John Pfahl’s innovative work in landscape photography focused on the problems of perception and representation. He systematically questioned the medium. His early and probably best-known series, “Altered Landscapes,” is a perfect example of his constant quest. […]
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In other words, boys and girls, that ain’t Aperture you’re holding, it’s a copy of The Watchtower, intended to make converts willing to follow a man who can simultaneously assert his own “natural talent for camera” and lack of egotism, who can claim, in so many words, that he and his followers are God’s gift to photography. […] I mourn the closing of Views, not only (or even primarily) because I was its founding editor and felt a parental relationship to it but because that journal, and a baker’s dozen like it, have proven essential to the recent literature of photography. They provide the historical trace of what’s gone on in various parts of the country, they serve as testing grounds for younger writers and editors, and they function as stages for thoughtful commentary from all of us. […] The loss of Polaroid 55 PN film is devastating for me. There is no substitute material which I could use to work the way I have for almost 50 years. I may have to stop making new work using the materials and techniques I’ve refined over several decades unless (and I pray that) someone or some manufacturer — Fuji? Ilford? Freestyle’s sources? — sees the mutual value in creating a substitute film. . . . […] |
 SPJ Research Award 2014All content of this publication is © copyright 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 by A. D. Coleman unless otherwise noted. All materials contained on this site are protected by United States copyright law and may not be reproduced for commercial purposes without prior written permission. All photos copyright by the individual photographers. "Fair use" allows quotation of excerpts of textual material from this site for educational and other noncommercial purposes.
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