22 thoughts on “Dog in Car

  1. Without words then, this is how it feels to be a pro-Euro Brit stuck in Brexit. A silent but nodding stuffed Hushpuppy dog on the back shelf of an old-fashioned car driven by old people and going nowhere fast. You can see the world outside your rear view window from within your limited confines, and everyone can see inside as they pass by, should they care to visit and look, most don’t. But the door’s shut and locked and those in charge of the wheel and everything else have taken away the key. Kind of a modern take on Plato’s Cave, I guess. Though of course you didn’t intend any of that, I’m quite sure but never mind… just a thought.

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      • Interpretation or responses to visual images can be interesting. We respond to them in different ways, a personal way, a political way… Photographs don’t tell “stories” themselves, you do – and whether that’s the image maker or the viewer depends on the context and purpose of the image. But the “stories” you tell are not necessarily, if ever, the same as those that are intended. Come to think of it the picture also reminds me of a nodding Alsatian dog my parents had in the back of the car, very popular in the early 1960s here. So it just goes to show…

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      • This is where I am aiming. We live in the year 2018. We can be young or old. We can use old equipment. Subject of the photos might be also retro itself. And the retro look, in many cases, is the only interesting moment about the image taken nowadays. Now, I am talking about myself…

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  2. Nostalgia is something I’m interested in myself. Partly it comes from uncertainties and insecurities about societal change. Often it’s said to be a generational thing. But the yearning for the yesteryear is mediated and feeds into the culture as artefact. You’d be surprised how many young people now I see around carrying analog cameras.

    You know how we look back to Christmas of Victorian times, for example? Well, among my collection of old books I was surprised to find an article in a Girls’ Annual from the 1860s about Christmas of yesteryear and how people back then looked back on the past as being better just as we do.

    Some fashions change for images though. Let’s say photographic commemoration of dead ancestors, or commemoration of disasters with photos and souvenirs, would now be seen in bad taste whereas pre-WW1 it was quite popular.

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    • I remember reading that in the mid to late 19th century the so called after-death photography was a hit:

      http://www.bbc.com/news/uk-england-36389581

      Seems quite morbid now… but back then people mostly didn’t have any photos of their relatives when alive.

      It’s interresting that you say that in those days people alo looked back to olden times as better days. I wonder what this means for humanity’s future. We’re definitely not future-oriented. Or do we simply regret something simpler? Though life was certainly worse 200 or 300 years ago.

      I’d think that uncertainties and insecurities about societal change would be more common in older people but no, the trends seem to be well rooted in younger persons. People are strange as Jim Morrison used to sing….

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      • Yes, what’s retro nw was top yesterday. But it’s all relative. We still appreciate the essence of the photo.

        We can still appreciate it and even long for those days. But why? Why do I love to use old cameras and listen to vinyl records? Why this live of the past?

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    • That’s a great portrait, Pavel. The uniform reminds me of the Gebirgstruppe or Jäger.

      Not sure what you mean about technological change as studio portraits are still done in the studio, albeit with less care in getting it right first time perhaps but are still “touched up” now digitally with Photoshop. As a genre the studio photo portrait borrowed strongly from bourgeois portraiture painting where it was common for the profession or occupation of individuals or aspirations of the family or their values or property to be included as backdrop, a sort of extension of the self if you like.

      My paternal grandfather was fortunate enough to have been taken prisoner and have his gun taken from him by some kindly Germans on the battlefield at Ypres, without which he may not have survived and I (or not quite the same “I” might not be writing this). I think the family archive has a picture of him taken with some of his comrades while a POW. Probably made on a Kodak Autographic. I’d get one if it wasn’t for 127 film.

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  3. I’m still in the middle of reading “The Revenge of Analog” and I’ll be making notes later on. But if I recall it’s partly something to do with the tangibility of vinyl. It’s a bit like books really, which I do actively collect as artefacts as an investment more so than cameras which I tend to use.

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    • Yes tangibility is a reason. But for me it’s less the tangibility of film than the feeling of the cameras. Film is a ‘necessary side effect’. Bizarre…

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      • For me it’s the “magic” sort of alchemical thing about it, maybe. I mean digital is fine, I picked up two “new” digital cameras last month. But fun but it’s just not the same experience all round. And I think “experience” is maybe the word here.

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