who's mus-mus? --- news --- links --- © --- contact --- @paris --- @600 --- film and flash archive ---

@600 PHOTOGRAPHS STATEMENT ABOUT OUR SPECIAL CONTRIBUTORS PHOTOGRAPHER'S STATEMENTS PARTICIPATING PHOTOGRAPHERS AND LINKS



Some photographers' statement

Laurel Ptak

LAUREL PTAK is an independent curator based in New York City. She is founder of the blog about contemporary photography iheartphotograph.com. She frequently lectures, teaches, and writes about photographs, the internet, and image culture, as well as curates many "offline" exhibitions based on her blog. She is also Aperture Foundation's Educational Programs Manager. Laurel technically considers herself a retired photographer these days, but was so deeply moved by the concept of "internet time" that she took out the ole camera to participate in @600. She sends a photograph of a pair of America-themed pantyhose recently acquired at a rummage sale in New Jersey. She was seriously contemplating wearing them to work on November 4th, 2008.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

William Boling

"I live a few blocks from the home of Dr. Martin Luther King at 450 Auburn Avenue in Atlanta. A window on the side of his house is where this photograph was taken. I wanted to make a picture there on November the 4th but wasn't sure I saw anything that would make a photograph for me. I had come to the home the day before to be sure I understood the light and to think about the photograph. The drapes were pulled aside slightly. I hoped they would be like that for the photograph the next day. The next day a guard was there and asked me if I was a professional photographer or a citizen. When I agreed I was a citizen he let me take the picture. I was using polaroid film for the color and was just lucky (guard distraction!) to get it out of focus -- which is what makes it a picture for me."

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Hope Hilton

It was very early here in California, and I went out in my pajamas with my camera phone. This cross actually said "God is Not Dead" on it, but that part didn't show up. I like that it looks like it's on fire.



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Sherman Ong

At 600 internet time 4 Nov 2008, a very dangerous ginger escaped through the toilet window of a detention centre. During a re-enactment, it took only 49 seconds to go out the window, scale a fence, climb onto the roof of the covered walkway, and jump out of the compound. A public eyewitness saw a limping ginger with the shadow of the angel of death running pass a dead giraffe towards the southwest, a direction that is auspicious for his escape according to a geomancer.



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Antoine de Givenchy

Quand l’opportunité de collaborer à @600 s’est présentée, très vite m’est venue à l’esprit cette image en noir et blanc, ce petit drapeau à terre, attrapée en juillet 2008 à Rockville Utah. Je ne pouvais l’utiliser, étant donné la contrainte de départ, qu’en la mettant en scène. La porte du frigo s’est imposée très rapidement, elle comportait déjà tous les autres éléments. Le plus difficile a été de suivre une idée. Partager une idée avec des mots n’est pas une chose simple, alors avec une image !



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Götz Diertgarten

Exactly taken @ beat 600 (2:24 p.m.) on one of the largest streets of my hometown Frankfurt, connecting the kind of suburb I’m living in with the center of the city. (Mainzer Landstrasse No 600)



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Hester Keijser

Here's a little blurb on the picture subject. This is taken in an area in a nature resort nearby where they are restoring the land back to its 'original' condition, that is, to the one it had about a century ago, with sand dunes and everything. For this purpose they have destroyed a couple of hectares of woodlands, leaving only the occasional lump of tree standing to prevent the sand from blowing away completely (at least, that is what I guessed it was intended for). At the moment, it looks like a veritable battle field in parts and like a huge zen garden in other parts, with vast stretches of sands raked in patterns around lonely, sickly looking tree islands.
It feels quite strange wandering around here, but I felt it fitted well with the mood after elections in the States.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Karin Borghouts

This view is meaningfull to me because it's like a start of something new. The image is invitating you to enter. Let's go up and go on! The entrance is full of warnings and signs, you can't lose your control. The image is also about Belgium, full of houses, full of people. We don't have much free space, we just drive from one place to another, using roads like this.



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Jörg Brueggemann

The Berlin Wall monument in the Bernauerstraße is one the last still remaining parts of the Berlin Wall. The former death strip was transferred into a not accessible square in the middle of th emonument by bordering it with two solid metal walls. To see the insight visiters can only look through the gaps between the wall segments or walk up to the platform on the other side of the street. The American election day was of great importance not only for the USA but as well for the rest of the world. The power of the USA comes a long with great responsibility for he less powerful. Apart from many other meanings the Berlin Wall is one symbol for that responsibility of America in the world - probably the most famous within Germany. Germans are very grateful for everything that the USA did for them since WW2. However the disappointments during the last eight years were nearly as big. The election day became a day of hope for change just like Berlin became a place of change during the time the German reunification.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Olsen Kai

While shooting a promising trial image @580 of a waste compressor devouring multicoloured packaging at the recycling dump I was expelled by the guard.
Rushed to the discount supermarket and @599 waited at the pathetic, wobbly' Pretty Plants make people happy' stands. @600 this happiness-seeking lady appeared in the frame.



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Jared Iorio

My name is Jared Iorio and I am a photographer currently living in Los Angeles.
I take pictures mostly as an enthusiast, sometimes as a job, but always.
I was going to be out on election morning shooting anyway and heard about mus-mus on the internet.
It was an early start, and cold, and I was wondering if people were going to be out in the streets. I rarely set-up shots, so I figured I’d just see where I ended up @600. I found myself in downtown Los Angeles passing by a Starbucks.
I NEED people in my photographs and these were the only ones in sight, so in I went.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Nobuhiro Fukui

Although human reality is a reflection of our mind, external realities exist aside from our emotions. I aim to explore, through photography, "reality" as perceived by the eyes and the one of the brain in an effort to unravel the deep relationship between self and perception.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

David Blackmore

In ‘Cracked LCDs’ Blackmore has been photographing broken Liquid Crystal Display Screens from the latest digital devices such as laptops, phones and cameras; technologies that play a large part in our modern daily routines. These digital forms have almost completely replaced analogue technology in industry and are fast replacing analogue forms in photographic art. Produced using solely traditional photographic equipment, Blackmore’s work catalogues and questions the place of obsolete technology in art and contemporary life.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .