Bradley Peter’s Transplant leaves room to explore and re-explore each of the seven included images and enough space to let everything in the frame be seen with longer consideration—it is this act of consideration, that desire for logic and order that is most universal and makes the photograph so compelling.
Category: Camera Reality
“[T]o make a direct recording of the landscape would be to record everything the experience of standing there was not about, and nothing that it was about. I have no interest in a direct, “accurate” representation of nature. I am more interested in the truth of a photograph.”
Visit Kickstarter to support the photo book Phantom Power by Barbara Diener, soon to be published by Daylight Books.
If a blast began all that transpires throughout the approximate 25 years that make up Half Life, then the photographs depict uncertain forced dispersing and settling of matter in its wake.
“How much does Eggleston’s photographs inform our memory… whenever I look upon a photograph, I do so with some nostalgia for beauty and truth that might not have been if it weren’t for the photograph. The photograph as an artistic medium demands it.”
“There is a sense of longing, alienation, and isolation I want to get across in my photographs. The evening has a way of bringing out that sensation. There is beauty in the night but there is an unquestionable anxiety brought out from the darkness.”
Panas engages her subjects in After Sargent in a way that the resulting portraits suggest we know something about her subjects as well as Panas and her camera did at the time the photograph was made and if not that, then we know an intimate relationship was made between photographer, camera, and subject.
“Introducing my camera into these private environments invites my viewers to an open conversation around intimacy and power. The car is a setting that enables us to satisfy the craving to be romantically or sexually intimate. It’s a place where we can fulfill the desire for these private moments[.]”
Strant has recently updated its Submission Guidelines and its Terms & Conditions in an effort to be more inclusive of work that exists in the printed form.
Early in Fortieth Parallel is included a photograph of Humboldt Sink in Nevada with the word “NOW” etched across the smooth sloping, sun-bleached plain. The difference between the nonpermanent quality of newsprint on which the image is printed versus photographs made by O’Sullivan to be included in a photographic archive is not lost while looking at this photograph and I consider what in fact it means to live in the present.
“Who hasn’t entertained the idea of living alone, free of the responsibilities of the modern day? [Eventually] I realized it was [only] the idea that was entertaining.”
“[I]t’s a beautiful feeling to see something so sad and not feel sad about it anymore. It’s like, something almost supernatural, a phenomenon in normal every day life.”
Rachel LaCour Niesen is the founder of SaveFamilyPhotos and more recently has launched weGather, an app that utilizes a digital platform to save both family photos and shared stories about those photos. Read her essay Why We Should Save Family Photos and check out her latest effort weGather.
“Sometimes I’ll look at an image that I took years ago and reflect on how blatant that instant felt, like it was all I had and was going to have.”
The quite photos of gentle sea side escarpments throughout most of A Silent Place lead from one landscape to the next and a rhythm—much like a causal walk—paces the series of thirty photographs.