Hannah Price.

Great interview with Philadelphia photographer Hannah Price from Artblog radio. (listen: here.)
"These images are a response to my subjects looking at me, and myself as an artist looking back."

Mountain of the Holy Cross.

"Since 1873, I have been back four or five times. I have used the best cameras and the most sensitive emulsions on the market. I have snapped my shutter, morning, noon and afternoon. I have never come close to matching those first plates." William Henry Jackson (On photographing The Mountain of the Holy Cross)

Lonesome town.

Lost photographs.

via: yahoo.com
two stories today about lost photographs (top: "Rare Titanic photos..." bottom: "Captain Scott's lost photogragphs")

Jack Cardiff.

Cameraman: The Life and Work of Jack Cardiff (available on Netflix Instant)

Photographers' Laboratory.

"Toshio Saito is one of the last film printers in Japan and the only with a medal of honor. Saito San brought contemporary Japanese photography onto the worlds stage when he did the printing for MoMA's legendary 1974 New Japanese Photography show. He printed for the likes of Ken Domon, Shomei Tomatsu and Daido Moriyama."

via: reference library, via tramnesia

Just a smoke and a cup of coffee.

"You know, some men got the craving for gold and silver. Others need lotsa' land, with herds of cattle. And then there's those that got the weakness for whiskey, and for women. When you boil it all down, what does a man really need? Just a smoke and a cup of coffee."

By the hand.

"What do you mean, 'By the hand?'" a friend asked when I told her that recently I had been making black-and-white optical prints, for which the hand was crucial. The printer's hands, I explained, not technological wizardry, manipulate light and shadow; and the hand has human limits. Each print varies slightly. The limits and idiosyncrasies of optical printing were a welcome change from the maddeningly infinite possibilities and perfectionism of digital printing.

My first pictures were made with Kodachrome slide film in the early 1970s, and were fully resolved as projected images on a white wall in a darkened room. They remain my most direct experience of photography. I later turned to colour negative film, for its greater tonal latitude and the ability to make prints directly from the negative. While I continue to shoot negative film to this day, for nearly a decade I have been scanning my negatives and modulating them in Photoshop before outputting them on traditional chromogenic colour paper. It's a hybrid process.

My greatest fear is that as a discarded medium and corporate outcast, analogue will no longer be essential to visual education. Many young people will not know the difference between hand and button, they will only know the button; and their use of technology will be constricted by their ignorance of hand work. They will not perceive the qualities of optical photography because their eyes will only know digital imagery.

When I last visited Berlin, I got lost on the way to a friend's house. While staring at my iPhone map I heard a voice call: "Mitch, Mitch!" and looked up to find him waving at me from his car as he waited for the light to change. I climbed into the car. A GPS receiver has more than once helped me out of a jam, but it is hard to describe how lovely it felt to pull my eyes off my screen and let a friend guide me"
- Mitch Epstein (via: the guardian)

Stand by Your Glasses Steady.

The Philadelphia Deringer.

"About ten days ago, I retired very late. I had been up waiting for important dispatches from the front. I could not have been long in bed when I fell into a slumber, for I was weary. I soon began to dream. There seemed to be a death-like stillness about me. Then I heard subdued sobs, as if a number of people were weeping. I thought I left my bed and wandered downstairs. There the silence was broken by the same pitiful sobbing, but the mourners were invisible. I went from room to room; no living person was in sight, but the same mournful sounds of distress met me as I passed along. I saw light in all the rooms; every object was familiar to me; but where were all the people who were grieving as if their hearts would break? I was puzzled and alarmed. What could be the meaning of all this? Determined to find the cause of a state of things so mysterious and so shocking, I kept on until I arrived at the East Room, which I entered. There I met with a sickening surprise. Before me was a catafalque, on which rested a corpse wrapped in funeral vestments. Around it were stationed soldiers who were acting as guards; and there was a throng of people, gazing mournfully upon the corpse, whose face was covered, others weeping pitifully. 'Who is dead in the White House?' I demanded of one of the soldiers, 'The President,' was his answer; 'he was killed by an assassin.' Then came a loud burst of grief from the crowd, which woke me from my dream. I slept no more that night; and although it was only a dream, I have been strangely annoyed by it ever since."

Henry Deringer
Deringer (Derringer)

photograph: Relics of the Lincoln Assassination c. 1960s, vintage silver print with AP release and caption, 9.5"x7.375" (via: the Photo Review auction) (deringer in center)

Shooting star sounds.

2011 Photo Review Auction.

On Saturday, October 22 at 4 PM, The Photo Review will hold its 2011 Benefit Auction at Freeman’s Auctioneers at 1808 Chestnut Street in Philadelphia.

You can preview the auction or bid online here.

Emmet Gowin: Edith, Danville, VA c. 1969, vintage silver print, 8"x10" $500-$1000