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As a young 21st-century maker of informationally oriented imagery, you’re familiar with and knowledgeable about both print media and digital media. You can use analog cameras, perhaps even prefer them for some tasks, but increasingly your clients and your vehicles prefer digital systems. Therefore, much of your activity is digital from start to finish. […]
Imagine yourself fast-forwarded and plunked down — as you will shortly be, de facto — at the very beginning of 21st-century photography. Wave goodbye to the past; look at the present and toward the immediate future. What do you see between now and the year 2020 — a time frame during which, I’d assume, most of those here this afternoon expect to continue to live active professional lives? […]
[This is the fourth in a series of decade-by-decade posts of material from my archives. For the third, click here.
By 2000 I had left the New York Observer, relinquishing — though not without a fight — the column I had run there from 1988-97 when they demanded ownership of copyright to my articles. The […]
The crucial question is, To whom is my work addressed? To put it another way, who do you think you’re talking to? By this I mean quite specifically what audience do you as a critic desire and direct your work towards conceptually? […]
The four key elements of the critical equation are (1) the work, (2) the critic, (3) the vehicle or forum, and (4) the audience. Each of these represents a wide range of options; furthermore, each individual case is in a state of continual change. […]
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SPJ Research Award 2014
Thought for the Day Ignorance is a condition; dumbness is a commitment.
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