Comments for Larry McNeil Blog

Comment on Group F/64 by Catherine Kirkpatrick

Catherine Kirkpatrick — Mon, 20 Feb 2012 16:29:43 +0000

Terrific piece, terrific writing!

Comment on First Light, Winter Solstice by Larry McNeil

Larry McNeil — Tue, 03 Jan 2012 17:05:20 +0000

Hi Al,

Thank you for your comments. I have read about Asahel’s photography but have never seen them in person, just in various journals. I like the idea of photographing people where they work and it’s funny about seeing him picking his nose in a reflection, that made me laugh. Like I mention in my own lectures about Curtis’ work, it’s perfectly clear that he was a most excellent photographer. His craft was impeccable. My only problem is with his idiotic message about the “Vanishing Race” aspect of his entire body of work. It dismisses contemporary indigenous people as being inauthentic, and “his indians” as being the only real deal around. From a critical standpoint it also tries to transform the act of genocide into something poetic. He never talks about why “his indians” were a vanishing race. Did they just vaporize like fog in the sunset as his photographs infer? No. They were murdered on a numbing scale. Anyway, you get my drift. By the time Curtis was working on his project throughout the early 20th century there were hardly any wagons being used anymore, people were getting around in cars and trucks. I’m sure that Curtis likely used a car or truck for this project too, otherwise he likely looked like an Amish person in a buggy on the side of the road as cars whizzed by. This is part of his illusion too, that he made these photographs in the 19th century (which he did not).

Thanks,
Larry

Comment on The Zen of Saving your Digital Photos by Larry McNeil

Larry McNeil — Sun, 01 Jan 2012 22:15:07 +0000

Hi Alex, Thank you for the link and input regarding the DVD’s. I hope you don’t mind I took a quick peek at your website. I used to make a living shooting architectural photography and appreciate the nuances of the challenges with it. I used to shoot mostly with large format 4/5 with cases and cases of strobe gear. Old school stuff, but it made for great photos. I notice that you have a touring guide of Scotland too; if you ever make it back there, take a peek at some of my work on permanent display at the National Museums of Scotland on Chambers Street in Edinburgh.

Anyway, back to the DVD stuff. With all due respect, the information on the link you provided is wrong. Gold discs are in fact better than the run of the mill discount discs or aluminum ones with low-quality dyes and plastics. Aluminum oxidizes quickly and gold does not. Here is a page of links regarding DVD permanence: http://www.mam-a-store.com/articles.html
http://www.mam-a-store.com/mamtech.html

Thanks,
Larry

Comment on The Zen of Saving your Digital Photos by Alex Ramsay

Alex Ramsay — Sat, 31 Dec 2011 12:57:38 +0000

Hi Larry – sound advice on burning your files to DVD. However gold DVDs are not necessarily the best longterm media – have a look at the following site for info on media longevity: http://www.digitalfaq.com/reviews/dvd-media.htm

Comment on The Zen of Saving your Digital Photos by Larry McNeil

Larry McNeil — Sat, 31 Dec 2011 06:56:22 +0000

You are most welcome Mr. David. I’ve seen a lot of your very nice photos you’ve been sharing & hope you didn’t lose very many of them. I’ve lost lots of photos in the past and am constantly behind on my own archiving even as I advise others to be diligent. The Mitsui golds are the best, but are also the priciest because they use both better materials and craftsmanship. Have a great new year!

Comment on The Zen of Saving your Digital Photos by joe david

joe david — Sat, 31 Dec 2011 03:32:13 +0000

Again,thank you Roomie for keeping after us on this! Shamed but I haven’t done it yet,even after losing tons of great photos on a stolen laptop. BUT it’ll be a serious new years to do.

Comment on First Light, Winter Solstice by W.A. CURTICE

W.A. CURTICE — Thu, 22 Dec 2011 20:02:29 +0000

Mr. McNeil;
Your work is an expression of your culture. I noted your use of Edward’s work, but have you seen his brother’s work as well? The two differing views towards photography are striking. As Edward would require pristine settings and have the portrait subjects shave their facial hair or cleanup the area around the longhouse doors, Asahel would not change anything in the field of his cameras. His true representation of the local culture in greater Puget Sound was far from Edwards eyes. Yes, Edward went to Hollywood and sold-out, Asahel plied his craft as a commercial Photographer based in Seattle. His archive is located and accessible at the University of Washington, main campus. The body of his work is his commercial portfolio, but hidden in there are some of the most inspiring “visual comments”. Asahel would strive to use all the available negative space. There is the one he shot of the model sitting on the desk next to the map of the Pacific Ocean and a visual of where cans of salmon were canned. But in the background, walking through the scene ghosting in part with a pause while opening a door, picking his nose is Asahel. The negative space he used was intended to be cropped for layout text. Needless to say that Asahel worked while Edward traipsed around the western regions struggling with life in a covered wagon to create some semblance, at least in his eyes, of something that others were not.
I will not justify Edwards methods or his dealings with the indigenous tribal folk, but at least he made a compendium in his monograph which stands even today as a work like no other. He made no money, profit wise, and did endure the hardships of life on the road, so to speak. So why not sell out to Tinsel Town. I would and I suppose you would to given the chance to excel at the craft of photography.
Myself, I just relied upon supporting my “film habit” with a profession that availed me the funds to create Art with the camera. I would suppose your life’s work is happening in the same fashion.
I do like the Res-Truck composition. Very real and true to life. Keep up the “Opening the Door” work. It shows incite to and for your students.
“Remember, to make a statement in one frame with only the camera, you are writing the novel with more then a thousand words.”
Regards;
W.A. CURTICE
Just this guy . . . ya know . . .
A Visual Artist in Washington State

Comment on For Kimowan Metchewais by Larry McNeil

Larry McNeil — Wed, 21 Dec 2011 19:46:06 +0000

It’s so nice to hear from you. I think a lot of us are still a little shell-shocked about Kimowan’s passing, even though it’s been months now.

I’m glad that you have a raven, that makes me feel very good. Happy holidays to you!

Comment on For Kimowan Metchewais by Geoffrey Batchen

Geoffrey Batchen — Mon, 21 Nov 2011 20:15:49 +0000

Thanks Larry. I too am thinking of Kim today. And of you. I’m finally getting your Raven framed. Hope all is well. geoff

Comment on Group F/64 by Larry McNeil

Larry McNeil — Sat, 19 Nov 2011 13:22:01 +0000

Meg,

Thank you so much for your comment, it means a lot to me. Imogen has always been one of my favorite photographers, a real icon in the history of photography and art. While learning to be a photographer as a young person, I’d always be drawn back to her work because it had so much beauty and it made me realize that people dedicate their entire lives to photography and it helped inspire me to dedicate my life to photography too. Thank you again,

Larry McNeil