Closing: June 6, 11-4pm
Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Mark Dungan, Matt Billings, Matt Dunn, Elizabeth Fleming, and Adam Cruces.
11-noon: Mark Dungan
Describe the photograph selected for One Hour Photo in three words:
abstract, unidentifiable, metal
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I selected something that represents the work I like to create without giving up too good of a cherry.
What are your thoughts on letting go of this image?
I have several images that I really like that few people have seen so it’s okay. I’ll get up in the morning and make another one.
Website: -
12-1pm: Matt Billings
1-2pm: Matt Dunn
Describe the photograph selected for One Hour Photo in three words:
A Memento Mori
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I photograph every day and contribute at least one photo daily to the Washington City Paper/City Desk. I am always looking forward to the next photograph.
What are your thoughts on letting go of this image?
Roland Barthes, a philosopher and photo critic said that sometimes what is interesting about a photograph is “revealed only after the fact, when the photograph is no longer in front of me and I think back on it”. That is, a photograph is better remembered than viewed directly. He goes on to say in Camera Lucida that “ultimately, or at the limit, in order to see a photograph well, it is best to look away or close your eyes.” For me this is what the exhibit is about. You never let go of the memory of a photograph.
Website: www.mattdunn.us/
2-3pm: Elizabeth Fleming
Describe the photograph selected for One Hour Photo in three words:
Hiding on stairs
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
It was difficult–I wanted an image that would do justice to my work, but I knew it would be impossible to give up an absolute favorite, so it was a delicate balance. I chose one that had particular staying power for me mentally–I can envision it now, so in that way I’m able to hold on to it. And because it’s a picture that feels a bit lonely I think it resonated for me with the theme of loss, which seems to be largely what the concept of “giving up” a photograph is about.
What are your thoughts on letting go of this image?
In many ways it echoes the experience of being a parent–I am constantly having to let go in the sense that my children are speedily leaving their babyhoods behind. I’m watching change happen before my eyes, and so am in a sometimes almost constant state of wistfulness. As a result letting go of my image felt like a poignant symbol of how I relate to my daughters growth.
Website/Blog:http://www.elizabethfleming.com; http://elizabethflemingphotography.blogspot.com
3-4pm: Adam Cruces
Describe the photograph selected for One Hour Photo in three words:
wet splash cannonball
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Pick an image that you wouldn’t mind sharing with a relatively small amount of people, while hoping it’s substantial enough to share.
What are your thoughts on letting go of this image?
It’s refreshing not too feel so attached to something that I enjoyed making.
Website: http://www.adamcruces.com
A Memento Mori
I photograph every day and contribute at least one photo daily to the Washington City Paper/City Desk. I am always looking forward to the next photograph.
Roland Barthes, a philosopher and photo critic said that sometimes what is interesting about a photograph is “revealed only after the fact, when the photograph is no longer in front of me and I think back on it”. That is, a photograph is better remembered than viewed directly. He goes on to say in Camera Lucida that “ultimately, or at the limit, in order to see a photograph well, it is best to look away or close your eyes.” For me this is what the exhibit is about. You never let go of the memory of a photograph.
Hiding on stairs
It was difficult–I wanted an image that would do justice to my work, but I knew it would be impossible to give up an absolute favorite, so it was a delicate balance. I chose one that had particular staying power for me mentally–I can envision it now, so in that way I’m able to hold on to it. And because it’s a picture that feels a bit lonely I think it resonated for me with the theme of loss, which seems to be largely what the concept of “giving up” a photograph is about.
In many ways it echoes the experience of being a parent–I am constantly having to let go in the sense that my children are speedily leaving their babyhoods behind. I’m watching change happen before my eyes, and so am in a sometimes almost constant state of wistfulness. As a result letting go of my image felt like a poignant symbol of how I relate to my daughters growth.
wet splash cannonball
Pick an image that you wouldn’t mind sharing with a relatively small amount of people, while hoping it’s substantial enough to share.
It’s refreshing not too feel so attached to something that I enjoyed making.