Half the time the photographers seemed not to have even looked through the camera. Far from seeking the perfect composition, the ‘decisive moment’, their work seemed curiously unfinished. It captured ‘indecisive’ rather than decisive moments. By Gerry Badger “Frank… and Klein brought to the decade a feeling for its woes which, in retrospect, synthesizes […]
Stray Dog, Misawa, Aomori (1971) Moriyama is conspicuous for the brutality with which he distorts photographic description: his pictures are sooty with grain, blotchy with glare, often out of focus or blurred by movement, often defaced by scratches in their negatives. By Leo Rubinfien, October, 1999 The photographer Daido Moriyama, whose first U.S. […]
From Sleeping with the Mississippi “I have big problems with Sleeping By The Mississippi, there’s parts I love, but definitely things I would do differently now. When people point to those things you’d rather do differently, you feel, ‘I wish I could’, but I can’t.” By Ben Sloat, Big Red & Shiny, November 17, 2009 […]
Shootin’ range traps, “Holy F-K’s” and claps in THE GREAT UNREAL. By Doug Rickard, ASX, March 2010 Into the wind, and the never-ever-end of the great-wide-open beckons… so off you go and it gusts in ear and it whispers, “have no fear”. Down the road you fly… pulled forward as the dust lights […]
“Perhaps here we have stumbled upon a partial, but nonetheless astonishing description of the creative act at the heart of serious photography: nothing less than the measuring and folding of the cloth of time itself.” By Paul Graham This month I read a review in a leading US Art Magazine of a Jeff Wall survey […]
“In fashion, the more a model acts like a model, the less successful the pictures are for me. And it’s kind of the same with the hustlers and the pole dancers: the more self-conscious they are and try to give me what they think I want, the less interesting it is.”
from Gypsies, 1975 @ Josef Koudelka and Magnum Photos “I am not interested in talking about things, explaining about the whys and the hows. I do not mind showing my images, but not so much my contact sheets. I mainly work from small test prints. I often look at them, sometimes for a long time. […]
While we as viewers are aware that Goldberg is as present in the scenes as the characters themselves, the teens seem to forget about him and allow him to record their most private moments. Raised By Wolves as a Non-Fictional Multi-Media Narrative By Sarah Wichlacz “It’s not like you can go home and watch TV.” […]
“I thought that to make photographs, you froze everybody before the fact, but Robert never froze them except in the camera. So that was a revelation.” Excerpt from “Still Going”, from Bystander: A History of Street Photography (2001) by Colin Westerbeck and Joel Meyerowitz CW: The name we are giving to this final chapter, “Still […]
Seated Transvestite with Crossed Ankles, N.Y.C., 1966 Since there were few spaces for photographers to exhibit or sell their work in the late fifties, Arbus had to continually seek out magazine work. The Missing Photographs: An Examination of Diane Arbus’s Images of Transvestites and Homosexuals from 1957 to 1965 By Laureen Trainer Much […]
“I’ll see a house and think, ‘But how is it going to add to my body of work?’ And that’s dangerous. A lot of times I just won’t take it.” By Justin Berton, February 1, 2006 From the outside, Todd Hido’s home looks perfectly normal. You might even pass it by without a second thought. […]
“It’s so difficult because it’s everywhere, every place, all the time, even right now. It’s the view of this pen in my hand as I write this, it’s an image of your hands holding this book, Drift your consciousness up and out of this text and see: it’s right there, across the room – there… […]