Issued at that particular historical moment ([in 1967], “Post-Visualization” virtually guaranteed that Jerry Uelsmann would find himself in the eye of a storm for years to come; not only did it declare its author’s intent to serve as a spokesperson for the approach described therein, but it implied his willingness to have his work treated as a litmus test for the theory’s validity, an example of its application in practice. […]
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The constraint of time imposed by the self-imposed necessity of finishing the book on the same day makes it impossible to look too deeply into the images or second-guess my choices. I also have no time to bring anyone else into the selection or sequencing process. The first opportunity I have to study the details in the images is after I receive the first printed copy of the book in the mail. In every case I have been delighted by aspects of the images or coincidental relationships that I never observed at the time the exposures were made, nor even when I assembled the book. […] When I reviewed the images on the camera monitor, I found myself wanting to show other people the results of my solitary photo session. Then I had an idea. Why not try to use all the new technology to create and publish a book of these self-portraits that same day? What better way to demonstrate the capabilities of Internet-enabled digital print to the Xerox customers? […] |
 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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The Photographer and the Painting (2)
What doesn’t get talked about during the periodic uproars over a painter’s appropriation of a photographer’s work are the numerous situations in which the shoe’s on the other foot. So photographers’ commonplace practice of basing photographs on works of graphic art, often in detail and faithful to the originals, is celebrated, not condemned, by the very same community that objects, vociferously, when painters and other graphic artists imitate or derive iconography from photographic images. What inexplicable double standard operates here? […]