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Richard Avedon On White

Richard Avedon On White There are no props; there is nothing to lean on or hide behind. "I've worked out a series on no's," Avedon explains.  "No to exquisite light, no to apparent compositions, no to the seduction of poses or narrative. And all these no's force me to the 'yes.' I have a white background. I have the person I'm interested in and the thing that happens between us."

In general, object versus image in film preservation is kind of like the old “if a tree falls in the forest” debate. It could be stated here as “If there is no one to see a film, does that film matter?” And yes, of course it does, for a variety of reasons. But ultimately the point of motion picture preservation projects is that we want somebody to sit in a theater and watch that 16mm or that 35mm film.

George Eastman House on Film PreservationIn general, object versus image in film preservation is kind of like the old “if a tree falls in the forest” debate. It could be stated here as “If there is no one to see a film, does that film matter?” And yes, of course it does, for a variety of reasons. But ultimately the point of motion picture preservation projects is that we want somebody to sit in a theater and watch that 16 mm or that 35 mm film.

I’m not a conceptual person that comes up with a concept and then goes to photograph what it was I thought about. Its much more about going there quite empty minded and trying to photograph through a felt sense, and making pictures that describe how I feel when I’m in a place. –Nadav Kander

Nadav Kander discusses Yangtze River imagesI’m not a conceptual person that comes up with a concept and then goes to photograph what it was I thought about. Its much more about going there quite empty minded and trying to photograph through a felt sense, and making pictures that describe how I feel when I’m in a place. –Nadav Kander