Re: Christopher Burkett Interview on PBS
Quote:
Originally Posted by
hornstenj
+
Perhaps it is his base-tec that is the source of veneration.
I was once told that Ciba had been invented to satisfy the eye that had grown tired of linoleum and craved formica.
Those of us for whom imaging isn't a hobby- meaning the thing we do when we have nothing else to do - have to find wonders for our generation.
best from a digital nomad
IMHO it's irrelevant if Burkett uses ciba or carbon like in the XIX.
Of course a jet print cannot be compared in quality terms to a ciba, but I'd say (not knowing him, by far) that his perfectionism in the image rendering is not about sporting base-tec, I'd say it is a vehicle of expression.
In the same way a great image can be in the light, just gathering that light and treating it with respect can deliver the most rewarding results. That kind of purity is also a vehicle of expression.
Re: Christopher Burkett Interview on PBS
Quote:
Originally Posted by
hornstenj
then, with apology, ....
Accepted :)
Re: Christopher Burkett Interview on PBS
To me Burkett's photographs are more about a visceral than intellectual experience. Especially when seen as a large print as opposed to a computer screen. They act as a nice counterpoint to photographs like this year's Pulitzer prize winner. Both kinds have a place.
Re: Christopher Burkett Interview on PBS
CHRISTOPHER BURKETT:
“What we usually do is we go to a place that looks like it has photographic potential. And then we stay there until we don’t see any pictures. And that might be half an hour or that might be a week.”
I find this statement somewhat worrying. It’s as if he’s a resource extractor. Mine an area for its pictures then move on. No mention of ‘love of place’ or the ‘spirit of a place’. No connection except to an abstraction, light. A light more real than real, like an auto tuned human voice contoured for presentation and spectacle.
Does not the above statement mark a bright line between the modern and the postmodern or as many now call it, the neoliberal age?
Re: Christopher Burkett Interview on PBS
Quote:
Originally Posted by
SUNdog
CHRISTOPHER BURKETT:
“What we usually do is we go to a place that looks like it has photographic potential. And then we stay there until we don’t see any pictures. And that might be half an hour or that might be a week.”
I find this statement somewhat worrying. It’s as if he’s a resource extractor. Mine an area for its pictures then move on. No mention of ‘love of place’ or the ‘spirit of a place’. No connection except to an abstraction, light. A light more real than real, like an auto tuned human voice contoured for presentation and spectacle.
Does not the above statement mark a bright line between the modern and the postmodern or as many now call it, the neoliberal age?
What is the “neoliberal age”?
Re: Christopher Burkett Interview on PBS
Take a break from talk radio, fake news, horrific headlines, demonstrations, counter demonstrations, signs, signs....everywhere signs. Let your mind roll on. If you want to, you can get all that from this:
https://c1.staticflickr.com/1/885/26...5824ca5834.jpg
Thomas
Re: Christopher Burkett Interview on PBS
Quote:
Originally Posted by
brouwerkent
Hey folks
I seriously have to wonder about value of the work of Burkett. His photographs strike me as well done picture postcards of minimal value artistically. To my knowledge, museums have no interest in his work.
...I do not find his work memorable or thought provoking....just pretty.
Museums have no interest in Burkett's work (and in other color nature landscape photography) not because it is lacking "intellectual depth" but because at this point in history it is not considered a novel contribution to art. Museums had interest in Eliot Porter's work in his time. Art has many functions, only one of them being to "provoke thought".
Re: Christopher Burkett Interview on PBS
Quote:
Originally Posted by
tgtaylor
Take a break from talk radio, fake news, horrific headlines, demonstrations, counter demonstrations, signs, signs....everywhere signs. Let your mind roll on. If you want to, you can get all that from this:
https://c1.staticflickr.com/1/885/26...5824ca5834.jpg
Thomas
Indeed
Re: Christopher Burkett Interview on PBS
Re: Christopher Burkett Interview on PBS
Quote:
Originally Posted by
tgtaylor
Actually I think that he is using the wrong camera. If you look carefully you will notice a slight up and down camera movement when the camera is nudged. I get the same thing on the Toyo MII when using heavy lens with long extension. I suspect that is due to the holding screw not having enough bite and plan on trying different screws until I find one that has maximum depth for the camera. I exchanged the hex screw that came with the arca QR plate for one that has just one turn more bite and it seems to have been an improvement but I again noticed aa pronounced up and down motion with the 760mm lens and when I dismounted the camera was able to re-tighten the screw slightly. The real solution, as I see it, is to use a monorail like the Toyo G with 2 rail clamps. That completely eliminates any up and down or side-ways motion and leaves just vibrations which quickly settle down.
Thomas
As a follow-up to the above post, I have found that the permanent solution to the up-n-down motion is to check that the QR plate is firmly tightened each time the camera is to be mounted on the tripod. Apparently removing and reinstalling the camera on the tripod has the tendency to work the mounting screw loose in the up-n-down direction even though the Toyo QR plate prevents even the slightest lateral movement. This means that the tendency of the screw is to thread upwards without twisting or apparently stripping. I put this into practice on my lasting outing with the camera and 760 experienced zero camera movement on the tripod other that the initial vibrations which die down quickly.
Additionally, with the MII there is a tendency for the back swing locks to come loose from handling the camera while placing into and removing from the pack. However this is readily seen once the camera is installed on the tripod without opening the clam: If the back is in its détente setting, it will be perfectly flush with the rest of the camera and this is the perfect time to check that it is without unlocking and checking the détente the manual way.
Simply installing a camera on its support is an art that is best learned from practical experience.
Thomas