Kodachrome Retired

Kodak announced on June 22, 2009 that Kodachrome film will be retired after 74 years.
Read A Tribute to KODACHROME: A Photography Icon in Kodak's Blog A Thousand Words. Don't miss the Kodachrome slideshow.

Elsewhere, Forture magazine editors pick their favorite Kodachrome picks in the Kodachrome Gallery. Three of these photos by W.Eugene Smith, Robert Doisneau, and Jeff Jacobson are exceptional. For me, these all have what critic Roland Barthes in Camera Lucida: Reflections on Photography called punctum. The punctum is subjective. A photo has that detail, that special quality, that something that grabs you by the throat or it does not.


From Fortune magazine.

W. Eugene Smith, renowned for his photo essays for Life magazine, notably "The Country Doctor," typically chronicled working-class American life. He also typically never worked in color, but Fortune persuaded him to do so. This private moment in the headquarters of Connecticut General Life Insurance in Hartford, Conn., did not make it into the September 1957 issue of the magazine, for which Smith shot photographs to accompany an article on the company's "dramatic new office building."


© W. Eugene Smith

Robert Doisneau, the celebrated French photographer and creator of the iconic 1950 photograph, "The Kiss by the Hôtel de Ville," was another photographer who rarely experimented with color.
Here Doisneau pictures a man reading in a lounge chair in Palm Springs, Calif., a photo that appeared in the magazine's February 1961 issue.


© Robert Doisneau

Fortune's editors chose this Jeff Jacobson photograph of a Shanghai billboard for their "2002: The Year in Pictures" photo gallery to symbolize the need to keep an "eye on China.""For centuries, China was Asia's sleeping dragon. Now fully awake, it is the region's most vibrant economy -- and most feared competitor," the photo's caption explained.


© Jeff Jacobson

Pictures Generation

The Pictures Generation, 1974-1984, exhibit opens at the Met on Tuesday. The Pictures Generation was a group show at Aritsts Space in NYC in 1977 that exhibited work from Robert Longo, Jack Goldstein, Sherrie Levine and Troy Brauntuch. Other artists that were associated with the "Pictures Generation" school or movement were Barbara Kruger, Richard Prince and Cindy Sherman.

Douglas Eklund in his essay from the Pictures Generation exhibit at the Met quotes semiotician Ronald Barthes and opines about why it's important for photographers to know their history.

Barthes infamously extended this concept to question the very possibility of originality and authenticity in his 1967 manifesto "The Death of the Author," in which he stated that any text (or image), rather than emitting a fixed meaning from a singular voice, was but a tissue of quotations that were themselves references to yet other texts, and so on.

The famous last line of Barthes' essay, that "the birth of the reader must be at the cost of the death of the author," was a call to arms for the loosely knit group of artists working in photography, film, video, and performance that would become known as the "Pictures" generation...

Untitled Film Still #14, 1978 © Cindy Sherman

from Men In The Cities series, © Robert Longo

This is Not a Pipe

Photography is the great democratic medium. Anyone can do it. You don't need artistic talent or training, you just need to know how to trip the shutter on your camera. Everyone seems to be taking pictures and these pictures show up in print and on local blogs, Facebook and Flickr. But all photographs are not created equal. Some photographs are more equal than others. What is it that makes a photograph compelling? In the book Camera Lucida: Reflections on Photography, Roland Barthes, talks in depth about what makes a good photograph.

..all we can say is that the object [the photograph] speaks, it induces us, vaguely, to think. And further: even this risks being perceived as dangerous. At the limit, no meaning at all is safer: the editors of Life rejected Kertesz’s photographs when he arrived in the United States in 1937 because, they said, his images “spoke too much”; they made us reflect, suggested a meaning – a different meaning from the literal one. Ultimately, Photography is subversive not when it frightens, repels or stigmatizes, but when it is pensive, when it thinks.

Photographs have both a denotation and a connotation. The denotation is the obvious, literal meaning. The connotation is the symbolic or metaphoric meaning. Below are images from
Andre Kertesz. Do these images "speak too much"?


Andre Kertesz, Martinique

Andre Kertesz - Satiric Dancer, 1926.

Andre Kertesz, by Sarah Greenough

Rene Magritte, 1928-29, The Treachery of Images