Category Archives: photography

Living the lives of others, or, How I fell in Love with Instagram

You won’t find any nudity there, but yet — I have become obsessed with Instagram as a medium for snippets of this life. The “no nudity” policy, this is good and bad. Bad, because I love nudity– and good because it makes us get around the no nudity policy in creative ways– it seems to make us show a different aspect to living– a visual documentation of ones life. A life, many of us apparently have an innate need to share with others. It provides instant gratification and comes to feel technologically natural. In my Instagram world, the ones I really follow give me more, they fill me with that feeling of wanting to know a different life than my own– visually. I track different people in different places– from the South, the East Coast, Las Vegas, Paris and, of course, my own San Francisco. These users create a geographical visual representation of art, life, current events, even life and death.

Plus there is plethora of partially clad- tattooed, cinchered/corset, stocking and garter belt wearing women– with wild exhibitionist streaks running through them.

Instagram has an immediacy and intimacy that allows the user a peek into a life not their own. The blog/photoblog/re-blog has many mutated phenomenon’s, but this one is deeply intriguing to me. Unlike TUMBLR that is overwrought with misappropriation, there is a uniqueness that sets it apart. I can really see what is in ones “camera for brain” mind, albeit the photos can be instantly “enhanced”, but the essence is still there.

When one blogs, or re-blog– which is more the case– the essence of the creation is filtered, washed away– the creator often getting lost. With Instagram, used the way the app is intended, you cannot wash away the creator– the feed is live, it lives and we as users can live vicariously through these visual representations of others. Though, this will probably all change as more apps are designed to work with Instagram and as all good things will become sullied, but until then I love you Instagram.

As with every social site, I control pretty closely who I choose to follow. I have a set group of people I follow everywhere– most of them San Franciscans– and there are those in the industries in which I deal– sex, art and libraries. In Instagram I follow my usual suspects, but have pleasantly expanded from that set, getting to see different sides of the world. It’s intimate, it’s real– the aura of intent remains and it is relatively pure, despite the ability to magically edit your image, it maintains that “in the now” realism.

For me, I feel as though I have always been one of those people who see things in a different way– in sort of fragments that make the whole. Our mechanical eye has become a technological eye in which we frame and compose snippets of the lives we long to share. We are virtually bridging cultures. It is said that with the inception of reproduction we lose the aura of the original (Benjamin). With Instagram we see art meeting technological industry, on an extremely intimate level that I’ve rarely seen before.

Curtis Joe Walker explains that there is an “incidental nature” to the photos one captures. To me this is one aspect that also creates an intimacy between users, we connect with commonality, the incidentals of living– a meal, a cloud formation, our children. Walker describes these connections as having a “visual conversation” with people all over the world. Collin J. Rae who photographs much of his work using the iPhone, also sees it as connection to people. The images these artists choose to share are in real time, intimate, and immediate by design– connecting user visually, it’s modern day storytelling, told with images.

Lastly, I am going to be watching closely how those in my industry utilize Instagram. Unfortunately, in the library world there is fear of change and bullshit bureaucracy to such social sites (don’t get me started), but art museums seem to recognize the value of the sort of connection that can be made utilizing social medias. The Brooklyn Museum is fantastic at manging their social sites and have embraced the immediacy of Instatgram. The curators at the Brooklyn Museum have been CT scanning mummified animals–birds, cats, reptiles– the unknown and through Instagram the museum has been showing us glimpses into this unknown as they too discover it.

Why I love my Instagram community…

1) We are a community day dreaming cloud watchers

2) We eat good fucking food

3) We drink good booze

4) We often feel pants are unnecessary

5) We have a need to share our lives

6) We visually love our family and friends












Image by Paul Fetish

image by Collin J. Ra

Image from God's Girls

fragments of a very bad day

tina modotti

The concrete and the tangible become abstract.

Let it Bleed



Leningrad St. Petersburg merge

Leningrad St. Petersburg merge

A chronicle of time passages bled together with a thread of continuum. Found on Kosmograd: Postcards from the edge of the 1000-mile city

Terry Richardson makes me wet.



hard at work

hard at work

head of state

head of state

The header for this blog is also a Terry Richardson image. He is the perfect satirist for this fucked up country, the embodiment of the best and the worst of American culture. I love it.



“I wish I was a god with a thousand arms, each one with a camera.”

Nobyoshi Araki

Sinful Typography



Photographic Memory

with a heavy soul
desires have become memories
like a photograph I recall seeing
but not sure where

your past and mine
could be like
the energy of a wave

like the lines
on the back of my hand
the creases in your face

like a road map
We never follow
but keep—just in case

like the box
of secrets
hidden in the back of my closet

our history like intersections
crossing in the middle of nowhere
framed, dissected and hung on the wall
a silver gelatin camera-eye
languishing in our death’s-head
like love–that never happened




Bunny Hitler

see...he had a sense of humor

see...he had a sense of humor

The Floating Foundation of Photography

From: Discipline and Photograph: The Prison Experience 1996

Behind Bars

Nelson Rockefeller is put (symbolically) behind bars
(gelatin silver print, 1976) by Robert H. from the catalogue
Photography Within (The Floating Foundation of
Photography: New York, 1977)