May 2013


May 13

There is a new version of Conscientious, and you can find out all about it following this link (with its own, dedicated URL:, for Conscientious Photography Magazine). Starting immediately, this version of Conscientious is going to remain frozen. New content will now only appear at the new site (for reasons I am explaining here). Please update your bookmarks!
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May 9

Let me get the following out of the way first: I find Peter Martens’ American Testimony infuriating, for a variety of reasons, some having to do with what is shown in the frames, some with how it is shown. I felt I needed to get this off my chest so it wouldn’t just sit there, like a tightly wound coil, waiting to release its energy. The photographs in the book were taken between roughly 1970 and 1990, mostly in New York, by Martens who died in 1992. The photographer had been working on compiling the book (plus another one, Few Loving Voices) up until his death.
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May 8

This is an image from Paolo Woods’ Chinafrica, a photographic portrait of the roughly half a million Chinese people working in Africa.
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May 7

I had a hard time deciding to pick an image from Marcus Haydock’s large and impressive portfolio. This one is from Inside Out.
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May 6

According to the artist, Diane Meyer’s Time Spent That Might Otherwise Be Forgotten “is based on photographs taken at various points in my life and arranged by location. Sections of the images have been obscured through a layer of embroidered pixels sewn directly into the photograph. The embroidery deteriorates sections of the original photograph forming a new pixelated layer of the original scene. The project refers to the failures of photography in preserving experience and personal history as well as the means by which photographs become nostalgic objects that obscure objective understandings of the past.”
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May 3

A few years ago, Rimaldas Viksraitis won the Discovery Award at the Arles photography festival for his work in the Lithuanian countryside, depictions of scenes that for many critics and viewers brought to mind photographers like Boris Mikhailov or Richard Billingham. With work like Viksraitis’ the topic of photography and exploitation is never that far. It’s not clear to me how useful such discussions really are, especially since they usually omit the topic whether the photographer himself is not being exploited by the larger photography art world that discovered him and then parades him and his images around. I should also add that the photo art world might want to re-visit the topic of exploitation in light of the kinds of images people - willingly - put up online. (more)
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May 2

It appears that about every ten years (give or take a few) a photobook manages to capture the imagination of large numbers of photographers, resulting in an unavoidable flurry to emulate if not imitate. Alec Soth’s Sleeping by the Mississippi provided this “gold standard” of photobooks until Christian Patterson’s Redheaded Peckerwood came around (pardon the hyperbole, you can use the term “marker” instead).
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May 1

“content aware is a collection of edited pictures downloaded from fashion blogs, where the subject is assimilated to the background using content-aware fill in photoshop.” - Enrico Boccioletti
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