The Jaamed

So a few weeks ago someone stole one of my images.

When I say stole, I really mean they copied it from my website.

Then they used it to mock up a cover of a publication.

Then they asked me if they could use it.

Then I said they could print the series.

Then they did.

It's out now.

You can buy it, from them, or other places.

And then they'll pay me.

Oh, and some of the poems and other writings are pretty good too.

The Frankfurt

Today is the official opening of the Frankfurt Book Fair.

And as any self-respecting bookie type knows, New Zealand is this year's Guest of Honour.

There is a passing of a scroll that happens early in the process of accepting the role of Guest of Honour.

As it states on Te Ara The Encyclopedia of New Zealand - The scroll is passed on from one guest-of-honour country to the next. Each country adds a layer of inscribed perspex to the scroll.

The scroll is a beautiful object. I photographed it earlier in the year. Using only a low-end digital SLR with basic kit lenses, an in-ceiling fluoro tube and a rudimentary cutter.

I was amazed with the results.

The Buyer

On my recent trip to Melbourne, Victoria, Australia, I caught myself on occasion buying a book or two.

These books ...

Mainly photography. Some other arts. Some science. Some history.

Some old. Some secondhand. Some new. Some Australian. Some English. Some Irish. Some American. Some New Zealand.

18 of them in total. 16.27kg in total, the heaviest accounting for 20% of that weight.

The Good

Some days are just good days.

One recent day was one of those days.

I bought the new The National Grid, always a worthwhile way to spend $20.

In my postbox was the new Wilco. Until they start either re-hashing their old stuff or turning out utter trash, I'm always going to buy their albums/DVDs/concert tickets.

Most excitingly, also in my postbox was this.

I had ordered it in February.

It was due in June.

It arrived in September.

It's three books.

One day I shall read them all.

The Joy

Last weekend I bought a book.

Well okay it was bought for me cos it only cost a dollar and my friend was buying like four dollars worth of books for herself.

I have more or less given up buying these types of books cos there's so many of them saying the same things. And I know it all.

But I just felt I had to have this. Partly because of the price. Partly because of the title.

Upon getting it home and flicking through, it was clear that I scored a bargain.

Not because of the contents of the book, but because of this.

Not a bad shot. Quite obviously a set up. But not a bad shot all the same.

It's a recent-ish print, I'd say 10-15 years old, though the photo itself is clearly older, late-1970s maybe.

And why was it alone left in the book? And who are the stars? There are no clues whatsoever.

The Comic

I like getting mail.

Real mail I mean.

Physical stuff. From the PO Box.

Yesterday, for example, this arrived.

Admittedly I had to pay moneys in order to get it, but that's okay.

Especially when it comes with such a nasty warning.

Inside the envelope was, surprisingly enough, a comic.

This one.

Apparently it's a conversation about writing, art and stories. Oh - and monsters ...


I shall soon read it and see if that is correct.

But as it's by Dylan Horrocks and Emily Perkins, both folk I appreciate and admire, I don't really care what it's about.

By no coincidence at all, the other day I finally got around to buying the re-release (the first New Zealand edition!!) of Dylan's superb Hicksville, having read it years ago.

And, for those of you interested, I've also finally started this thing up again after an 18 month layoff.

The Seminals

It should come as no surprise to anyone that there are seminal works in photography.

Nor should it come as a surprise to anyone that, being interested in photography as I am, that I am also somewhat interested in these seminal works.

By coincidence, two such works came into my possession recently.

First was this book (thanks Trade Me), a look at Auckland through the eyes of a Robert Frank inspired twenty-something photographer in the late 1960s.

It's okay. As with many things seminal, the impact it may have had can be less obvious over time as those it inspired produce arguably stronger and better work.

The printing isn't great, but few photography books printed at that time were printed beautifully.

Photographically, as far as NZ street photographers go, Peter Black is more my cup of tea, but I'm glad to finally have my own copy of this very important NZ publication.

Last weekend, just before escaping Palmerston North, I came across this (thanks Bruce McKenzie). Not exactly a seminal book, but a seminal work.

The film La jetée was, as Wikipedia states, "constructed almost entirely from optically printed photographs playing out as a photomontage of varying pace."

So the book is the stills of the film from which the film was actually made.

I watched La jetée last year, and to be honest it didn't hold me. As is often the case I blame the inability of my TV to hold my attention for long. I would like to see it on the big screen though, given the opportunity.

Still, the stills are cool, the book layout is by Bruce Mau, and the story pleasantly sci-fi. It's good.

The Collector

It’s no secret that I like books. In fact, I like books much more than I like reading them. Sure it’s kinda odd to spend so much money on things you never open. But at least my kids (or whoever is unlucky enough to look after my estate) might be able to make some money out of my little collection.

So it should come as no surprise that, last week, I made my usual pilgrimages to Browsers in Hamilton and to Parsons in Auckland. And I spent some money. And I discovered that Parsons have sold five of the six books of mine they had – with the sixth one on hold. But I wanna know who bought them ... and why.

Jodi was kind enough to take me to a second-hand bookshop in Tauranga too. I made her by Robin Morrison’s Sense of Place. Naturally I bought some books there too.

The most exciting find was the long sought after The New Color Photography for a lot less than I expected to pay for it.

No good home should be without the three volume 1966 An Encyclopaedia of New Zealand, and now, thanks to the Ministry for Culture and Heritage (three Indian typists and $20,000) no good home need be without it, and you can still find the book version around too.

When I got home I went shopping again, and ended up with this lot. I bought the Samuel Butler cos I really liked the cover. It’s one of those books I’ve long meant to read and now I have my own copy I may get around to it one day.

And then yesterday this turned up in the post box. Cool. Thanks Auckland University Press.

This is due out on September 10. With any luck I’ll have the review done by then.

Speaking of reviews, this one has turned up. And David pointed out the nice comments on this review from ages ago. I haven’t responded but have written this.

Thank you Linda and Matt for your comments.

I would like to point out that
1) I do not purport to be an art expert, merely someone very interested in art.
2) I have never suggested that a review is a 'serious critique'.
3) I have never been to art school.

Reviewing is about OPINIONS, and are written so that others may get an IDEA of what the publication/movie/album/show/etc. is like. The reader does not have to agree with the reviewer. The reader can actually form their own OPINION.

It is called “reviewing” because it involves someone offering their own view after having read/seen/heard what they are reviewing. It should not be confused with previewing which involves someone offering their own view generally prior to actually having read/seen/heard what they are previewing.

If reviewing was supposed to be serious critiquing it would be called a critique. I do find it ironic that you dismiss my review by stating that “[o]ne cannot seriously critique a work on their own personal likes and dislikes”, when the lack of objective critiquing of Buchanan’s work was my main problem with the book. And, I suspect, you are doing the exactly the same – basing your view of the book and this review on your own taste, not an objective critique.

I also find it interesting that you are happy to attack me, but make no attempt to argue against the statements/points in my review where I express the failings of this publication. I stated up front that I did not like his art but that didn't stop me attempting to write a balanced piece about the book, as I believe I have done with all of the reviews I have written.

You ask “what has the creator of the work set out to do?, and, How well have they achieved that aim?” Well, I thought I made it quite clear that I found the book clumsy and confused and I couldn't work out exactly what they had set out to do. Therefore they failed.

Can I ask this? What is the point of a book about an artist which doesn't examine the artist's work, that doesn’t explain why they produce the work they do, or talk about more than the surface imagery? Why, when so much of the text is biographical detail, does it miss out a large chunk of Buchanan's life and career as an artist? If this is an attempt at an artist survey why are the works not properly captioned to allow the reader some sense of the artist’s evolution?

I stand by everything in my review, maybe if you re-read it you'll see that I explained my disappointments and was actually hoping to be swayed in my view of Buchanan arts. The fact that I wasn't, I feel, reflects more on the book than it does on me.

It seems churlish to say this, but not everyone has to like the same things, people can legitimately hold differing views. The fact that you disagree with me is your prerogative, but why attack me? Why not attack my message? Clearly you hold a different view to me, yet you make no attempt at argument, resorting to mere invective which really isn’t worthy of this response.

Not sure if I’ll post it there or not. Not sure they’re worth it. But it feels good to write a nicely reasoned ‘up yours’.

So not only am I a collector of books and rejection letters, I am also a collector of online abuse. I am just like so 21st Century, dude.

The Random

Just some random stuff about me and my life cos I know you're all so interested.

A few months ago, at the National Library, there was an exhibition about Manapouri and the protest movement that is synonymous with the name. It was an interesting show to see if for no other reason than for it's mix of art and history.

As part of the show I saw a book which I never knew existed. I thought it looked interesting. An early (1960) New Zealand conservation treatise by J. T. Salmon. I tracked down a copy at Wellington Public Library, and then a purchasable copy at Bibliomania - fine books, fair prices indeed. It arrived the other day - five days after ordering it. This internet thing is great.

And the cover is so cool. Both of its time and timeless. A bit like the contents (if you ignore all the legislation and Government Department stuff).

And my latest project is getting some coverage. Not as much as we'd like of course. But at least some people are paying attention.

And, just cos I know you're all so very very interested, hockey is starting in earnest this weekend, i.e. the result actually means something. And Wellington Hockey has been kind enough to post the schedule for Round One. So here's my next few Sundays sorted for me.

Sun 11th May 2008	5:15 p.m.	NHS1	Naenae 1	Petone 1
Sun 18th May 2008	1:00 p.m.	NHS2	Naenae 1	Karori 1
Sun 25th May 2008	3:45 p.m.	NHS1	Naenae 1	Victoria 2
Sun 8th Jun 2008	11:30 a.m.	NHS2	Northern United 2	Naenae 1
Sun 15th Jun 2008	11:15 a.m.	NHS1	Indians 2	Naenae 1
Sun 22nd Jun 2008	4:00 p.m.	NHS2	Naenae 1	Harbour City/Tawa 2
Sun 29th Jun 2008	12:45 p.m.	NHS1	Hutt 2	Naenae 1

Come along, join in the fun. It's a much more exciting and skillful game than rubgy. And you get the added bonus of (probably) seeing me get hurt. What more can you possibly want in a sports game?!

The Awakening

Last Friday I bought myself a new compact disc. Just cos it's what I do somedays - too many days some may suggest.

This whole music buying thing is quite interesting. Once upon a time I was building up to being a nice anal retentive trainspotter record collector type - as you'd probably guess by looking here. For a while I was buying nearly everything Flying Nun released - sometimes on both CD and vinyl. Then I went overseas.

While overseas I really didn't have money to buy music - though over those 3 years I did end up buying a couple of dozen albums (including a couple of anal retentive foreign releases by NZ bands). During that time I discovered that my view of NZ music had been obscured by the rose-tinted glasses I was wearing. In reality some of the stuff I had been buying was pretty crap, I just refused to acknowledge it at the time. And being forced to lessen my purchases meant largely giving up my anal retentive ways. Thank Christ for that.

Since arriving back in this country getting on for ten years ago, I've noticed some changes in my music buying habits. For one I tend to find a lot of music on the internet and make choices based on what I read and hear there, rather than relying on local radio and print media. I tend to buy quite a lot of secondhand/cheap music these days - something I almost never did back in the day. Interestingly, over the last few years I've noticed my NZ music purchases as a percentage of overall music purchases are increasing - though now I would argue I'm generally buying it because I like it, not out of some parochial misguidance.

I've also noticed I haven't fully lost my anal retentive trainspotter record collector tendencies. I still feel I need to own (or at least have a copy) of every release by an artist I like. With most bands this needn't be the case. I believe that bands should grow with time, mature and develop, evolve and change. Some do. Some don't. This is how I justify buying everything by say Sigur Ros or Guided By Voices or David Kilgour, when to all intents and purposes one or two albums by each would be suffice. You just need to do your research to find out which one or two albums that should be.

Still I'm trying to escape these trainspotter tendancies. However, that didn't stop me buying the debut album by Dudley Benson. Dudley has been releasing EPs for a few years now. I kept coming across one at the local record store. I liked the design but didn't know anything about the guy/band. Then he got reviewed on The Sampler. Two days later the local record store had no copies of the reviewed EP, but still had copies of the earlier one with the artwork which intrigued me so. So I bought it.

First up, Dudley is a total not rock'n'roll name. Oddly enough the music is total not rock'n'roll. I hesitate to label it, but if you took the highly orchestrated works of , say, Sufjan Stevens (two albums necessary, tops) and stripped them back to minimal bits of the heavy orchestration you might be able to imagine Dudley's sound.

It's not something I'll listen to lots, but I will revisit it occasionally and be wowwed by it's beauty.

Here's the cover.

As I said, the artwork was what first intrigued me about this guy. I am a believer in judging a book by it's cover - and I like this cover (it certainly would have tempted me to buy it even without knowing the artist). When I bought The Awakening I noticed there were two versions - one in standard jewel case, and one in a cardboard sleeve (for $5 more). Naturally I bought the more expensive version.

Inside was an envelope.

And in the envelope was a library card.

Is it sad to like library cards? Especially ones for such potentially exciting books as this.

Here's the first Dudley Benson EP I bought - Steam Railways Of Britain. Love that dog. Love the train picture - unique to my copy. Oh yeah, the music's pretty cool too.

And the second EP - The Orders, Medals & Decorations EP. Again with unique cutout - this time a medal. And pretty cool music - including different mixes of songs from the first.

The cover of The Awakening reminds me of Andrew Ross's work. It's not an Andrew Ross, nor is it a copy, but it reminds me of his work (sorry private in-joke of sorts for one reader out there in the blogosphere).

And by nice coincidence in timing my review of Andrew's book is online now (and I deny any pre-planning or pre-emptive decision making involving the timing of this post and the availability of said review). If you're lucky you can win a copy of the book by answering a simple question. But you have to read the review first.

The Fool(ish)

A couple of weeks ago I had some money.

Rather than giving it to folk who maybe deserved it- the accountant, the store, the bank - I went shopping.

I bought some books. They arrived today.

This came out a few years ago. And was rather expensive - at least in this country. But I knew I had to get it at some point. My copy is from the fourth print run. Not as exciting as a first edition but ...

This one is. Came out a couple of years later, was equally expensive and I knew I had to get it at some point too. They're books to dip into rather than read cover to cover - partly cos they weigh so much my wrists wouldn't cope with prolonged exposure.


The cover shots were stolen from photo-eye, a good place to start looking for photographic books and works.

I bought this cos, as normally happens when I'm at Amazon deciding to spend money, I got excited about buying stuff for cheap, so bought more than I meant to or needed to. But well you only live once, so why not waste money on books? Or music? Or drugs? Or hot women? Or alcohol? Or cameras? Or film? Or art? Or houses? Or travel? Or food?

I'm not sure who came up with the idea of using elaborately staged scenes to create a still work first, though I know I discovered Jeff Wall years ago (even before studying photography), but I think I'm actually a greater fan of Gregory Crewdson. Still Wall's work is interesting and his catalogue is broader than I realised. And anyway, the book was cheap (I got all three for little more than the cost of Volume I) so I ain't complain.

Much.

Oh, and Dymocks had a sale too, so I bought a couple of books there on the weekend, and I scored a copy of Glenn Busch's Working Men in Devonport last week. Not that I like books or anything.

The Kudos

A week ago I stated rather sadly "but I'm still waiting for a show to break even."

I am waiting no more. I pulled down my show at Photospace having only made one sale. As I had done when I showed the work in Palmerston North. And yes, one sale is better than none sale.

But the other day I had a couple of people around and they bought a couple. Meaning that, thanks to some very nice folk - all women as it happens (does that mean anything?!) - I have broken even.

And before all of you hit me up for money thinking I'm now some rich artist, I would like to point out that break even for me means that I have recovered the cost of printing and framing the work, and costs directly associated with the exhibition. It does not mean that I've recovered the cost of producing the work - i.e. driving around the country, shooting dozens of rolls of film, getting them processed etc., the cost of cameras or insurance etc., nor the time spent doing any of this.

Still it's a good feeling knowing I can probably afford Christmas this year. So thanks ladies.

And while we're on the kudos trip. Today I collected my win from the Post Office - as shown above. Those of you who read the thing I wrote which caused me to be a winner will have noticed my pitiful plea at the end:

PS - I’ve spent the last few years trying to find a copy of the album on CD. I’d be most obliged if anyone out there has a copy they’re happy to get rid of (god forbid) or, dare I say it, loan me (nudge nudge wink wink).

Well. Last week a friend popped on to a local website she rarely visits (and one I visit regularlyish) and found a copy. She even bought it. Then gave it to me. Nice. So thanks Russell (and Grant) for the book, and thanks T Lady for the CD.

And just cos I can. And just cos I also picked it up today. I just scored myself a copy of this from Penguin. Awesome. Thanks guys. From a quick 3 second flick through I can safely say the photography looks pretty lovely. Look out for a review in a couple of weeks.

The Soundtrack

As the friend who sent me the text informing me of the news said, "seems like you're getting the recognition you deserve albeit for your written skills".

Yeah. About bloody time man.

And so it is true. I have received some recognition of my talents. $50 worth of recognition actually.

You see I just won me a copy of this here book.

Just by writing this here piece. So, cos I'm making more from my writing than my shooting I'm going to write a bunch more. Today.

I tried scoring a copy of the book for my normal review folk, but their music editor had already scored himself a copy. And an interview with it's author. You can read his words here.

There's a nice connection with two of the other Public Address winners - the Kevin Bacon effect and all that . My mate and I were at this gig too, from memory discovering The Inhalers for the first time. I think we knew of them but hadn't actually seen them live. So we saw them live. And we both bought a copy of their LP 'Nudist on the Beach of Love' - signed and everything - straight after their gig. I haven't heard it for years. It's comicness soon got boring for me. So much so that when 'Holy Family Three Pack' came out a I didn't even consider buying it. I did, however, buy Nigel's book. (For this to make any sense you need to read the link above.) It came in a brown paper bag. With a weetbix. And a cassette. And, I think, some other stuff. I loved that cassette. It was more serious, more beautiful than The Inhalers. I've still got it somewhere, under the house with all my other tapes.

The main reason we were at that gig was to see the Able Tasmans. In my opinion, one of the most underrated NZ bands ever. (A lot of people are agreeing with me now, especially after the release of this a couple of years back.) They were touring this album. If I had a top five list of favourite NZ albums it would probably be there. Needless to say, the day after the gig, I was down at Chelsea Records, Manners Mall, handing over my hard-earned student allowance to buy the tape - from memory it came out in that weird period in the early 90s when Flying Nun were releasing new material on LP and cassette, and only occasionally releasing CDs (not that I had a CD player at the time). A couple of years later they released 'Somebody Ate My Planet'. It had some cracker songs, but wasn't as strong a whole. Then came 'Store In A Cool Place', which possibly betters 'Hey Spinner'. Possibly.

When I was helping write/edit/research this book I was disappointed that I didn't have/make time to write a chapter about the Able Tasmans. Especially when they played the Wellington book launch at the old Bodega. Graeme Humphreys even made a pointed comment about their omission. And fair enough too. They broke up soon after. I don't think it was because of us.

Along with fact checking and adding to the (then) comprehensive discography, I wrote too long a piece on Shihad. They'd only released two albums at that stage and didn't really deserve the space they got compared to, say, The Chills. I really wanted to write about Strawpeople too - give a bit of recognition to the burgeoning 'electronica' scene. But I was working and had my own band and a girlfriend and was still playing hockey and I didn't have the time.

So now I'm just waiting on Russell to send me my copy of 'Soundtrack' so I can find out just what an opinionated chap Grant Smithies is. Then I can sit comfortably (alone) in my lounge and abuse his choices and omissions. Cos that's what folk like me do.

Oh, and just to change subjects but kinda keeping with this Kevin Bacon thing, this blog thing is a weird wee world. I've suddenly started getting quite a bit of traffic thanks to onemomentcaller. He blogged me ages ago, and I've been checking in on him periodically since cos he writes good and random stuff. I recently added him to my links list, and he recently did the same for me. Since then I've been getting a few visits a day via him. So thanks mate. But what makes it really weird is that he's in Wellington and is completely anonymous to me. As I may be to him, though he at least knows my name if not my face. I'm still struggling to cope with these relationships of anonymity. I want to know the people reading me. I want to know the people I read. Just being able to say 'hi' and smile knowingly would be enough. Cos after all you are getting to know (the blog) me by reading this. Maybe.

The Serendipitous

I’ve said it before, and hell, I’ll say it again. And no doubt again. And again.

I regularly reference other photographers in my work. It may be subtle – I may be the only who picks up on it – or it may be blatantly obvious. Even to those with a mild knowledge of (New Zealand) Art photography.

But there is this thing called serendipity. In fact I think what I really mean is there is this thing called serendipitous synchronicity.

(Maybe you being a cynic will call it coincidence, but me being a poet much prefers serendipitous synchronicity.)

There are a number of places I’ve photographed, only to discover (after the fact) that other photographers have done it before me. There are places I discover and in my discovery realise that I’ve been there before in someone else’s work. Far from disheartening, this discovery is actually quite cool, finding you’re operating on a similar wavelength to folk whose work you admire.

For one reason or another Laurence Aberhart is a prime culprit here. But the other day I picked up Ink & Silver, a book I've been meaning to buy for a while if only cos it's big, beautifully printed, and contains work of someone I really admire (and a couple of people I really don't).

And then I discovered this serendipitous synchronicity.

Again, I’ve said it before (though interestingly not on this blog ... ever!!), and hell, I’ll say it again. And no doubt again. And again.

The two greatest influences on me when studying photography were Wayne Barrar and Anne Noble. In part because of their individual approaches to photography and photographing opened my eyes to new ways of looking and photographing, and in part due to the people and subjects they introduced me to. Oh, and in part cos they're both lovely people.

So anyway, this is 'Barrier, Lake Ruataniwha 1987' by Wayne Barrar.

Shot it. Myself. Earlier this year.

And Log Boom, Lake Rotorangi, 1993.

Shot it. Myself. Earlier this year.

And Wayne's third image in the book. It's from Stewart Island. I ain't ever been there. But I love this shot. Just love it to death.

The Scarred

A few years ago, May 2003 to be exact, I underwent minor surgery. Here's the result. Nice.

I had a mole above my right eye, and while it wasn't a melanoma, and wasn't the right sort of mole to indicate skin cancer, it had grown significantly over the previous few years, and I had two doctors (a GP and a dermatologist) tell me that while it was never going to be harmful, it was best to get rid of it cos if I didn't I'd spend the rest of my life having to answer other doctors' questions about it.

That's great reasoning from our medical fraternity - get rid of it now so we don't piss you off later.

Needless to say I bought their reasoning and had the surgery, hence the photos. There's still a little of the scar remaining, but it has always been kinda hidden by the arm of my glasses - handy things them.

In other completely unrelated news, my latest review is now online at Lumiere.

The Autumn

Okay, so I've cheated a bit cos I've already poster this shot before. In pretty much the same post as this. But I could hardly do three of the seasons and miss out autumn could I now?! And it's a nice picture so I don't care.

This just in: I am published yet again, another review. Long may they continue.

The Cosmologist

A little while ago I read a book. This one to be precise.

If I may put on my reviewers hat once again - and I can cos I make the rules here - it was a good read. Beatrice definitely had an interesting life; profound, inspirational, and sad. And naturally she is/was under-appreciated here, in the country of her childhood, the country she called home. As worthy a subject for a biography as any, I finished it without really having any comprehension of her scientific work. Admittedly, the book wasn't written by or for astronomers but I would have liked a bit more discussion along those lines - especially as she changed the way we see the universe (apparently). Small quibble.

Here's a better review.

For years I have been working on ideas to combine both my scientific background and my photographic interests. I'm still not sure where I'm going with it. But I wrote to Christine Cole Catley in 2003 asking if she knew of any memorials for Beatrice Hill Tinsley in NZ. Here's some of her reply. "After my biography comes out next year, there jolly well should be some monuments!
There's a Beatrice Tinsley Avenue in Albany, Auckland, and an asteroid was named for her in the 1980s."

So when I was in Auckland recently I made a trip to Albany. I took some photos. Of the street not the asteroid.

It's pretty self-explanatory what that is. The one below is from the same corner looking along William Pickering Drive. We really know how to celebrate our intellectuals in this country - give them a street in an industrial park surrounded by streets named after other unknowns. (Check out the map ; let me know if you know who any of the others are.)

The Oedipal

Yes, I'm back home. Did you miss me? I missed you my anonymous viewership. Sadly I didn't miss my nonamomynous viewership so much.

And yes, in case you missed the news, I have a show on in Auckland.

This is a shot of my wall. Those of you who know my wall will know that this particular piece of my wall doesn't usually look quite like this. Usually there are more photos on it. And fewer visible postit notes. However the postit notes denote works which are presently not on my wall. In this case they are presently in Auckland. However most of them aren't on the wall up there either. But if you ask very nicely you may be able to see them. I would recommend if you do go to have a look at these works, you also look at the eighteen on the wall in Auckland.

Before I left for Auckland I found out something. Something fantastic. If you review something, you may get that something for free. I had the pleasure of reviewing "aberhart" (wow, I'm even quoted there!!) for my mate Tim. You can read the review here. Admittedly it was probably a poor hourly rate, but to save myself $125 by doing something I would have done anyway (ie read a book) was great. Bring it on I say.

The Primer

I ordered this book on Boxing Day last year. It arrived yesterday. I've finished reading it already.

Stolen from Amazon: "THE NATURE OF PHOTOGRAPHS by Stephen Shore, is an essential primer on how to understand photography by one of the world's most influential photographers. Growing out of a college course that Shore taught for many years, this book explores ways of looking at photographs from all periods and all types--from iconic images to found photographs, from negatives to digital files. Its aim is to describe the physical and formal attributes of a photographic print--the very elements that form the tools a photographer uses to define and interpret the content. In the end, Shore teaches us, on the most basic level, how a photograph "works."

It's a really easy read, and while it didn't tell me anything I didn't already know, it did make me aware of things which previously were subconscious for me.

And there's lots of pretty pictures too.

The Cook

When I was in Auckland last, I did my usual pilgrimage to Parsons Bookshop to have a browse and a little shopping. One of the books I picked up was this one.

David Cook has been photographing the Rotowaro area since the mid-1980s, and this book is the end result. Anne Noble says it is "one of the richest photographic investigations of location and 'place' that has been carried out in New Zealand." I say forget the "one of". The book is part photography, part social history, part journal. It is a stunning work, beautifully shot, beautifully designed, and beautifully written. It is a book that everyone should own - if you can find it (I've only seen it the once, and then only the one copy).

John Turner mentioned David's work to me when we met a few months back, suggesting there was some (minor) similarity in our work. It's David's second book on Rotowaro, and having seen the first book I was surprised to see that, yes there is some (minor) similarity in our work. David is clearly an explorer - of both place and photography - and for that I'm grateful.