The futuristic writer, William Gibson was photographed in the mid-nineties for Vanity Fair Magazine. The magazine ultimately bumped the William Gibson article for something else though the photograph was published by British Vogue Magazine soon thereafter. Mr. Gibson cryptically remarked to us that he wasn’t famous, rich or fucked-up enough to be in Vanity Fair. Some if not all of that must have changed by now, one would think. LaBounty + Johl did a run of William Gibson pictures for a number of magazines at that time as he had definitely had come into his own with the publication of Neuromancer amongst other notable novels.
The above picture was shot in the pre-photoshop days with glorious film. My partner, Kip Johl made the metallic eye which I then added later in the darkroom.
Posts tagged with photography
William Gibson, Writer
Untitled Detail (Atmosphere)
Amanda Ross-Ho, Untitled Detail (Atmosphere), 2007
Chromogenic color print, with wooden shelf, 28 by 28 by 4 in.
Filterless
I don’t know if it’s more interesting that people now brag about the beauty of sunsets by claiming that they didn’t even post-process their photos, or that as a society, we’ve developed the idea of there being a meaningful difference between the filtering that goes on in the camera software vs. Instagram-type software, as if the whatever film emulation preset the camera is on by default is somehow more “true” than the filtering applied in a different app.
The USA Is Not Actually Getting Worse
23rd St and West Side Highway, 1975. More.
(⇒ via pretty sure i saw this on Anil’s shake a few months ago)
Leuchtpunktordnungen (Luminant Point Arrays)
Stephen Tillmans, Leuchtpunktordnungen
The Luminant Point Arrays show tube televisions in the moment they are swithed off. The television picture breaks down and creates a structure of light. The pictures refuse external reference and broach the issue of the difference between abstraction and concretion in photography. The breakdown of the television picture discribes the breakdown of the reference.
awesome
Pictured With His Constant Companion
How did I miss this story last year:
“Over 30 years ago we added this daguerreotype to a growing photographic collection. More than 100 daguerreotypes later we have no record of its acquisition but it has always been one of our favorites. It has had a spot in the display case with a select group of daguerreotypes. During all those years it was never cycled into a storage drawer as many of the others have been.
We gave it a name and had a story we told about it. We called it “The Whaler” because we thought the pole he held was part of a harpoon. His left eye (we have flipped the picture since the daguerreotype is a laterally-reversed mirror image) is closed so we invented an encounter with an angry whale that left him with one eye stitched shut.
We would still be telling that story if it had not been posted on our flickr daguerreotype set. It got some attention and comment from members of the whaling group. The consensus was that it was a wonderful image but he was not holding a harpoon. We then had a comment* that turned the disappointment to excitement, ‘…maybe you found a photo of Phineas Gage? If so, it would be the only one known.’”
Grand Palais Air Show
The first air show at the Grand Palais in Paris, France. September 30th, 1909. Photographed in Autochrome Lumière by Léon Gimpel.
You heard it here first: nifty Autochrome Lumière style filters coming soon to Hipstamatic, Instagram, or your toy/vintage camera app of choice!
(⇒ via ck/ck)
A, B
Surveillance photo taken in Hoboken, N.J., of (A) Joey Adonis (also known as Joey A) and (B) Tino Fiumara.
(⇒ via nyt)
This man refused to open his eyes.
Special Photograph no. 203A. Thomas Bede. 22 November, 1928, Central Police Station, Sydney. From the picture collection of the Historic Houses Trust. Published in the book City of Shadows: Sydney Police Photographs 1912-1948 by Peter Doyle.
Many photographs are collected on one page sans metadata here: Portraits de criminels australiens.
Relatedly, if anyone wants to buy me a copy of Luc Sante’s Evidence I’m cool with that.
(⇒ via zarate on mlkshk)
RIP Kodachrome
The last remaining studio handling Kodachrome has shut down its last processing machine.
Yvon’s Paris
Yvon, Notre Dame, 1920s
From Yvon’s Paris. These vintage photographs from the 1920s are on view at Higher Pictures, New York City, from December 16, 2010 to January 19, 2011.
(⇒ via Luc Sante at the NYRB)
Well, safe to close that “post later” tab I suppose.
Conical Intersect (Cibachrome)
Gordon Matta-Clark, Conical Intersect, 1975
Cibachrome, 76.2 x 101.6 inches.
Mystery of the Street
Otto Umbehr, Mystery of the Street, 1928
Gelatin silver print, 11 7/16 x 9 1/4 in.
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