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Jun 28 | By Joerg Colberg

A Conversation with Alia Malley

I don’t remember where or how I came across Alia Malley’s 2009/10 Southland, but I do remember the photography stayed with me for a while. There was something about those landscapes that struck me. Recently, someone pointed me to Alia’s new series A Cavalier in Sight of a Village, for which she was (in fact at the time of this writing is) raising money on Kickstarter. So I got in touch with Alia and asked her whether she’d answer my questions about her work. (more)
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Jun 14 | By Joerg Colberg

Analog, Digital, and the Object

Is there anything that has not been said about the analog-vs.-digital debate? With every passing day, the debate looks slightly sillier, as digital photography is firmly replacing analog photography. Just the other day there was another report about plummeting film sales. Those numbers are dominated by “amateurs” - people who take their snapshots now with their cell phones or digital point-and-shoot cameras. But of course, there are many who still shoot film (incl. me) and will continue to do so (at least as long as it’s possible). Analog photography is here to stay in the realm of fine-art photography. So what’s left to talk about? (more)
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Jun 9 | By Joerg Colberg

What is with all the nostalgia?

OK, I’ll admit it: That’s not the actual question from What’s Next? The actual question is “Why do my students think that working with analogue techniques is more ‘real’ than with digital ones?” I took the liberty to re-phrase the question because I think there is an underlying, more general issue here. If I’m correct, dealing with the (slightly) larger issue will also answer the original question. (more)
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Jun 6 | By Joerg Colberg

emphas.is: Michael Christopher Brown - The Libyan Republic

A few weeks ago, I had a bunch of discussions with various people - including a group of students at MassArt - about photojournalism. Inevitably, the various problems (or “problems”) were brought up, and at some stage someone asked why any of that mattered. It’s a good question. But I think there is a good answer. Unlike pure art photography (whatever that might be), photojournalism is more than “just” photography. We use it to get informed. At the time of the discussions, unrest in Libya had erupted into what started to look like a civil war, and several NATO countries were urging the rest to get involved. Were we going to be in favour of that or not? At the time, news from Libya filled the news, and a large fraction of the news consisted of photographs taken by photojournalists. There now is a new pitch up on emphas.is by Michael Christopher Brown, entitled The Libyan Republic - if you want to support a photojournalist specifically working in the country, which still torn by war, check it out. (more)
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