This post has been lingering half-written for months, I was reminded of it this morning, as I came across this post from Suzanne Revy, and prodded with the notion that in fact this little rant has been curdling in my mind for my, much longer.
Suzanne is one of an undeclared informal group, the APUG B&W Child Portrait Society, a club that includes photographers like Cheryl Jacobs in the U.S., Nicole Boenig-McGrade in Australia, & Heli Huhtala in Finland.
In all these cases we see similar sorts of classic iconography being used to similar means: to reveal, or seem to reveal, a private world in which children are fully involved and which adults can only glimpse. Even then, the contents of that private world remains hidden – only its existence is shown, and the rest is hidden through deep shadows and restrictive or soft focus (or even, as in Cheryl’s current title-webpage image, both shadows and soft focus combined with a wire mesh screen between the child and the photographer).
As a followup to the earlier post on skepticism about "Creative Commons," it's been sadly amusing to watch the recent flaps declaring flickr (a) as censors but (b) not censorious enough. What seems common to both situations is a failure of common sense, a failure rendered raw with typically abrasive flourish by EPUK's "Sqweegee" in his article on the Schmap smokeup:
After more than 50 years, the first trains have finally rolled through this crossing between North and South Koreas.
I’ve been in Seattle for the past couple of days, attending and speaking at the Online Games Developer Conference.
Yesterday morning, I found in the New York Times an editorial by Nick Kristof which has been widely copied to other locations such as this one — the article, “Save the Darfur Puppy,” tries to grasp at some of the issues revealed by psychological research and “the implication of a series of studies by psychologists trying to understand why people — good, conscientious people — aren’t moved by genocide or famines.”