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photography

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  • A set of potential photographs

    A Quote by Susan Sontag

    ...a mentality which looks at the world as a set of potential photographs.

    1. ​​The Eyes of the Skin: Architecture and the Senses​​
    2. ​​Mere retinal art​​
    • photography
    • society
    • images

    First found in Pallasmaa's boook.

  • The walls are reserved for the sun

    Maria Nordman always insisted, "Nothing should hang on a wall. The walls are reserved for the sun." It was like being inside a large cardboard box that had been gently slit open with an X-Acto knife, allowing thin planes of light to emerge. It is well known that Nordman avoided using the camera to document her installations, feeling that it abstracted and framed various aspects of the experience, which is best absorbed more holistically. It is ironic that Nordman's rooms often took the form of a kind of architectural camera in which slits in walls and corners created mysterious apertures that allowed light to leak into a room at a glacial pace. Being inside one of Nordman's spaces is like being inside a camera operating in exceedingly slow motion.

    Michael Auping, Stealth Architecture: The Rooms of Light and Space
    • walls
    • photography
  • ƒ/8 and be there

    "f/8 and be there" is an expression popularly used by photographers to indicate the importance of taking the opportunity for a picture rather than being too concerned about using the best technique. Often attributed to the noir-style New York City photographer Weegee, it has come to represent a philosophy in which, on occasion, action is more important than reflection.

    Wikipedia
    en.wikipedia.org
    • photography
    • technique
  • What the painting was not about

    That is why for many years Irwin declined to allow his work to be photographed, because the image of the canvas was precisely what the painting was not about.

    Indeed, the problem is even more complicated than that. For in a very real sense the achievement of these paintings was in their making, and the finished canvas at one level is only an incidental relic, a fossil of that original process of discovery: not only do you have to be present before these paintings in order to experience them, it may be that you have to have made them as well.

    Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees
    1. ​​Only a mind opened to the quality of things​​
    • photography
    • images
  • Amassing the archive

    I once sent a camera to a client, with a request that she keep a visual diary of her newly completed house. For a number of months she duly sent me one photograph a day, of whatever caught her attention, and it was fascinating seeing the spaces from her point of view.

    In part it's simply about amassing the archive, but it's also about understanding the implications of every design decision and bringing this knowledge to bear on new projects. You have to keep pushing the learning process.

    John Pawson, A Visual Inventory
    • photography
    • memory
    • learning
    • collections
  • The Factory Photographs

    A Book by David Lynch
    www.goodreads.com
    3025449-slide-s-lynch-04.jpg

    I love industry. Pipes. I love fluid and smoke. I love man-made things. I like to see people hard at work, and I like to see sludge and man-made waste.

    1. ​​Electrical pylon near Gary, Indiana​​
    2. ​​Grid substation​​
    3. ​​Infrastructure: A Guide to the Industrial Landscape​​
    • industry
    • infrastructure
    • photography
    • waste
  • Homes at Night

    A Dialogue by Todd Hido
    www.lensculture.com
    FE8567BC-B0C8-4E43-B6CB-33E80F14CC64.jpeg

    Your series Homes at Night is one of my favorites. We never see human silhouettes or the homes’ inhabitants. Why is it important to you that the houses appear on their own?

    Because of the very simple fact that if it is an empty shell, the viewer can place their own memories within it or create a narrative that would otherwise be blocked by the reality of what is actually inside.

    1. ​​[email protected]​​
    • photography
    • memory
    • identity
    • home
  • [email protected]

    A Gallery by Nick Trombley
    glass.photo
    161BF5B3-5B98-4EE4-B394-A8FBA7A156BA.jpeg
    1. ​​Instagram​​
    2. ​​Homes at Night​​
    • photography
  • Instagram

    A Profile by Nick Trombley
    www.instagram.com
    1. ​​Photography archive​​
    2. ​​A Visual Inventory​​
    3. ​​[email protected]​​
    • photography

    A collection of photographs taken almost entirely on my Fuji X100V. Mostly of places and spaces, patterns of light and form. I post in groups of 3, where each image within the row is related by some common thread.

  • Delight is constraints, joyfully embraced

    An Article by Craig Mod
    craigmod.com
    Image from craigmod.com on 2021-12-06 at 8.18.04 PM.jpeg

    And what is delight? For me, delight is born from a tool’s intuitiveness. Things just working without much thought or fiddling. Delight is a simple menu system you almost never have to use. Delight is a well-balanced weight on the shoulder, in the hand. Delight is the just-right tension on the aperture ring between stops. Delight is a single battery lasting all day. Delight is being able to knock out a 10,000 iso image and know it'll be usable. Delight is extracting gorgeous details from the cloak of shadows. Delight is firing off a number of shots without having to wait for the buffer to catch up. Delight is constraints, joyfully embraced.

    • photography
    • constraints
    • joy
    • craft
  • The Helsinki Bus Station Theory

    An Article by Arno Rafael Minkkinen
    www.fotocommunity.com

    Stay on the bus. Stay on the f*cking bus.

    Why? Because if you do, in time you will begin to see a difference.

    The buses that move out of Helsinki stay on the same line but only for a while, maybe a kilometer or two. Then they begin to separate, each number heading off to its own unique destination. Bus 33 suddenly goes north, bus 19 southwest.

    ...It’s the separation that makes all the difference, and once you start to see that difference in your work from the work you so admire (that’s why you chose that platform after all), it’s time to look for your breakthrough.

    Suddenly your work starts to get noticed. Now you are working more on your own, making more of the difference between your work and what influenced it.

    Your vision takes off.

    • creativity
    • practice
    • photography
    • experience
  • ImageQuilts

    A Tool by Edward Tufte
    imagequilts.com
    Image from imagequilts.com on 2021-10-18 at 4.44.36 PM.png
    1. ​​Photogrids​​
    • visualization
    • photography
  • Be A (Re)Visitor

    An Article by Rob Walker
    robwalker.substack.com

    I was thinking about this not long ago while reading in Petapixel an essay by a photographer named Scott Reither, “Long Form Study: Why Photographers Should Repeatedly Revisit A Scene.” In it, he described photographing one particular stretch of beach, over and over, throughout his career.

    Of course that landscape has changed over time, and of course he’s had moments when he felt he’d captured the same territory so many times there was nothing left to see.

    But there was always something more to see — maybe because of a change in Reither’s life, rather than in the physical environment.

    • seeing
    • change
    • photography
  • 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.

    • repetition
    • photography
    • practice
  • August short No. 2: Glass

    An Article by Riccardo Mori
    morrick.me

    Glass looks and feels perfectly tailored to my photo sharing needs and expectations. For me it’s even better than pre-Facebook Instagram in the sense that it pushes me to select and share what I think are good photos (same as it happens with Flickr), rather than making me obsess with getting ‘the Instagram shot’ at all costs every day or multiple times in a day. It doesn’t cheapen photography like Instagram has done for years.

    That’s why I hope Glass’s founders/developers will resist feature creep. Resist user objections like: I don’t think Glass is offering that much for the subscription price they’re asking. There are a lot of people who will gladly pay for having a cleaner, simpler, focused experience.

    • features
    • simplicity
    • products
    • photography
  • Cameras and lenses

    An Article by Bartosz Ciechanowski
    ciechanow.ski
    Screenshot of ciechanow.ski on 2020-12-08 at 2.10.16 PM.png

    Pictures have always been a meaningful part of the human experience. From the first cave drawings, to sketches and paintings, to modern photography, we’ve mastered the art of recording what we see.

    Cameras and the lenses inside them may seem a little mystifying. In this blog post I’d like to explain not only how they work, but also how adjusting a few tunable parameters can produce fairly different results.

    • photography
    • visualization

    A fantastic interactive walkthrough detailing how a digital camera works from first principles.

  • The art of taking

    A Quote
    fujixweekly.com

    "By making it possible for the photographer to observe his work and his subject simultaneously, and by removing most of the manipulative barriers between the photographer and the photograph, it is hoped that many of the satisfactions of working in the early arts can be brought to a new group of photographers. The process must be concealed from—non-existent for—the photographer, who by definition need think of the art in taking and not in making photographs. In short, all that should be necessary to get a good picture is to take a good picture, and our task is to make that possible."

    — Edwin H. Land, co-founder of Polaroid

    • photography
    • art
    • seeing
    • process

    Via fujixweekly

  • Ideas of permanence

    A Fragment by John Pawson
    www.johnpawson.com
    Screenshot of www.johnpawson.com on 2020-08-04 at 3.01.16 PM.png

    One of the interesting aspects of photography is the way it loosens our instinct to draw distinctions between the permanent and the temporary. In these enduringly fixed compositions, the detail of a mark scratched into the surface of a wall carries no greater weight of reality than the frozen swirl of light on plaster or the calligraphic-like shadows of chair backs cast across a floor.

    1. ​​async​​
    • time
    • photography
  • butdoesitfloat

    A Blog
    butdoesitfloat.com
    Screenshot of butdoesitfloat.com on 2020-09-03 at 2.52.47 PM.png
    • art
    • beauty
    • graphics
    • photography

    Updated rarely (if at all) these days, but one of the most well-curated, gorgeous blogs I've ever come across.

  • Koya Bound

    A Book by Craig Mod
    walkkumano.com
    Screenshot of walkkumano.com on 2020-08-11 at 10.02.26 AM.png

    Koya-san — home to esoteric Buddhism — is the name of a sacred basin eight hundred meters high and surrounded by eight mountains. It is roughly one hundred kilometers of trails north from the Kumano Hongu Taisha shrine in Wakayama, Japan. Though the name of the basin is often incorrectly translated as Mt. Koya in English, Mt. Koya is only one of the eight peaks, and is remote from the central cluster of temples.

    We walked towards Koya-san, but we did not touch Mt. Koya.

    1. ​​To Make a Book, Walk on a Book​​
    • writing
    • photography
    • walking

See also:
  1. images
  2. art
  3. visualization
  4. seeing
  5. memory
  6. practice
  7. time
  8. writing
  9. walking
  10. beauty
  11. graphics
  12. society
  13. process
  14. learning
  15. collections
  16. features
  17. simplicity
  18. products
  19. repetition
  20. change
  21. creativity
  22. experience
  23. technique
  24. constraints
  25. joy
  26. craft
  27. industry
  28. infrastructure
  29. waste
  30. walls
  31. identity
  32. home
  1. John Pawson
  2. Craig Mod
  3. Nick Trombley
  4. Lawrence Wechler
  5. Robert Irwin
  6. Susan Sontag
  7. Bartosz Ciechanowski
  8. Riccardo Mori
  9. Scott Reither
  10. Rob Walker
  11. Edward Tufte
  12. Arno Rafael Minkkinen
  13. David Lynch
  14. Michael Auping
  15. Todd Hido