Source: unknown

In the best case, this essentializes female-bodiedness to genitalia. (Duchamp’s Etante Donnés being a likely point of departure isn’t a good enough excuse.) Worst case–which isn’t all that different from the best case–it operates as misogynistic synecdoche.

The presentation is rather clever (mounted Kodachrome slide as a winking meta-joke on fetishization); but, not so clever as to dismiss criticisms.

(There’s maybe also a #skinnyframebullshit argument to posit.)

With these foibles, it‘s still motherfucking gorgeous. I don’t care how expensive and difficult it was to manage, Kodachrome ran circles around later color positive stocks.

And now that Fuji discontinued Astia, there is no longer a world class color transparency stock. Yes, there are good stocks–I use Provia 100, to better than middling results. And a good chrome–in terms of color reciprocity–is indisputably preferable to the best negative stock. (Whereas neg stocks compared to digital are like comparing the illumination of the sun to pitch darkness encroaching on a guttering flame.)

I mention this partly to provide context on my fetish object assertion and as a result of recent speculation that Fuji may be leaving the E-6 party in the next five years; a move that would mark the end of color positive film stocks.

Motherfucking megapixels suck at B&W due to digital only theoretically supporting 75% of the range of blacks the human eye can see. That’s why there will always be B&W film stocks. But despite still remaining grossly inferior, digital is killing color. I categorically don’t want to live in a world where representing colors like those in Steve McCurry’s so-called Afghan Mona Lisa have been rendered obsolete due to an insistence on following the path of least resistance.

toutdroitaller:

Irina Zadorozhnaja

Whether she is shooting street-travel hybrid images, landscapes or portraits, Ирина Задорожная demonstrates a precocious formal consistency.

Her images feel symmetrical. Yet, upon closer inspection they instead employ an objects implicit extension beyond the frame edge to balance out an equal amount of negative space on the opposite side.

For example: the lower frame edge cuts awkwardly below the model’s wrist + mons pubis. Notice though how this is balanced by the negative space above the model’s head at the limit of the upper frame edge.

It’s a sophisticated, compelling tactic.

I really like this image. The expression in tandem with the pose is both aloof and fragile; the visible texture of the sweater expertly counters the otherwise problematic flatness. The light is probably too harsh but I can forgive that.

#skinnyframebullshit still needs to be called, however. It baffles me how the same artist responsible for this image showcasing how portrait orientation ought to be used, resorted to the typically knee-jerk, portrait-orientation-for-portraits in an otherwise nearly impeccable image.