Long Form Study: Why Photographers Should Repeatedly Revisit a Scene An Article by Scott Reither petapixel.com I learned years ago how important it is to shoot the same subject and location over and over again. The practice teaches a photographer how to form deeper relationships with the subject, and better understand how the primary subject interacts with secondary elements – like the way high tide may introduce a stunning new reflection, or how a blaze of stars in a dark sky might be the missing element that lifts the image to new heights. Revisiting a subject also serves as valuable “practice.” You cannot develop your skills in anything without a healthy (or obsessive) amount of practice. It always surprises me to find out aspiring photographers think that they can simply photograph their two-week vacations once or twice a year and come home with compelling imagery! It doesn’t work that way. repetitionphotographypractice
Hyperart: Thomasson A Book by Genpei Akasegawa & Matt Fargo kaya.com No ordinary objectsThomassons artrepair
No ordinary objects Abandoned by the world, no longer of use, but still carefully repaired and preserved, these were no ordinary objects. The reasons for their maintenance remain a mystery. At this point, they could only be described as "art". No—not so much "art" as something that exceeds art... Hyperart. artrepairthomassonsobjects
Thomassons This was 1982, the year that Gary Thomasson was batting cleanup for the Yomiuri Giants. Thomasson had the unfortunate nickname of "The Electric Fan", which, if you think about it, was exactly what he was. Night after night, he stood in the batter's box, whiffing mightily at the ball, down on three strikes every time. He had a fully-formed body and yet served no purpose to the world. And the Giants were still paying a mint to keep him there. It was a beautiful thing. I'm not being ironic here either. Seriously, I can't think of any way to describe Gary Thomasson but as "living hyperart". sportsthomassons