholm; 08-16-2010 at 06:01 AM. Click to view previous post history.

  6. #16
    Schlapp's Avatar
    Join Date
    Nov 2004
    Location
    Isle of Lewis, Scotland
    Shooter
    Medium Format
    Posts
    738
    Images
    99
    Quote Originally Posted by Ian Leake View Post
    I popped in on Sunday, and the large prints in the entrance room are definitely labelled: "Silver Gelatin Print with Varnish"
    Yes, I saw that too but wasn't convinced - although I respect the place enough to think they wouldn't try to pull the wool over my eyes.

  7. #17
    bill spears's Avatar
    Join Date
    May 2007
    Location
    Cornwall England
    Shooter
    Multi Format
    Posts
    565
    Images
    31
    I saw the exhibition and really enjoyed it. The immediate family images I thought were stunning and very beautiful and was actually quite moved by them. Taking pictures of kids in action on a 10x8 is no mean feat. I didn't notice any flaws in the printing because the strength of the images overided it.

    I questioned the large silver prints in the first room with girl on reception and was told they are indeed collodion negatives printed on silver gelatin paper.
    I'm not sure about her confession to liking all the flaws, dust and dirt getting in on the process. Is this an excuse for sloppy technique ?
    Digital photography is like virtual sex........ you never actually touch the real thing..... or get your hands dirty

  8. #18
    c6h6o3's Avatar
    Join Date
    Oct 2002
    Shooter
    Large Format
    Posts
    3,172
    Images
    6
    Quote Originally Posted by bill spears View Post
    I'm not sure about her confession to liking all the flaws, dust and dirt getting in on the process. Is this an excuse for sloppy technique ?
    Yes
    Jim

  9. #19
    Ian Leake's Avatar
    Join Date
    Mar 2005
    Location
    Switzerland
    Shooter
    8x10 Format
    Posts
    1,363
    Images
    48
    Quote Originally Posted by bill spears View Post
    I'm not sure about her confession to liking all the flaws, dust and dirt getting in on the process. Is this an excuse for sloppy technique ?
    I must admit that I don't really get wet plate collodion. Yes, it's an interesting and demanding process, but the argument that dust, crackles, blurs and thumbprints somehow enhance the photograph doesn't cut the mustard with me. That's a bit to much like art school conceptual art for my liking.

    With exception of Katie Cooke's fabulous still lifes, I don't think I've seen a single wet plate photo that wouldn't have been better made with film.

    It feels to me that in many cases, photographers are adopting wet plate either because it is fashionable or because they have lost their confidence. Neither of these are a sound foundation for making good art.

    I know this is partly a matter of taste, but it's also more than that. Boring pictures are boring pictures, even if they are made with a fashionable process.

  10. #20
    patrickjames's Avatar
    Join Date
    Mar 2005
    Shooter
    Multi Format
    Posts
    743
    I have never been a big fan of hers, but I do think the early work is good, although if her children were fat and ugly, no one would know or care who Sally Mann is today. She benefitted from the controversy, similar to Sturges, of adolescent nudity in her images whether she planned it or not. I am not too comfortable with some of it, but I would take it over Sturges' work any day of the week. At some point though her children, which were the subject of her success, didn't want to be photographed any more and I think that it caused her to try radically different things. Her work changed from a sort of honesty to relying on artifice or superficiality born out by the process of collodion. The fact that she wants all of the defects in the plate, and even encourages the defects, seems to be a crutch that could be the result of her insecurity after her great success. The images that came after her family work haven't been greatly received, and the dead body images even resulted in having a show cancelled. If you see this in the documentary, it clearly shows her questioning what was happening. Her return to photographing her family, by photographing her husband, can be seen as an attempt to return the familiar, to what made her a success. She is concentrating too much on the morose if you ask me.

    I have to disagree with Ian. I have seen many wonderful collodion images here and elsewhere as well. When the process doesn't interfere with the image, it can lend quite a stunning result that can't be duplicated easily, if at all, with film. I would remind Ian that the same could be said (although I am not saying it) for 8x10 platinum prints.

Page 2 of 3 FirstFirst 123 LastLast


 

APUG PARTNERS EQUALLY FUNDING OUR COMMUNITY:



Contact Us  |  Support Us!  |  Advertise  |  Site Terms  |  Archive  —   Search  |  Mobile Device Access  |  RSS  |  Facebook  |  Linkedin