Justified: The strong, not-so-silent type.

In an age when “quality” television is celebrated for its literary qualities, ‘Justified’ takes aim a little lower—at entertainment—and bullseyes its target.

Exiled from a prestigious posting in Miami for killing a criminal in a quick-draw gunfight, U.S. Marshal Raylan Givens (Timothy Olyphant) is transferred back home to Harlan County, Kentucky, forcing an unwelcome reacquaintance with his past, with the greatest discomfort arising from encounters with his ex-wife, Winona (Natalie Zea), his criminally inclined father, Arlo (Raymond J. Barry) and, most significantly, Boyd Crowder (Walton Goggins), a Somerset Maugham-reading troublemaker given to both violence and philosophising.

Raylan is like a movie cowboy in a number of ways. He wears a cowboy hat, regularly finds himself in gunfights and is played by an actor who hasn’t shied away from cowboy parts, including supplying the voice of the very (Eastwoodesque) Spirit of the West in ‘Rango’. Even his friends, enemies and frenemies—in the case of childhood-pal-turned-criminal Boyd Crowder—frequently comment on Raylan’s cowboy traits and trappings, but, like any good cowboy, he does not openly reflect upon his own masculine role-play.

An incapacity for self-reflection has always been an important feature of the movie cowboy, forming part of an overarching reticence that permits only pith of the “A man’s gotta do what a man’s gotta do” flavour. Aside from this trademark lack of self-absorption, however, Raylan talks a little too much to be a movie cowboy. He may be strong, but he is definitely not silent. Granted he preserves a laconic air, but he has an obvious weakness for anecdotes, both delivering and receiving. This isn’t too surprising, really, in light of the fact that the character was created by Elmore Leonard, who writes stories populated by characters who enjoy telling stories. In the world of criminal dim-wittedness Leonard tends to describe, it is important for his heroes to be able to amuse at least themselves as they go against the flow of a kind of general atmospheric stupidity.

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Future of Photography Q&A No.12 – Nick Morrish

Oomska’s ‘Future of Photography’ Series continues…

We presented our interviewees with a set list of questions, and left the matter of in what format and at what length they should answer entirely up to them. Here are Nick Morrish’s responses.

1. How and when did you first become interested in photography? What was the trigger which led you to take a serious interest? How different would that trigger be now, with all the changes – technological and otherwise – in photography during the intervening years?

When I was 18. I was in college, and a friend handed me a camera and asked me where the shutter button was. I didn’t know; but the camera felt like an extension of me. Almost like my hand had been made to fit the camera perfectly. I grabbed my Dad’s old kit, and a proper retro book and spent my time photographing bricks and close ups of tree trunks.

Really, though, I was much younger, less than 10 years old – I’m not sure when. I was given a Kodak 110 by a relative. According to my parents, I took it everywhere with me. I just wish I knew what happened to the images. I still have the camera somewhere.

With all the changes, the hook is still the same – to capture what I see in people in an aesthetically pleasing way. Also, I remember being addicted to the excitement of wondering how the images have come out, which has now disappeared; but the trade off is the ability to show off your image to all of the 2billion+ people who can dial up the internet.

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