“In the future, everyone will be world-famous for 15 minutes,” said Andy Warhol. That was certainly true for a broccoli tree in Sweden, whose anonymity disappeared due to its popular Instagram account with 30,000 fans.
In a world of surfeit images, people actually spent the time to look at this broccoli tree. It became a tourist attraction, even hosting its own photography exhibition. But according to a heartless individual, it may have overstayed its welcome. Someone suddenly sawed off one of its limbs.
“You can’t unsaw a tree, but you can’t unsee one either.”
The broccoli tree went desist, but its fame lives on through calendars, prints, and its Instagram feed. “To share something is to risk losing it,” especially in the era of social media.
It’s a harsh world for something that seemed already untouchable.
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Photojournalist Pascal Maitre has been capturing Africa for over 30 years. But “each story is like new,” he said an interview with The New York Times, “You must find a new solution, a new piece to make the story.”
It’s always refreshing to see Instagram users who are trying something different, who are using the platform to explore their creativity instead of posting endless food porn.
Not only are we drowning in photos, the conformity of images is ruining the art of photography.
But it doesn’t have to be this way. There are countless apps for editing your photos and videos to make them stand out from others in the feed. VSCO offers some unique filter capabilities but apps like Hyperspektiv and Photofox transform your photos into something unique by mixing elements of graphics and paint.
Adding interesting captions is another way to differentiate ourselves from the crowd. Tell people what the image is about or give a unique interpretation of what the eye can’t see. Even better, bewilder the viewer and keep them guessing. Like photos, all writing is in the edit.
Give everyone a camera and the stage, and they’ll exploit it just like everybody else. The upshot is a mass experience that mostly dulls expression. Scratch it up, discolor the frame; dare to be different.
“Dogs are our link to paradise. They don’t know evil or jealousy or discontent. To sit with a dog on a hillside on a glorious afternoon is to be back in Eden, where doing nothing was not boring–it was peace.”
Seminoles, Braves, Redskins — Indian culture permeates American life from sports teams to table-top advertising.
Upon entering the exhibit, there’s a sign titled Indians are everywhere in American life that reads:
“These images are worth a closer look. What if they are not trivial? What if they are instead symbols of great power? What if the stories they tell reveal a buried history — and a country forever fascinated, conflicted, and shaped by its relationship with American Indians?”
Did you know that Native American Ira Hayes was one of the six Marines raising the flag on Iwo Jima?
One day we’re going to miss the powerful silence of the natural world, the way it smells and begs for an inquisition. That’s because “most people are on the world, not in it,” wrote the father of national parks John Muir.
In putting a “fence around nature,” we lock ourselves into a secluded wall of emotional current.
Nature nurtures, it humbles our deepest desires. Because we can’t control the skies, nor the mercurial blob of ourselves, we must give in to nature’s fickleness and beauty.
We’re going to be shocked when we wake up from digital’s second life and realize that becoming also means embracing the evolving whims of those things around us. We are overpowered by the Earth’s forces.
That’s how subtleties move along, transparent, through the chaos of abundant information for which the likes of Facebook and Twitter sell our eyeballs to the attention merchants.
As John Berger wrote in Ways of Seeing, “seeing comes before words.” Images overpower our digital world. Video maximizes these stitched images. People lose interest in thinking by themselves and using their imagination.
Said color photography pioneer William Eggleston: “Words and pictures don’t — they’re like two different animals. They don’t particularly like each other.”
Showing speaks louder than telling. One can intuit a concept quicker with a visual cue more so than a verbalized one.
If Facebook’s recent newsfeed changes are any sign, social media is in decay. It’s gone from connecting people to Buzzfeed’s linkbait to a nest of echo chambers where the likeminded and bots spread fake news.
The art done here by artist Andrei Lacatusu provides a metaphor for the chaotic and ruinous state of social media, which appears to be failing like today’s brick-and-mortar stores. While we can expect the social networks to stay in business, they need to spend 2018 rebuilding the public’s trust.
Photographer Fred Morley staged the famous photo of a milkman walking through the destruction of London after the German blitz during the Second World War.
That’s right – this photo was staged. Morley walked around the rubble of London until he found a group of firefighters trying to put out a fire amidst the fallen buildings, as he wanted that specific scene in the background. Here’s where the story has some variations. Apparently, Morley borrowed a milkman’s outfit and crate of bottles. He then either posed as the milkman or had his assistant pose as the milkman.
While the British government censored images of London’s destruction, it promoted this photo to show the world Britain’s resiliency and a sense of calm.
As writer and photographer Teju Cole once penned: “The facticity of a photograph can conceal the craftiness of its content and selection,” or Bertolt Brecht once wrote in his 1955 book War Primer, “The camera is just as capable of lying as the typewriter.”
World War II was a lesson in propaganda, in Morley’s case spreading awareness through the photographic medium to grab attention.
Marketers can be liars, which in this case proved indispensable to boosting morale and saving lives. Morley’s milkman image worked brilliantly.