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	<title>Comments on: Avedon, Kander, and Platon Walk into a Bar</title>
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		<title>By: Learning to See - Avedon&#8217;s Heir &#38; Polaroid&#8217;s Legacy Up for Sale</title>
		<link>http://www.jonroemer.com/blog/2009/01/avedon-kander-and-platon-walk-into-a-bar/comment-page-1/#comment-168</link>
		<dc:creator>Learning to See - Avedon&#8217;s Heir &#38; Polaroid&#8217;s Legacy Up for Sale</dc:creator>
		<pubDate>Fri, 12 Feb 2010 03:50:32 +0000</pubDate>
		<guid isPermaLink="false">http://72.32.6.157/~jroemer/blog/?p=57#comment-168</guid>
		<description>[...] think The Promise and Platon&#8217;s other recent series (Service and First Dance) establish him as a true heir to Avedon&#8217;s Portraits of [...]</description>
		<content:encoded><![CDATA[<p>[...] think The Promise and Platon&#8217;s other recent series (Service and First Dance) establish him as a true heir to Avedon&#8217;s Portraits of [...]</p>
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		<title>By: Jon Roemer</title>
		<link>http://www.jonroemer.com/blog/2009/01/avedon-kander-and-platon-walk-into-a-bar/comment-page-1/#comment-27</link>
		<dc:creator>Jon Roemer</dc:creator>
		<pubDate>Tue, 03 Feb 2009 13:02:34 +0000</pubDate>
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		<description>&quot;Online, though, the portraits have a more cohesive power... Not sure why. Maybe because the scale is reduced a bit on my laptop. The pictures don&#039;t have to do so much work on a cpu screen as they do on a big magazine page.&quot;
Yes, but, if the goal of the project is to use the images in the magazine...
I agree and disagree with you.  There are some very nice images in there but there are also many duds.  I think the series would have benefited from a tighter edit (look to the Platon series an example of less being more) but then you get into political considerations (e.g. if a cabinet level portrait is not up to snuff can you edit it out?) and the commitment the magazine made to project.
From an aesthetic point of view I wonder if less flat lighting and in some cases less white space would have helped the images.  Many of the Avedon images against white work because the white doesn&#039;t over power the subject.  There is just enough to highlight the graphic quality of the pose and not so much that a subtle expression or gesture gets lost.
The letters to the editor after Obama&#039;s People ran were interesting.  Some loved the series but some saw it as a missed opportunity.
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		<content:encoded><![CDATA[<p>&#8220;Online, though, the portraits have a more cohesive power&#8230; Not sure why. Maybe because the scale is reduced a bit on my laptop. The pictures don&#8217;t have to do so much work on a cpu screen as they do on a big magazine page.&#8221;<br />
Yes, but, if the goal of the project is to use the images in the magazine&#8230;<br />
I agree and disagree with you.  There are some very nice images in there but there are also many duds.  I think the series would have benefited from a tighter edit (look to the Platon series an example of less being more) but then you get into political considerations (e.g. if a cabinet level portrait is not up to snuff can you edit it out?) and the commitment the magazine made to project.<br />
From an aesthetic point of view I wonder if less flat lighting and in some cases less white space would have helped the images.  Many of the Avedon images against white work because the white doesn&#8217;t over power the subject.  There is just enough to highlight the graphic quality of the pose and not so much that a subtle expression or gesture gets lost.<br />
The letters to the editor after Obama&#8217;s People ran were interesting.  Some loved the series but some saw it as a missed opportunity.</p>
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		<title>By: Christopher Ming Ryan</title>
		<link>http://www.jonroemer.com/blog/2009/01/avedon-kander-and-platon-walk-into-a-bar/comment-page-1/#comment-26</link>
		<dc:creator>Christopher Ming Ryan</dc:creator>
		<pubDate>Tue, 03 Feb 2009 01:50:27 +0000</pubDate>
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		<description>After reading your post, I thought I would revisit the Kander pictures. I also felt like you did that as a group the concept went awry  somewhere.
Online, though, the portraits have a more cohesive power:
&lt;a href=&quot;http://www.nytimes.com/packages/html/magazine/2009-inauguration-gallery/index.html&quot; rel=&quot;nofollow&quot;&gt;http://www.nytimes.com/packages/html/magazine/2009-inauguration-gallery/index.html&lt;/a&gt;
Not sure why. Maybe because the scale is reduced a bit on my laptop.
The pictures don&#039;t have to do so much work on a cpu screen as they do on a big magazine page.
Still not all of them work. Jackie Norris and Nancy Pelosi get a big zero. But look at the confidence of Susan Rice. The coolness of Reggie Love. The niceness of Tom Dashchle (OK, he doesn&#039;t pay his taxes - nobody&#039;s perfect).  As a group these pictures say: here is a diverse, smart, young,old, confident group of men and women that will help us get out the mess that was made....
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		<content:encoded><![CDATA[<p>After reading your post, I thought I would revisit the Kander pictures. I also felt like you did that as a group the concept went awry  somewhere.<br />
Online, though, the portraits have a more cohesive power:<br />
<a href="http://www.nytimes.com/packages/html/magazine/2009-inauguration-gallery/index.html" rel="nofollow">http://www.nytimes.com/packages/html/magazine/2009-inauguration-gallery/index.html</a><br />
Not sure why. Maybe because the scale is reduced a bit on my laptop.<br />
The pictures don&#8217;t have to do so much work on a cpu screen as they do on a big magazine page.<br />
Still not all of them work. Jackie Norris and Nancy Pelosi get a big zero. But look at the confidence of Susan Rice. The coolness of Reggie Love. The niceness of Tom Dashchle (OK, he doesn&#8217;t pay his taxes &#8211; nobody&#8217;s perfect).  As a group these pictures say: here is a diverse, smart, young,old, confident group of men and women that will help us get out the mess that was made&#8230;.</p>
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