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Mike Mandel: Baseball-Photographer Trading Cards

About two years ago, I mentioned my first real encounter with the work of Mike Mandel. At that time, Mike sat in for a class that Bill Burke was teaching and talked about his career. One of the early projects that he discussed was his set of Baseball-Photographer Trading Cards (1975), a collection of portraits of photographers as baseball players with their “stats” on the back. These cards have since become collector’s items in the photography community but rarely do you see a complete set.

Well, as it turns out, Mike himself has put a complete collection on eBay.


Complete set of Baseball-Photographer Trading Cards, 1975 (auctioned on eBay)
© Mike Mandel

As he writes in the listing,

The Baseball-Photographer Trading Cards is a photo offset lithographic project that I authored and published in 1975. The project satirized the phenomenon of the fine art photography community being consumed by the larger art world and commercial culture. I photographed photographers as if they were baseball players and produced a set of cards that were packaged in random groups of ten, with bubble gum, so that the only way of collecting a complete set was to make a trade.

Recently, I have offered complete sets for sale, but they are rare. This is a first edition of all 134 Baseball-Photographer Trading Cards (plus one checklist, 135 cards in all). MINT CONDITION, offered for sale directly by the artist. Photographs by Mike Mandel. Texts, statistics and quotes by the respective artists printed on verso. Each card 3-1/2 x 2-1/2 inches. The reverse side for each card enabled the photographer to fill in their own personal data that referred to the information usually included on real baseball cards. In a sense, each photographer’s response provides an insight about how they approached their participation.

Some of the photographers, curators, and critics included are: Ansel Adams, Imogen Cunningham, Harry Callahan, Ed Ruscha, Manuel Alvarez Bravo, Minor White, Robert Cumming, Lewis Baltz, Duane Michals, Edmund Teske, Peter Bunnell, Robert Heinecken, Beaumont Newhall, etc. The cards are stored in archival baseball card pages, no pvc, acid free, 9 cards to a page. The set is collected and sold within a storage binder, black, pure archival polyproylene.

I will sign my card upon request.


Baseball-Photographer Trading Cards: Mike Mandel, 1975 (auctioned on eBay)
© Mike Mandel

Have a few thousand to spend? Looking to do it in the next three hours? Then hurry up and place a bid!

[thanks Jason]

UPDATE: The auction sold for $4,049. The person who bought it is probably kicking themselves for not buying the same exact item here for $2,950 (a savings of $1099).

Women in Photography Launches with Photographs by Elinor Carucci


First Tears Over Another Man, 2002
© Elinor Carucci

Women in Photography has just launched with their first online exhibition of photographs by women photographers: photographs by Elinor Carucci from her projects Crisis and Pain. Every other Tuesday of the month, WIP will present a new photographer, co-curated by my lovely friends Amy Elkins and Cara Phillips.

Visit the site to see more from Carucci. If you’re a woman photographer, you can also find the submission guidelines there.

The First Digital Camera and How Kodak Learned to Love It


Stephen Sasson with his digital camera prototype
© James Rajotte / New York Times

For her New York Times article, At Kodak, Some Old Things Are New Again, Claudia H. Deutsch spoke with Steven Sasson, an electrical engineer who invented the “first digital camera.” When Sasson created his prototype at Eastman Kodak in the ’70s, he told her, the idea was not as easy to pitch as you might think.

“My prototype was big as a toaster, but the technical people loved it,” Mr. Sasson said. “But it was filmless photography, so management’s reaction was, ‘that’s cute — but don’t tell anyone about it.’”

In her article, Deutsch discusses how Kodak has since learned to embrace digital technology and takes a look at what new technologies they releasing and researching for.

Read it online here.

Eric Marth: Pictures

I got an e-mail the other day from Eric Marth. At the end of his e-mail, Eric casually mentioned his “blog,” which he simply calls Pictures. “It’s updated as I find images,” he writes. “On occasion there’s the delightful accident like the pairing of Maude Schuyler Clay’s photo of Eggleston and one of Walker Evans’s images from Cuba, currently on the second page.”

I absolutely love it.

Prelinger Archives

If you haven’t heard of the Prelinger Archives, now is the time to familiarize yourself.

Prelinger Archives was founded in 1983 by Rick Prelinger in New York City. Over the next twenty years, it grew into a collection of over 60,000 “ephemeral” (advertising, educational, industrial, and amateur) films. In 2002, the film collection was acquired by the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division. Prelinger Archives remains in existence, holding approximately 4,000 titles on videotape and a smaller collection of film materials acquired subsequent to the Library of Congress transaction. Its goal remains to collect, preserve, and facilitate access to films of historic significance that haven’t been collected elsewhere. Included are films produced by and for many hundreds of important US corporations, nonprofit organizations, trade associations, community and interest groups, and educational institutions.

Online, you can view nearly 2,000 of the films from the archive. There really are some interesting things to find on the site; everything from historic material such as Duck and Cover (1951) to “vintage erotica” of a woman named Sheree dancing (first in a tiger-print outfit, then in a bikini) to the top viewed film, Pick of the Pod (1939), “a peek inside the pea processing operations that culminate in Del Monte brand canned peas… With glimpses of 1930s kitchens and images of Depression-era California agriculture.”

Not sure where to get started? Try the Tag Cloud.

“The Transparent Eyeball”: On Emerson and Walker Evans


Alabama Farm Interior (Fields Family Cabin), 1936
© Walker Evans

In hopes of sparking a discussion, I thought I’d share this essay that I came across recently by Caroline Blinder (lecturer in English and American Literature at Goldsmiths College, University of London) entitled “The Transparent Eyeball”: On Emerson and Walker Evans.

Taking Emerson’s “Nature” as a starting point, this paper argues that in Lincoln Kirstein’s and William Carlos William’s readings of Evans as a visionary artist of the vernacular, Emersonian ideals were always part and parcel of the search for an intrinsically American manifesto of photography.

This particular text might appeal more to some of you than others, but I imagine there could be a very interesting dialogue surrounding Blinders ideas in general. I’d love to hear what you all think after reading.

If you’re interested, download the printer-friendly PDF.

Robert Frank’s Unsentimental Journey and Pull My Donkey by Charlie LeDuff

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.

The Study Room at the Fogg


loooking at a box of Emmet Gowin photographs in the Fogg’s Study Room

On Friday, I made a quick stop into Harvard’s Fogg Art Museum to visit a friend working in the Study Room and take a peek at some work from the collection. This is a great resource to know about if you live in Boston. What better way to learn about art history than to see some amazing work up close and personal?

I was thrilled to flip through a portfolio of photographs by Emmet Gowin and hold one of my favorites. I noticed, in the distance, a girl sketching from a Diane Arbus print. This is my kind of place. I’m hoping that I can find time to visit regularly; once I was there, I wished I could stay forever.

Their hours are rather strict, though. It’s open to the public Tuesday through Friday from 2 to 4:45pm or by appointment. Browse the collection (of approximately 60,000 prints, 13,000 drawings, and 70,500 photographs and negatives) online here.

Note: gum-chewing is not allowed in the Study Room.

A Piece of the Sun

Polaroid‘s television ads from the ’70s and ’80s featured “husband and wife” James Garner and Mariette Hartley promoting the new products. Here are a few where they advertise Polaroid’s Sun Camera (it’s alright if these bring a tear to your eye).

Polaroid to Close Last Remaining Film Plants

Sad, sad news released today:

The company that pioneered instant photography is getting out of the film business to focus on digital imaging.

Polaroid says it will close its two remaining film manufacturing plants in Massachusetts. The facilities in Norwood and Waltham employed about 150 people and made large-format film for commercial use.

Polaroid has already halted the production of instant cameras. Chief Operating Officer Tom Beaudoin told The Boston Globe the company will focus on digital photography equipment and flat-panel TVs.

As it says above, the Norwood and Waltham plants make large-format films. Polaroid also makes professional-grade films in Mexico, and its consumer film packs come from a factory in the Netherlands. However, all of these plants are slated for closure sometime this year.

Shoot as much as you can right now – that’s what I suggest (especially if you’re working in a larger format). Here’s that last black and white Polaroid that I mentioned, from the pack of Polapan 100 Type 664 film that Mrs. Deane sent me.


Austin in Morning Light, Essex, VT, 2007
© Shane Lavalette

Read more here and here.