On 15 November, 1989, 15-year-old student from Peekskill, New York, Angela Correa, left her home with her cassette player and camera in search of subjects for her photography class. When she didn’t return home her family called the police. Her badly beaten body was discovered two days later; she had been beaten, raped, and then strangled to death. Authorities zoned in on her classmate, 17-year-old Jeffrey Deskovic, who was said to have arrived to school late the day after Angela disappeared. He also apparently behaved “overly distraught” by her death, often visiting her grave.
Classmates said that Jeffrey was particularly fond of Angela because she was one of the very few students that actually spoke to him. Jeffrey was questioned a number of times about the murder of Angela and was taken to a private polygraph business at the request of the local Sheriff’s Department. The real motive behind this was to “get the confession” as revealed during trial. Jeffrey was held in a small room without a lawyer or parent. As well as this, he was provided with no food and intensely interrogated. His so-called confession came after six gruelling hours. Regardless of the fact that his DNA did not match that of the semen found on Angela, Jeffrey was arrested and the prosecution attempted to strengthen his coerced confession.
The prosecution attempted to argue that the semen came from a consensual partner and that Jeffrey was the real killer, which he staunchly denied. With not a shred of evidence against him and going on his coerced confession alone, which he had immediately recanted, Jeffrey was found guilty of murder in 1991. Jeffrey sat in prison until September 2006, when the DNA from the semen found on Angela’s body was tested again and lo and behold, the semen was matched to convicted murderer Steven Cunningham, who was serving time for strangling the sister of his girlfriend.
On 20 September, 2006, Jeffrey was released from prison after his conviction was overturned. Jeffrey won a $41.6 million lawsuit for his wrongful conviction and now works as an advocate for reforming the criminal justice system.
I love the hc where Jihyun first photography subject was Jumin ! I imagine him captured all Jumin’s candid photo it would be a bliss to draw all the awkward moment of little Jumin aaaaa but what is time I think this is the first time my JuminV isnt something angsty heh- Tho sorry idk if this is okay ? aaaaa
Beauty - I’ve debated whether or not I should take the fence out or leave it. One one hand it is apart of where she lives, but on the other it distracts a bit from her. I don’t know, this is always an issue with me; to leave the photo as is or tweak it to showcase the subject.
Where: Chinretsukan Gallery (The University Museum, Tokyo University of the Arts)
When: March 18 - April 5, 2017 (10am-6pm, free admission)
This is a show organized by the impressively named Department of Arts Studies and Curatorial Practices, Graduate School of Global Arts, Tokyo University of the Arts. That title has the word “Art” three times, so yeah, those coming for Art will not be disappointed. It’s held on the campus of the top Art school in the nation- so there is Art all over the place.
The English guide to this show states: “What the exhibition sheds light on is ‘Super-subjective photography’, which confronts overwhelming reality and tries to open up possibilities in new forms of communication at deeply emotional and psychological levels.”
This is where I have to take a step back and admit something- I understand that curating is a skill, and that a good exhibition is not simply the quality of the Artwork shown but the overall thread which the director of an exhibition binds a collection of work towards the narrative they wish to explore.
But viewing well over a decade’s worth of curated multi-artist shows at the Tokyo Metro Museum of Photography has reduced my expectations as to what these kinds of show might be. I won’t try to work my way through multi-paragraph curator statements inside the front door anymore- I know I couldn’t tell you even three full titles of major exhibitions I’ve seen in Japan. We shouldn’t have to take the words of intent by any curator or artist at face value- intent might be a starting point but it’s not what work should be judged against. My approach to photography/Art exhibitions like this is “Super-subjective”- - as far as I’m concerned, every show anywhere could be titled “Let’s Look At More Photographs.”
And this one delivers.
-Two gigantic silver gelatin prints by Daido Moriyama? You gotta see to believe.
-A dozen C-prints from Rinko Kawauchi’s utatane masterpiece? Always a pleasure.
-A dark room with a slideshow of Takuma Nakahira’s For a Language to Come projected on a wall from the floor to the top of the 20ft ceiling? Breathtaking.
-Seven silver-gelatin prints from Nobuyoshi Araki’s Sentimental Journey / Winter Journey series? Thank you. On Araki’s pictures the guide noted that “the works obtain more acutely comprehended reality rather than authenticity apprehended objectively” Hunh? Just… just LOOK at the pictures. That’s what it’s all about. It’s all there, right there in them.
There are some other photographs and Art in the show, too- one Art I liked was an odd installation of hovering/suspended miniature japanese rooftops.
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The text I was given stated that in this exhibition curators hope that “viewers may find fluttering breaths of such ‘uncertainty’ which have been surely succeeded across the generations of our shifting contemporary age”. I don’t know… I’m pretty sure my fluttering breaths were due to getting my nose six inches from Araki’s prints for a few minutes.
Maybe I’m being too cynical- it might not flutter the breaths of everyone but it’s worth checking out if you are in Ueno before April 5th.
They were like pieces of a puzzle but with no picture for
reference, or clues to a riddle that was missing the last hint.
Michonne flipping through yet another fashion magazine. Or
planning another family trip to an art gallery. Carl watching those Youtube
videos where someone gets surprised with a puppy.
The plan finally started to coalesce into something real one
day when Rick was on a stakeout with his partner. She was talking about her
friend in art school, who was trying to pick a subject for her final
“So I was thinking, like, what about a day in the life of a
police officer? The kind of real life stuff people don’t usually get to see.
What do you think?” Tara was saying, but Rick was lost in thought.
“Boss? It’s just an idea. What do you think?” she asked
again, waving a hand in front of his face to get his attention.
“Actually, I have another idea…” Rick said slowly, a smile
spreading across his face.
And so a conspiracy was formed. That weekend Rick started to
put things into motion.
“Do you really have to go to that gun show today?” Michonne
asked, her displeasure obvious.
“Yes. I promised Abraham. I’ll be back before dinner,
promise,” Rick said, giving her a conciliatory kiss on the cheek before going
to make breakfast.
The gun dealer had responded to Rick’s email, saying that if
his Colt Python was in as great condition as he claimed then he was willing to
pay a tidy sum for it. The figure he quoted, plus the stash Rick had been
saving for the past year, would more than cover what Rick had in mind.
Sun-soaked, light-washed, pale-pastel building towers. In honor of and partial imitation of @matthieuvenot.
I like Matthieu’s pale washed-out pastels, minimalist aesthetic, and style. Partly I just like his pictures and I also like his choices of subjects. The advice about photography that I read says to simplify our compositions. Matthieu simplifies through (I assume) processing. I live in southern California desert and if I go out in the mid-day summer, my pictures are automatically washed-out and over-exposed. If I could add the ability to process like Matthieu, I might be able to rescue some of my finds. Anyway, I’d like to add his style to my repertoire. Matthieu’s blog is at
What’s on your menus this week? This weeks challenge is to capture amazing images of food!
Depth of field control is crucial for this one. No distracting backgrounds! Do your best to highlight those delicious subjects!
Food photography can be complicated but also quite lucrative if you’re good at it. Look for a few tips soon. Use your tools for this one. Fill the frame, rule of thirds, DOF and most importantly have fun!