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This article was automatically assessed because at least one article was rated and this bot brought all the other ratings up to at least that level. BetacommandBot 23:33, 27 August 2007 (UTC)
Tagged for cleanup. This article reads like something out of the back cover of a book, not an encyclopedia. Aep ( talk) 02:12, 31 January 2008 (UTC)
I have added a link to a short video in which the artist talks about his practice as it has developed since the 1970s. It includes a variety of Parr's photographs. T.Broch ( talk) 15:48, 3 August 2011 (UTC)
Did Badger actually write: It is difficult from a perspective of almost a quarter of a century to underestimate the significance of The Last Resort, either in British photography or Martin Parr's career? Surely he meant "overestimate". If he really did write "underestimate" (and if this got through Dewi Lewis's production process and into print), then this should be flagged with a giant, flashing "[sic]". Because if he really meant "underestimate", then the significance of the book would surely be infinitesimal, which strikes me as an extraordinarily harsh judgment. -- Hoary ( talk) 00:16, 5 March 2013 (UTC)
Under this title, the article until just now listed what looked like a book by Parr but is actually a pair of books by Parr and Vikšraitis. Why? Because (it said) the edition was ("very"?) limited to 700. I have the pair in front of me and neither has a colophon that says anything about the size of the edition. I'm willing to believe that this was 700, but 700 is a pretty humdrum edition size where I am (Japan, whose population is very much larger than Lithuania's).
The section also says (after markup-stripping):
I've never seen either of these. If what's said here is correct, the first really is a small edition, the second came in an edition distinctly larger than the average here (once we discount photobooks of kittens, puppies, pop singers, girls in bikinis, and girls not in bikinis).
I suggest doing away with this section and moving each item within it elsewhere. -- Hoary ( talk) 13:54, 17 March 2014 (UTC)
The company that produced the Smart car had Parr do most of the photography for a book titled smart. Reduce to the Max or perhaps just Reduce to the Max. If I understand correctly, this wasn't conventionally published but instead was given to buyers of the car, or made available, or both. There's evidence (possibly mistaken) of a Dutch-language edition. If this book has text, presumably it either exists in different versions or is multilingual. The illustrations of copies in abebooks.com show a variety of covers. (These illustrations aren't always reliable.) The book remains a bit of a mystery. Copies are cheap, but not yet so very cheap that I'm tempted to buy a copy merely to satisfy my curiosity. Any informed input? -- Hoary ( talk) 00:46, 2 April 2014 (UTC)
Unsere Umgangsformen die Welt der guten Sitten von A - Z ( OCLC 722821372, ISBN 3806875790) has photos by Erwitt and Parr. Many or just a few? I don't know. There are other editions of the book, which may or may not also have these photos. The book corresponds to Noblesse oblige: le nostre buone maniere dalla A alla Z ( OCLC 801120344, ISBN 8804496177) (it's not clear which is a translation of the other; guesswork suggests that each version has the original of one writer's material and a translation of the other's); the Italian book may or may not also have the photos. Any informed input? -- Hoary ( talk) 00:50, 2 April 2014 (UTC)
Perhaps we need a Postcards section, we don't have these:
turns up in searches for our man's ever-expanding œuvre, but I believe that he only contributes a preface. -- Hoary ( talk) 03:15, 5 April 2014 (UTC)
"ever-expanding œuvre" indeed. I'm wondering if ' The Big Issue: On the Ring Road. The Big Issue 451, 20–26 August 2001' is merely a contribution of an article to a weekly national newspaper and thus has no place in the Publications section? In contrast to Tony Ray-Jones#Commissioned magazine work I don't propose we include this kind of work for Parr unless it is a significant contribution. - Lopifalko ( talk)
I haven't seen Ewen Spencer's Open Mic ( ISBN 0955084008); but read that it has two introductions, one of them by Parr. -- Hoary ( talk) 12:21, 6 April 2014 (UTC)
"Ewen Spencer has already established his reputation, in recent years, as a photographer of much talent with his work on youth culture, but now he turns his attention to the 'grime' music scene in London. I hadn't even heard of this scene, let alone known anything about it, but have discovered that it emerged out of UK garage and is a kind of equivalent of US hip hop.
This is where Spencer's quality as a photographer really begins to work. He has thrown himself into this whole scene with such enthusiasm and dedication that he has won over the confidence of the key players on the grime circuit. This demonstrates how the potential magic of contemporary photography begins to operate. Because Spencer's photography is so compelling, the viewer begins to understand what attracted him in the first place.
We do not need to learn about the facts of grime, like how many venues there are or the number of grime fans. This scene is about energy. That's why it is important as a voice of expression and protest for the black youth of London. Ewen Spencer's photographs are also about energy, making visual sense of the wonderful anarchy of grime. Spencer brings the same raw passion to his photographs; I think those who view them benefit from this engagement.
Martin Parr 2005"
Paris, New York, Shanghai: A book about the past, present, and (possibly) future capital of the world ( ISBN 1597110442) is a photobook (or set of three photobooklets) by Hans Eijkelboom that has (or have) an introduction by Parr. -- Hoary ( talk) 01:59, 9 April 2014 (UTC)
Photography Calling! ( ISBN 3869303794, OCLC 814275579) is the 400-page-plus catalogue of an exhibition of Parr and many others. So many others that I don't suppose it needs to be listed. OTOH it's so big that it might. (I haven't seen a copy.) -- Hoary ( talk) 08:40, 11 April 2014 (UTC)
He might have started Bad Weather with a Leica, but I remember reading somewhere (within that book itself, perhaps) that whatever he first tried using was quickly ruined; he soon learned to use either a Nikonos or something whose description can only mean it was a Nikonos. If there isn't a mention of this in the anthology edited by Val Williams then I'll attempt to locate a copy of Bad Weather and look it up there. -- Hoary ( talk) 02:22, 21 April 2014 (UTC)
This great photograph of Martin Parr by Geoff Howard at [4] shows Parr in the context of a social situation with a Leica M3, it looks to be somewhere in Lancashire, or perhaps Hebden Bridge. This would be a valuable addition to this article, but do you suppose we could use it? As an example of how its use might be covered under fair use, the photograph of Ed Ruscha at [5] is justified through "Purpose of use in article (WP:NFCC#8) To support encyclopedic discussion of this work in this article. The illustration is specifically needed to support the following point(s): It shows Edward Ruscha in the context of his prime work (1960's Southern California)". WP:NFCC#8 says "Contextual significance. Non-free content is used only if its presence would significantly increase readers' understanding of the article topic, and its omission would be detrimental to that understanding." ... added at 11:14, 23 April 2014 by Lopifalko
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This article was automatically assessed because at least one article was rated and this bot brought all the other ratings up to at least that level. BetacommandBot 23:33, 27 August 2007 (UTC)
Tagged for cleanup. This article reads like something out of the back cover of a book, not an encyclopedia. Aep ( talk) 02:12, 31 January 2008 (UTC)
I have added a link to a short video in which the artist talks about his practice as it has developed since the 1970s. It includes a variety of Parr's photographs. T.Broch ( talk) 15:48, 3 August 2011 (UTC)
Did Badger actually write: It is difficult from a perspective of almost a quarter of a century to underestimate the significance of The Last Resort, either in British photography or Martin Parr's career? Surely he meant "overestimate". If he really did write "underestimate" (and if this got through Dewi Lewis's production process and into print), then this should be flagged with a giant, flashing "[sic]". Because if he really meant "underestimate", then the significance of the book would surely be infinitesimal, which strikes me as an extraordinarily harsh judgment. -- Hoary ( talk) 00:16, 5 March 2013 (UTC)
Under this title, the article until just now listed what looked like a book by Parr but is actually a pair of books by Parr and Vikšraitis. Why? Because (it said) the edition was ("very"?) limited to 700. I have the pair in front of me and neither has a colophon that says anything about the size of the edition. I'm willing to believe that this was 700, but 700 is a pretty humdrum edition size where I am (Japan, whose population is very much larger than Lithuania's).
The section also says (after markup-stripping):
I've never seen either of these. If what's said here is correct, the first really is a small edition, the second came in an edition distinctly larger than the average here (once we discount photobooks of kittens, puppies, pop singers, girls in bikinis, and girls not in bikinis).
I suggest doing away with this section and moving each item within it elsewhere. -- Hoary ( talk) 13:54, 17 March 2014 (UTC)
The company that produced the Smart car had Parr do most of the photography for a book titled smart. Reduce to the Max or perhaps just Reduce to the Max. If I understand correctly, this wasn't conventionally published but instead was given to buyers of the car, or made available, or both. There's evidence (possibly mistaken) of a Dutch-language edition. If this book has text, presumably it either exists in different versions or is multilingual. The illustrations of copies in abebooks.com show a variety of covers. (These illustrations aren't always reliable.) The book remains a bit of a mystery. Copies are cheap, but not yet so very cheap that I'm tempted to buy a copy merely to satisfy my curiosity. Any informed input? -- Hoary ( talk) 00:46, 2 April 2014 (UTC)
Unsere Umgangsformen die Welt der guten Sitten von A - Z ( OCLC 722821372, ISBN 3806875790) has photos by Erwitt and Parr. Many or just a few? I don't know. There are other editions of the book, which may or may not also have these photos. The book corresponds to Noblesse oblige: le nostre buone maniere dalla A alla Z ( OCLC 801120344, ISBN 8804496177) (it's not clear which is a translation of the other; guesswork suggests that each version has the original of one writer's material and a translation of the other's); the Italian book may or may not also have the photos. Any informed input? -- Hoary ( talk) 00:50, 2 April 2014 (UTC)
Perhaps we need a Postcards section, we don't have these:
turns up in searches for our man's ever-expanding œuvre, but I believe that he only contributes a preface. -- Hoary ( talk) 03:15, 5 April 2014 (UTC)
"ever-expanding œuvre" indeed. I'm wondering if ' The Big Issue: On the Ring Road. The Big Issue 451, 20–26 August 2001' is merely a contribution of an article to a weekly national newspaper and thus has no place in the Publications section? In contrast to Tony Ray-Jones#Commissioned magazine work I don't propose we include this kind of work for Parr unless it is a significant contribution. - Lopifalko ( talk)
I haven't seen Ewen Spencer's Open Mic ( ISBN 0955084008); but read that it has two introductions, one of them by Parr. -- Hoary ( talk) 12:21, 6 April 2014 (UTC)
"Ewen Spencer has already established his reputation, in recent years, as a photographer of much talent with his work on youth culture, but now he turns his attention to the 'grime' music scene in London. I hadn't even heard of this scene, let alone known anything about it, but have discovered that it emerged out of UK garage and is a kind of equivalent of US hip hop.
This is where Spencer's quality as a photographer really begins to work. He has thrown himself into this whole scene with such enthusiasm and dedication that he has won over the confidence of the key players on the grime circuit. This demonstrates how the potential magic of contemporary photography begins to operate. Because Spencer's photography is so compelling, the viewer begins to understand what attracted him in the first place.
We do not need to learn about the facts of grime, like how many venues there are or the number of grime fans. This scene is about energy. That's why it is important as a voice of expression and protest for the black youth of London. Ewen Spencer's photographs are also about energy, making visual sense of the wonderful anarchy of grime. Spencer brings the same raw passion to his photographs; I think those who view them benefit from this engagement.
Martin Parr 2005"
Paris, New York, Shanghai: A book about the past, present, and (possibly) future capital of the world ( ISBN 1597110442) is a photobook (or set of three photobooklets) by Hans Eijkelboom that has (or have) an introduction by Parr. -- Hoary ( talk) 01:59, 9 April 2014 (UTC)
Photography Calling! ( ISBN 3869303794, OCLC 814275579) is the 400-page-plus catalogue of an exhibition of Parr and many others. So many others that I don't suppose it needs to be listed. OTOH it's so big that it might. (I haven't seen a copy.) -- Hoary ( talk) 08:40, 11 April 2014 (UTC)
He might have started Bad Weather with a Leica, but I remember reading somewhere (within that book itself, perhaps) that whatever he first tried using was quickly ruined; he soon learned to use either a Nikonos or something whose description can only mean it was a Nikonos. If there isn't a mention of this in the anthology edited by Val Williams then I'll attempt to locate a copy of Bad Weather and look it up there. -- Hoary ( talk) 02:22, 21 April 2014 (UTC)
This great photograph of Martin Parr by Geoff Howard at [4] shows Parr in the context of a social situation with a Leica M3, it looks to be somewhere in Lancashire, or perhaps Hebden Bridge. This would be a valuable addition to this article, but do you suppose we could use it? As an example of how its use might be covered under fair use, the photograph of Ed Ruscha at [5] is justified through "Purpose of use in article (WP:NFCC#8) To support encyclopedic discussion of this work in this article. The illustration is specifically needed to support the following point(s): It shows Edward Ruscha in the context of his prime work (1960's Southern California)". WP:NFCC#8 says "Contextual significance. Non-free content is used only if its presence would significantly increase readers' understanding of the article topic, and its omission would be detrimental to that understanding." ... added at 11:14, 23 April 2014 by Lopifalko
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