Marian Sunbathing, 2008 [from "Caught in a Secret History"]
© Michele Abeles

Tim Barber’s online curatorial project Tiny Vices just got a fresh new design, and with it some cleaning up. At the moment there are just three portfolios from photographers Aaron Huey, Asger Carlsen and Michele Abeles. Don’t worry, though, all of the old content will return! As Tim writes,

For the re-launch I’m going to re-introduce all the content on the site bit by bit, day by day, along with new content, updated portfolios and other posts. So everything from the old site will get re-posted over the next few weeks/months…

Don’t miss the links page as well, which has become quite the photographic resource.

Well done, Tim.

A photograph of mine can be found in today’s New York Times Magazine, accompanying David Leonhardt’s piece “The College Calculation” (p. 13). If you have a chance, pick up a copy of the paper and take a look!

Have a great Sunday.

Triple Canopy describes itself as working collectively “with writers, artists, researchers and other collaborators on projects that deal critically with culture and politics, and the ways people engage them, both online and in the world at large.”

It was only recently that I discovered the online magazine, but was pleased with the current issue entitled Original Ideas in Magic, which features poetry and photographs by Tim Davis along with some wonderful photocollages by Hannah Whitaker.

See it here.

My conversation with Norwegian photographer Torbjørn Rødland is now Photo-eye Magazine’s latest feature. Big thanks to Torbjørn… it was a real pleasure!

Take a look if you have a moment.

Victor Sira has curated what looks to be an interesting show at ICP’s Education Gallery called Book Dummies. As described online,

Book Dummies is an exhibition that gives insight into the process of making a photo book. It reveals the many layers of the process, and gives a step-by-step view of the approach used by each of the photographers whose book dummies make up the exhibition.

The exhibition brings together books by Morten Andersen, Stephanie Cardon, Yuichi Hibi, Leigh Ledare, Esther Levine, Pax Paloscia and Victor Sira. The show will run from October 25th to December 27th. The opening reception will be held this Friday, October 24th from 6 to 8pm.

More info here.

Taj Forer was kind enough to send me a copy of the latest installment of Daylight Magazine: Issue #7, “The Agriculture Issue.”

The magazine brings together the portfolios of photographers Michael Ableman, Wout Berger, Tessa Bunney, Jason Houston, Raoul Kramer, Eduardo Martino, Peter Menzel, Brad Phalin, Heinrich Riebesehl and Munem Wasif.

Of the portfolios, my favorites are by Bunney and Berger. But here’s a nice teaser that shows a bit of everything:

Get yourself a copy of Issue #7 here.

William Eggleston in Memphis, 2008
© Juergen Teller

If you haven’t already, take a moment to read this article about William Eggleston from the November 2008 issue of W Magazine.

As many of you know, Photo-eye recently went paperless and launched their online magazine. The magazine’s latest feature is an interview of mine, a conversation with Brian Finke about his most recent book, Flight Attendants. Much thanks to Brian for taking the time to chat and to Daniel for all of his hard work on the website.

Take a look if you have a moment.

I’m honored to have my work in this month’s issue of PDN, featured as one of the winners of the anticipated 2008 Photo Annual. You can pick up a copy at your local bookstore to see all of the selected photographers.

I’ll be heading down to New York on the 13th for the awards celebration and the blog might be quiet until afterward, when you can expect reporting on some of the NYPH08 events.

Until then!

Bill Burke passed along an excellent article – the best I’ve read in a while, in fact – titled Robert Frank’s Unsentimental Journey, written by Charlie LeDuff for the latest Vanity Fair. Once you start, you can’t stop (it has a nice humor to it):

Robert Frank, the photographic master, the last human being it’s been said to discover anything new behind a viewfinder, collapsed in a filthy Chinese soup shop and no one had thought to bring along a camera.

He looked like something from a Kandinsky painting—slumped between a wall and stool—sea green, limp, limbs akimbo. It would have made a good, unsentimental picture: a dead man and a bowl of soup. Frank would have liked it. The lighting was right.

The article itself is definitely worth reading the rest of, but I want to also pass along Pull My Donkey [the title references Frank's first movie and important avant-garde film, Pull My Daisy (1959)], a simple film of Frank and and his wife, June Leaf, made by LeDuff in a style inspired by Frank’s own work.

A great little short to accompany the article. Enjoy.