In reading the New York Daily Photo Blog, I happened to come across a post about the Coney Island Mermaid Parade. I mentioned to my wife that I wanted to try and attend next time it happened. Being the awesome wife that she is, she kept her eye out for the date and let me know it would coincide with Father’s Day weekend this year. So we decided to get a two-for-one deal and go to NYC to see the parade.

Here’s the background for July. Sorry for going back to Flowers (for those who have complained), but I think this one is really nice.

I was recently reading issue 15 of 125 Magazine and came across the following quote by Albert Watson.

[Americans] seemed to want fasion to be more of the people, more of the mass. Chairman Mao had all the Chinese dressing the same, and from a different base in America they arrived at something not to dissimilar. And you can take it on to looking at the success of companies like The Gap and others, where in the headquarters they make a decision that then rolls out across the country. Someone decides ’let’s do cargo pants again, we haven’t done it for a couple years….so this year we will put two buttons on every pocket.’ Then they proceed to make 16 million pairs of these … and they go all over the USA and all over the world. All the same but you can choose from six colours. there is a certain sense of Chairman Mao and his style for the masses in the American philosophy around fashion, if arrived at through capitalism rather than communism.

This latest photojojo entry focuses on a business trip I took to Hawaii last June.

I finished off my 365 assignment with an eight part story. Here it is for you, my blog readers.

I’m writing this post two days before my 365 project ends.  It will be published morning upon which I will take my last photo.  I decided to end it with an eight-part story.  You can start here and follow the photos in the set “The Dark Assignment” which should be open on the right.  (Better than going directly to the set where you might end up seeing the end instead of following along) I’m not going to post my 365 retrospective now, that will come after I’m completely done.  But I haven’t blogged about my 365 project since last October.  So I wanted to share some of my favorite photos since then.

A sunrise in Brighton Beach is the subject for June’s calendar.

The title of the blog post comes from an interview with Paul Graham featured in the Summer issue of Aperture magazine, concerning the Henri Cartier-Bresson exhibit I’ve been dying to see at the MoMA in NYC. The full quote was “Someone I know, who is working on the … Henri … [exhibit] … and has seen his contact sheets, said to me: ‘The “decisive moment” is bullshit.’ There are ten pictures before and ten pictures after every one of them;” Anyone who has studied photography for any length of time has been told that they will, with time, develop an eye for when something’s about to happen and then take the photo exactly the right moment. It’s an anachronistic bit of advice stemming from the days when each frame was expensive and you didn’t want people to shoot ten shots to get one. But, in the digital age, there’s no reason to be so stingy with your photographs. And, apparently, it’s a lie. Henri Cartier-Bresson is one of the masters - he’s featured in every photographic compilation I own. And he took dozens of photos just to get the one that touches people. That’s really the big secret that most people don’t know. For every photograph that you see out there by a professional, there are tens or even dozens of photographs he didn’t put out there. Even I (and I’m nowhere near the league of such people) upload only a fraction of the photographs I take. Every photo can’t be a gem. Sometimes it just doesn’t look as good as you thought it would. Sometimes you just missed that moment of pure emotion on the face.

Last time I wrote about my dabbling in the film world I had had 3 Holga rolls developed. My Yashica and Franka Solida III had arrived after my trip to NYC so I had yet to run any film through them. I shot a few frames with each camera when Danny and Dina came to visit in April and then let the cameras lay dormant. As I explained in a previous post, with the cost of film and development so high, these cameras were somewhat for special occasions. I took the cameras with me to Delaware (a trip I have yet to blog about), and shot with the Holga and Yashica.

The summer issue of Aperture magazine arrived at my door a couple days ago. It came with a supplement titled “Made in Polaroid”. Apparently, Ansel Adams was heavily involved in Polaroid’s early days, helping them research how to make it relevant to artists. Since he was a founder of Aperture magazine, the two organizations have always had a close relationship. As I recently read on Wikipedia, Polaroid stopped making cameras and film. The point of this supplement was to communicate what the company that bought the rights to the Polaroid name will be doing with it. The guys over at The Impossible Project will be creating instant film for the new line of Polaroid cameras. The supplement also functioned as a showcase of what various famous artists are doing with Polaroid. One artist in particular caught my eye: Maurizio Galimberti. He does Polaroid collages landscapes and portraits such as the following collage of Benicio del Toro.