Michal Daniel – In Your Face
Rules. “Don’t stare, don’t point,” said mom.
”Ask permission before making pictures,” say others.
That’s not for me. I want to get as close a look as I can, right in your face if possible, without you paying me any mind. If I can make a picture while you’re doing what you’re doing, unguarded, even though I’m right there in your face, that’s my goal.
But working with a visible camera impacts the scene. Not only can it irritate people, overt camera use also alters the entire existing dynamic, often destroying the very moment one wishes to record, before it is recorded. So my intention is to record the moments, while leaving everyone be, without them feeling observed.
Hard to do. Few succeeded like Walker Evans did, his camera hidden under his overcoat, lens peeking through a button hole. But even Evans kept his distance and could not get in people’s faces without his intent being noticed.
In 2001, after a quarter of a century of trying to be invisible with a standard camera, I finally found the perfect photographic tool which I use to this day: a plastic digital camera that fits on a digital organizer. The camera and organizer are now obsolete and the camera’s highest resolution — 640×480 pixels – is today the lowest resolution on the market.
640×480.net is where I put my keepers.
“Don’t mind me, just organizing here,” is what I exude in the process of picture making.
The Eyemodule2 — or “eyemod” as I call it and its output — is small, silent, and doesn’t resemble a camera. It’s just a bump on my PDA. When I use it, I look like I have a reason to be holding it, staring down at it, in the palm of my hand — a reason having nothing to do with photography. I behave as if completely absorbed with digital organizing, paying no attention to the people I photograph. To them, I simply seem like any other self-absorbed pedestrian.
I do love the digital Brownie “personality” of this camera, its color palette, tight dynamic range, near pinhole depth of field and the softness of its cheap lens. When enlarged to wall size, the eyemod prints start to resemble watercolor paintings. But all that is secondary. Most importantly, the tool helps me achieve my primary goal: recording people’s unguarded public selves, from the nearest proximity possible, while unnoticed, and leaving them to continue, undisturbed.
In the introduction to Walker Evans’ book Many Are Called, James Agee wrote of our guards: “Only in certain waking moments of suspension, of quiet, of solitude, are these guards down, and these moments are only rarely to be seen by the person himself, or by any other human being.”
This is my collection of some of these unguarded moments.
Photographs: Michal Daniel
Website: 640×480.net
Book: http://www.blurb.com/bookstore/detail/32889
I can’t seem to get into the true spirit of critique here. You all go places I’ve never been. Everything I have seen in Burn has merit in it’s own way. Like, dislike, neutral… I don’t know.
OK, let’s give it a shot: Michael, I am drawn to these images and at the same time repelled. I like some of them but somehow feel cheated because of the “sneaky” way they are taken. There is never any indication that your subjects are even now aware that they are in a book that they can purchase! I suspect that I put such great value in connecting with my subjects or if I cannot, I try to create something that does not debase or embarrass. Is this important? I think so, but that is my thing.
The images have an interesting quality about them but in a manipulated and somewhat arty way. Perhaps that is why I cannot make a thumbs up or down about them. I keep asking myself are these what they are?
Red Beans and Ricely yours,
Paul
i love this work. of course, i am also a fan of moving in and getting close – but this takes it to a different level. these are raw, interesting and fun to look at – i could look at more! i would love to buy one of these too!
I dunno…. Personally i’m not totally sold on this. I love that you are doing something different and very unique (although a little Gilden), but I also feel that you are kind of ridiculing these people a little. You seem to be focusing on a certain type and depicting them at there worst, almost trying to make them look bad. I wonder how these people would feel if they stumbled across your work? Have you ever spoken to any of your subjects about what you do?
Maybe i’m being too sensitive here?… We all take sneaky frames every-so-often, but I one of the things I love most about photography is my interactions with my subjects when I work. Maybe that’s why I find it a little difficult to connect with this work personally. 10/10 for a creative approach though!
Michael — I don’t believe you’re doing anything illegal or unethical taking these portraits at all — but I believe the case you’re citing as legal precedent was actually not heard by the courts — and that they threw it out on a statute of limitations (1 year) technicality, avoiding the issue altogether.
By the way,for what it’s worth, this essay is growing on me — maybe just from hearing you talk about it, maybe because of the photos, not really sure.
DAH — I have an email coming (tomorrow). After putting together the magazine I’ve been working my real job, job, job type job non-stop. Safe trip.
Michal
“David edited what I supplied to him, to make this slide show. I asked him not to take any images out of the mix but he ignored me and slashed away anyway. Here is the complete set as I see it, in the order it appears, in the Blurb book:”
Interesting that your “signature shot” was not included here. I have to say I agree with Davids choice to leave it out. It and the other shot of the heavily tattooed guy I find the least interesting of the lot. The shots are interesting because of the tattoos, but otherwise are not as strong as the other stuff, which is amazing.
It is sometimes hard to have an objective perspective when judging your own stuff.
This is amazing stuff Michal. I’m reminded of Leonardo Da Vinci’s caricature drawings, and some of Lisette Models work. Good on ya.
Gordon L.
Wow, these are very raw and close. I like the Gilden reference and don’t see that as anything negative. I see you are not searching out the sexiest people alive but have an essay of just the right amount of frames in my opinion. Some of the perspectives seemed rather wide or distorted which is what makes these devices unpredictable and even fun. Am going to check out your 640×480.net.
Michal— I never tire of looking at these. This time, I had the thought that you are putting us closer to these people than we get to anyone but our parents, our children, our lovers.
—A.
I think some may find these images uncomfortable because we’re not use to still images of people, in the midst of expression. Usually, a portrait or candit photograph is rather still, not in movement and certainly not close up.
These photograph’s remind me of those images we see of sky divers faces, or athelet’s faces when they are in their process. Sort of in trauma.
Love to see a series of people laughing close up.
Hi Matt
“but knowing that many of the people being photographed in this essay would feel exposed, degraded, and taken advantage of”
How do you know this? I could just as easily say the opposite, that everyone depicted here would be thrilled to see themselves in this project and i would be just as wrong as you. That would be my subjective take. Just as it is yours. We don’t know so why should we play God? How can you say that when you shoot candidly from the hip that you are respecting your subject any more or less than Michal is respecting his? Don’t you see how judgmental and self-righteous that is? As far as naturally expressive people being ‘low fruit’, have you not considered the wealth of expression provided by a subject like this? Why on earth would a bland, expressionless 45 year old businessman (for example) be fruit higher on the tree than any of these individuals? It is extremely challenging to capture a subject as expressive as these. Why? Because they are superficially easy to shoot. But capture a uniquely expressive person in a particularly telling moment with lo-tech equipment and do it superbly, as Michal has done..ah, now tell me, is that high or low fruit?
All
I am truly surprised and sad really to hear how many are concerned about the ethical/legal/privacy aspects of these photos. Do you not ever think about how many times your mug is captured on videos during your day-to-day activities and archived who knows where and for who knows how long or for who knows what purpose? And does anyone examining your precious face for security or investigative reasons give a crap about your unique qualities or whether you have been caught in a flattering moment? Is the difference here one of guilt that you are seeing Michal’s amazing faces and you are fascinated by them? And what, i really would ask what, would happen if no one ever went onto the street again to capture the way we live, what we do, and that we are here? The thought makes me literally ill. Someone needs to know that Michal’s subjects exist, that they are fabulously vital, interesting people who have lived full lives that are written across every square inch of their faces and earned the right to ‘tell’ us how and what they feel during just one fleeting moment in time. One precious moment that will never come again. I feel so fortunate to have ‘met’ every last person in this essay.
ok, well, yeah, so..
best~
kat
Hmm…
I have the same reaction as Paul. some of the images I am attracted to, and then I realize the subject had no idea they were being photographed, and it’s spoiled for me, somehow….
Some of the distortion is a bit much – some of the images are very compelling, though…
I don’t know why….but at this point I think if I knew they were taken with teh subjects knowledge, I would be amazed…as it is, I feel sort of cheap, as if I’m peeking where I shouldn’t…hard to explain.
But certainly an interesting approach, and Michal has seemed to have mastered the method….
good light, all.
A.
I try not to be picky about how we use words here on Burn but I’m afraid tonight I must make an exception. I know it was not meant in a negative way but please folks don’t use the word “cripple” when referring to persons with a disability. Unfortunately Jerry Lewis and his Labor Day muscular distrophy telethon has given people the erroneous idea that that word is still acceptable, but that is one of the many reasons why most disability organizations and individuals protest Lewis’ depictions of the people he “helps.”
IMO the most respectful way to refer to such individuals as myself is to say we are persons with a disability.
Patricia
Kathleen Fonseca, I’m crying. You know exactly why. All I’m going to add is this. How many times have we all looked at photos in the paper, made by who knows whom, without paying any attention to all the people in the frame, splattered all over the front page. Death, destruction, mayhem. Anyone ask these people if it was OK with them to be in the frame? Worldwide? Unconsidered, really? Just a sideline, to the “Main Event,” whatever horror it may be.
My intent is to do the exact opposite. To try and see. To try as hard as I can to see. And when I succeed in seeing, really seeing, to share it.
No more, no less.
That’s shaky ground all that political correctness……..things change meaning from country to country and with language sometimes a direct translation leads odd structures and meanings. Remember this site is international and I am not sure that all are willing to tow line of the American ideal
Michal…
:)))
I think I like you..
Reason: you have a WICKED SENSE OF HUMOR…
you are what I need for my LATE LATE SHOW…
I wish u could live in LA so we can hung..
I mean really … I mean iam really really a bad comedian..
I always wanted to be a comedian and I ended up abusing a little Leica instead..
:))))
Again man.. What’s not to love about you??
Now.. Another reason that I love you is that you are the only person published here
that makes me Agree with Everyone … But…but half way..!!
Half way???
WTF does that mean???
Ok.. I’ll explain as short as Bobb can do…
Laughing…
Ok…
let’s go straight to the point..
Your essay is what we call in Cali..
“hey SMILE… you’re on CANDID CAMERA..!!!!
…and then the victim smiles..
(hey at least I’m on TV the victim thinks.. and ALL IS HAPPY..)
In your case though.. The victim does not have this satisfaction…
Like at all.. You know what I mean????
Even the newer version…
PUNK’D from MTV ( u know Demi Moore’s gold digger…Ashton Kutchner)
at least in the end they know…
Ok..
Someone here mentioned B.GILDEN…
I would say this is the EXACT OPPOSITE..
180 degrees…
Of course you are NOT HONEST..
of course you are full of shit..
Of coures this is not fair..
Of course this is not photography..
Of course you don’t have the “balls” to
confront the core and spine of photography..
Of course you are an insane , perverted CHEATER…
but my oh my …
Do I love what u do..
Is it “Howard Stern” eligible…
Of course it is…
Man I love u,…
You made me laugh..
I need friends like you..
You are a genius..
Yes u are…
But this time… I will agree with Jim..Jared and
Half ALL…
this is just a genius PRANK..
definitely not photography …
And I know u know..
And I know you don’t care..
And that’s why I love you..
Big hug
“Do you not ever think about how many times your mug is captured on videos during your day-to-day activities and archived who knows where and for who knows how long or for who knows what purpose?”
True enough,Kathleen but a,perhaps, very important distinction is that these images of Michaels
are being monetized for commercial gain by an individual and are not purely documents of
historical record.
Mark
Imants, I’m sorry if I offended the international readers on this site. That was certainly not my intent. Personally I am always grateful when someone who has true expertise in a subject offers me advice in a respectful way. As a woman who lives with a disability myself, trust me, I am not talking about “political correctness” here. I am talking about simple respect.
Patricia
panos skoulidas, next time I’m in LA, the beer is on me! My brother Martin lives there, so hopefully sooner than later!
Mark Tomalty, monetized? Not yet. The money I spent on learning what I know and putting it out there has not come back to me, by a long shot. If it ever does, I’ll try my hardest to share it with everyone that made it happen. My guess is that will happen after I’m dead, so you’ll have to speak to my son about the monetized part.
Alan P. Hayes, long time, no see. Miss you, Sir! And I thought you had this book. My mistake.
jared iorio, the most important work to me I hated when I first saw it. Robert Frank’s Americans comes to mind first. Hated it. Glad my stuff is making its way under your skin. :-)
Patricia
From Wikipedia:
“A cripple is a person or animal with a physical disability, particularly one who is unable to walk because of an injury or illness. The word was recorded as early as 950 AD, and derives from the Proto-Germanic krupilaz[1]. The German and Dutch words Krüppel and kreupel are cognates.
The word generally came to be regarded[who?] as pejorative when used for people, in the United States, the United Kingdom and Canada during the 1960s. In other English-speaking countries, the term is still widely used without pejorative connotations.”
Patricia, please don’t talk to me in third person. This is the third time i have had to ask this in this forum and it’s beginning to upset me. if you object to something i say, i think you and i know each other well enough to simply say so and know there will be understanding. So, in terms of simple respect, i will not use the word cripple again in this forum and i would ask that you not speak to others in the highly disrespectful third person.
Many thanks for your consideration
kat
Nobody really asked how these came about in the first place. Why? Why do this? Because I walk my neighborhoods. Because they’re my neighbors. Because I live with these people. I walk past them every day I’m in there. Because I know them. Because I love them. Because they will be gone and if I don’t record them nobody will remember. Because they’re me.
Michael
I don’t believe the legal process would view it this way.
I understand your point about not realizing any significant profit to offset the cost
and time in perfecting your technique and imagery but, I would imagine, that selling
prints and books would constitute monetizing the images.
Make no mistake, I find many of your images in this set very compelling but it doesn’t take
much imagination to realize what could happen, in a litigious climate, should but one of your
subjects see their image on display and be upset with the interpretation.
Mark
Michal:
“To try as hard as I can to see.”
Yes, i know. We walk and walk and walk. We look and look and look. We see someone, we gauge the moment, we hold our breaths, we miss the moment, we move on, we try again. Studying faces until we’re dizzy blind and dazzled by the sea of humanity all around us. Just one face, one moment, one incredibly unique person whose face speaks a human truth that cannot be denied. Just one sculpturally perfect clay-crafted face with eyes, mouth, light, psyche, worn and torn into a human truth. How much is that to ask, how hard should that be to find?
*sigh*
yes, i know, it is very, very hard. And your newspaper/media thoughts are also appreciated. How often do i see photos here of tragedy and death and the poor widows and children are screaming in horror and shock and it’s right there on the front page and in the evening news channel. brrr…gives one chills.
Mark
You know, you ‘might’ almost have me on that argument except that we honestly do not know that our faces and movements on tape are not being used surreptitiously. That’s the climate we live in now. I am not paranoid. I don’t spend time wondering if the bank is analyzing my transactions on tape in order to develop new marketing strategies on my ‘behalf’. I don’t know if my travel history or hotel stays or meanderings down the streets are not being recorded to document my movements. No i don’t think about that. Yes, i do consider that widespread abuse of my privacy when i choose to shoot my beloved public who i cherish for their generosity of human expression. Making money on my efforts? hahahahaha, mainly the only thing i hope is to do a book and dedicate it to all the “Josefinos” (people of San Jose) who have shared their quiet moments of expression with me over the years. And to make that book somehow available at cost to any and all who would like to have it.
best
kat~
Mark, I know. I’m not a lawyer. I’m wide open. So be it. Should the law come down on me, I’ll cease and desist. Would not be the first time. The last time the law stepped on me, I was the first – and then exclusive – importer of Fomapan film into the US. Kodak stepped on me then. Google it, you’ll know. One step at a time…
Michal
Yes, you and i see things exactly the same way..i never ‘met’ anyone who felt like this before..thank you so very much…maybe see you in court when we’re both sued for our unflattering capture of one of our beloved subjects. I hope that never happens but i will take my chances, as you will, cuz it’s what we gotta do.
best
kat~
“Should the law come down on me, I’ll cease and desist.”
That would be unfortunate.
Mark
Another thing. I’m not making these pictures for you living people. Not at all. I’m thinking a hundred years from now. With all my personal stuff.
Michal
amen..
and goodnight all
kat~
“I’m not making these pictures for you living people.”
We’re not all living. There’s Jim, for example :>))
mark,
mwahahaha!
michal,
this is how i started your essay
and this is how ill end it tonight.
mwahahahahaha!
(fade… thanks again… zzzz)
Michal, duuuuude, Michal. you are geek with a gene. All i can ask you – what the eff you gonna do after buying all eyemodules and there is none left? or you bought them all already ?
i had been visiting your vga site on and off for quite a while. since handspring was born.
awesome work… awesome. i’ll treat you to that beer you gonna buy for Panos when you are visiting your brother.
Haik
PS – i have an idea for your crappy vga photos :). just wait.
Yes, Haik. I did buy enough for what I need. On eBay. Cheap. I have about twenty eyemods waiting for the one I’m using to break down. At least ten have already met their maker. Sad comment on technology, waste, all that. I know. All I can do is make the best of it. Trying. Looking forward to the brew with you! :-)
One more thing and then I’m going to bed because I’m toast. Anyone too scared to speak up, please speak up. I want to hear from you more than anyone else. Thank you for your courage!
Going to bed overflowing with feedback, love you ALL for it, wish this priceless feeling were something I could experience every day!!!
Michal
Michal – sent you an email on vga site.
My first reaction as I was watching this selection was that it must have something to do with the elderly. About the time I reached this conclusion photos of younger generations started appearing. Because the subjects are not aware that they are being photographed, it reminds me of surveillance. My idea of surveillance is that people are generalized as suspects. These photos also seem to deem the people as suspects through the grotesque and unflattering way that they are portrayed.
Despite the unflattering shots, I think the color is intensely beautiful. I would really like to see the larger prints in person (mainly to see the painterly effect.)
Best Regards.
I can totally relate to these images and your method Michal because I am completely shy. So many times I dont go for the shot for that very reason, getting over that hurdle is going to unlock alot of things for me. As for the presence of a camera changing the dynamics of a moment, that is another one I have experienced all too often. So many people have tried to tell me that I cant photograph somewhere or they act all weird because a camera is around, of course there could be something that I’m giving off too. It’s all part of the journey I suppose.
btw I like these alot.
misha !
brilliant to read you interacting so closely with the people commenting here – always interesting and has supplied more links and information to play with.
could ´in your face´ be an antidote of kinds to the theater photography? i mean to say – photographing what is happening on a stage, through rehearsals or performance, is photographing a presentation – something carefully arranged to look good.. costumes.. movements.
i spent a year as an in-house photographer to a theater a few years ago and at the time i remember my more random and unpredictable work being a very important distraction..
moments back stage and more candid happenings still provided an element of randomness.. not enough though.
so i wonder, to what degree do you think your street work is inspired by your other work?
where the street work *has to be* in their faces, from experiance the theater work *has* to be from the middle distance.. which for me as a fixed distance to photograph from felt as un-natural as what was happening on the stage.
on legal issues – i would not worry.. and don´t think you do :ø)
i think the best work is being shot for future generations, as you said yourself, in which case the legal ramifications are irrelevant.. in any case as a long term project you could easily take this around the world..
the only problem could be model releases for advertising applications or if the location has a set of draconian laws on candid photography… so the tattooed image used supplied with model release, since you already knew johny?
I like these images, nice faces, maybe little over the top in the type of faces. Most of the faces are kind of “mainstream” ugly ugly, but therefor photo- beautiful, more impressive:) But it also weakens the essay a bit for me because of this cliche, I miss variety there in a way, the more subtle/ cleaner ones, for all I know this one could be about old skins, wrinkles;)
It’s a fresh look on faces for me, didn’t really look at it this way, it being this unique and impressive as a subject, natural, not manipulated, it looks different, stronger, not (so) controlled or manipulated by self awareness, honest.
These expressions are lost, not recognised in the moment, these frozen ones you can look at, shown in a way, close, intimate, real, raw, beauty, perhaps because the images/ faces are so honest also a bit embarrassing, revealing more than one would like, for me, the low quality of the images works because it is also raw, basic.
Bye, David
Michal,
I’ve looked at these images several times now. They grow on me. I initially felt uncomfortable, intrusive, raw, ugly, didn’t know what to think of them upon my first look. One thing, I kept coming back, so that’s good ! You can’t ignore them, so that’s one hell of a compliment.
That’s the good thing about Burn, a new surprise every day. Compelling viewing, something to awaken the senses.
My goodness, dear Kat, I awaken this morning to find that I am once again in your doghhouse! I did not mention you by name regarding the use of the word “cripple” because I did not want to make you feel uncomfortable. If I’d had your email address I would have emailed you personally. Mine is playdorsey@comcast.net. Please send me yours.
Regarding wikipedia including the word “cripple” and giving its definition, I guess that source cannot always be used as the Authority with a captial “A.” Sometimes we/you/I might do better to listen to a person who knows a subject from the inside.
Patricia
ALL…
i can see a good dialogue going on and i would love to jump in here, but i am a bit rushed at the moment in Toronto….i just cannot be on much of this week for discussion…however,as always, i am taking whatever time i have for BURN putting it into the editing process and working behind the scenes to develop new stories and ideas with many of you … …some amazing things are coming in to us now…i will post new work this afternoon….stay tuned….
cheers, david
EDITORIAL NOTE:
Great discussion all. Michal and I, in the past, have discussed this very issue (individual privacy vs. public perception) and is with the sticky notion of freedom (my boundaries intersect the boundaries of the other), this is an area that is not only an important legal, ethcial and moral one, but an elemental starting point for all people to think about and wrestle with when they pursue photography and determine with what means and to what end to they wish to arrive. When the DiCorcia case first broke, three years ago, I wrote an essay about it at Lightstalkers, and followed that up with a text regarding the French law of privacy (an individual is the ‘owner’ of their public appearance). It is tricking grounds, however, one thing that the law has not quite understood (though they ruled in favor of DiCorcia) is that in truth NONE of us OWNS our appearance…it is suspect, defined, used and ‘processed’ every moment of the day when someone looks at us. People with sight (excepting those who are blind, of course) continually look and watch and see and make note of people all around, and then promulgate that information: in blogs, in conversations, in jdugements in reaction to people. Moreover, the tricky bit too is that our laws and our conceptions (metaphysical and legal) have not quite caught up with technology. Soon, we’ll have ‘cameras’ embedded in our eyes, or will be able to wear lenses (like contact) that photography…thus more exactly mimicing our biological way of ‘seeing’ the world…what then? the problem with the French idea that each person ‘owns’ their public identity is a slippery one, though born from a very french philosophical tradition, undermines a more fundamental biological and sociological (pyschological too) basic notion: we are not necessary who we look like, nor to we in truth have autonomy from the Other’s judgements/perceptions/values (see Levinas for a brilliant and profound understanding of this). What to do with all that?…at some point, for me at least, it comes to the murky idea about intent…as well as value. What are the gains (financial, social, judical) earned/taken from photographing people. The relationship between our Social contract/responsibility and something more fundamental…I do not wish to write a long trieste about this, at least not now in role of an editor, but this question, raised by work such as Michal’s (or gilden’s) or any one of my students snapping away pics of strangers with cellphones, digital cameras…my son and his friend making films of people with their hand-held sony camera they think are funny…(and he and i have spoken at great lengths about this)…
At some point, I promise to write a Post about this, drumming up conversation…in the mean time, I trust and hope that you continue to discuss/debate/argue this issue…as well as the use of language…(i’ve had this discussion to with Patricia, David, other writers)…how does one balance their individual need for ethic, for moral identity, human autonomy and respect versus anothers idea of that language, identity, credibility, respect….
One of the things, i think, we must remove from ourselves, is our, nearely ingrained, notion that our identity, our nomenclature of worth/value, is important but does not mean that another’s should subscribe the same….tricky stuff…
language can wound, so can imagery, but is the wounding about the inherent nature of words/pictures or about our inability to transcend, our inability to allow for messy other’s work/ideas/words/behaviors…
i hope you all continue…important and critical stuff..
and thanks again for Michal, for being so thoughtful and willing to engage :))…I appreciate it immensely..
carry on
running
bob
david bowen, about photographing theatre vs. street, you’re absolutely right. It is an antidote for me, always was. Actually, street is where my heart has been all my photographic life. Theatre came much later, when I was asked to apply my street photography skills to help publicize a documentary film that friends were making about a now defunct troupe. One thing lead to another after that, I got a grant to do behind the scenes theatre, then got a job doing publicity. Very quickly it became apparent to me that in theatre work, there is very little room for my personal creativity. That is not why they hired me. They have me there to record – in the best way possible – what has been carefully presented. It is not about me. It is about them, their process, their creativity, their needs. On the street it’s all mine. I pour all of myself into it, my way, for my reasons. Yin and yang. Glad you asked, even though you already knew. :-)
david bowen, I don’t have any model releases from anyone, not even Johny. But for selling a piece of art, as such, not for any other advertising purpose other than to hang on a wall in a corporate mansion, I don’t need one. Nor do I need one for the books because they don’t represent anything but art. The images are not used for any other purpose except to make them available as artistic objects. With all that, as far as I know, I’m on solid legal ground, for now…
*15 reminds me of KINg KOng ….
Because of the “multimedia” nature of BURN, I find it necessary to point out the brilliant movies my good friend Bill Ulrich made from my stills:
http://www.proofsheet.com/motion
NYC21 is made from eyemods, The Miser is from one run of the play, photographed with a Canon 1DmII, Hold consists of singular street and theatre photos, and Hurry Slowly was his first, made years ago, from my Czechoslovakia in Trasition photos. Here is Bill:
http://www.magneticdiary.com
This one on his site was made from photos I made over a period of months, while the new Guthrie theater was being built:
http://www.magneticdiary.com/motion02.html
In my humble opinion, Bill is a genius, breaking new ground.
I have been familiar with Michal’s images for some time..I keep thinking about what I want to say and it still isn’t flowing out of me, but I am fairly clear that I am most drawn to about you Michal is your absolute….F***, I can’t find the !! words. You imbibe life, marry it with your concept, have a dedicated, devoted, real love affair with it, and honor the process of putting it down into a physical quantity that can be adored and examined and cherished beyond the moment. I don’t see a separation between you and your work, and for that, you raise the craft to art, but more importantly, you honor the muse to the fullest and you are rewarded for it. Though I find it powerful and compelling, this body isn’t my favorite, but for me that doesn’t matter one bit because I have a larger map of you as a photographer, and i get this road even though i may not want to long dwell on it..
and speaking of “hat’s off” (bob’s congrats to you) I think you know how moved I am as a photographer by the series you did with the camera under the hat..and I must must have a book of these if not a portfolio of prints. I wish you could find a way to make these accessible to all, but also, to me :)))
Erica, now I can’t find the words of appreciation!! The under the hat work is no longer linked to my sitemap because I don’t want kids to accidentally come across it. Here it is, please enter only if you’re an adult:
http://www.proofsheet.com/xxx
I do have a Blurb book of these ten, but it’s not made public, for obvious Blurb reasons. But next time we’re in the same town together, I’ll be more than happy to get you one! :-)
Patricia
i am not angry with you. I have tried in the past to e-mail you to both addresses but my e-mails are refused because of some kind of filter on your end. I think really the Wikipedia entry was interesting because it specifically mentions that use and implications of a word from country to country can vary, even among countries speaking the same language. It is so very true in Spanish. What is an adjective meant affectionately in this country can be a dire insult in Mexico for example. I think there should be allowances for these differences when considering whether the person using the offending terminology is an ignorant and callous individual or someone who just isn´t aware of their offense according to another country´s customs. It is really impossible not to cross boundaries of political correctness when crossing cultural borders on a global site. I might be from NJ but i have lived many, many years in a Latin culture and we would fail every single test for political correctness that your average Californian would pass with flying colors. Morevoer, i am sort of happy about that. While initially coming from a good place, current PC standards in the US have grown to be be overly restrictive and well, rediculously uptight. But you kind of have to view those changes from the outside to see what i mean and i am not saying this about you or your sensitivity to the crass abuse of disabled persons by, well, too many of us.
I would never hurt your feelings or offend you on purpose and i think you know that. This is the second time i have said something that has met with your disapproval and i am truly sorry. I am learning from you a great deal about how to be more sensitive to those with disabilities of really any sort. But to be chastised in third person is my personal button at Burn. If you speak conversationally to me directly as opposed to succinctly in third person, it would be a far different exchange. Far from being uncomfortable i would respect the courage it took to come to me honestly and openly and speak your mind.
My e-mail is dyathink1124@mail.com
Sorry, Michal for hijacking your thread momentarily. You already know how i feel about your essay :)))
thanks mucho and bushels, Patri´
kat