“I want parameters narrow enough to make the work compelling and cohesive, but broad enough to allow myself, and my viewer, the pleasure of being able to find their own way through the work.” — Gregory Halpern in PhotoWork: Forty Photographers on Process and Practice
“There are some locations I go to and they scream black and white to me because of the ambiance. For me, great black and white images fall into two categories: very dramatic with stormy skies and bold compositions and at the other end of the spectrum a calm and minimalist composition.” – Helen Rushton
“Striving for excellence motivates you; striving for perfection is demoralizing.” – Harriet Braiker
For the last several weeks I have been experimenting with adding washes of complimentary colors to images using techiques such as split toning, gradient maps, color balance adjustment layers and others. These images were taken on a foggy morning and were virtually monochromatic before processing. I feel that the colors make for more interesting images, but I am also partially color blind, so I tend to overdo colors that I probably don’t see as intensely as others. Would appreciate getting feedback.
“Freeing yourself was one thing. Claiming ownership of that freed self was another.”
“If there is a book that you want to read, but it hasn’t been written yet, you must be the one to write it.”
“At some point in life the world’s beauty becomes enough. You don’t need to photograph, paint or even remember it. It is enough. No record of it needs to be kept and you don’t need someone to share it with or tell it to. When that happens — that letting go — you let go because you can.”
“The function of freedom is to free someone else.”
The B & H newsletter had the three articles below on “historical processes” that preceded film. I found them to be very interesting. Artistically, the different processes have distinctive appearance. From an historical perspective they were critical to the development of photography.
– The Salted Print Invented by Henry Fox Talbot. Part of the history of photography – Collodion and albumen prints John Nelson of Actinic Studio gave a presentation to the Baltimore Camera club earlier this year on how to make collodian prints; the collodion process is still actively being used by some photographers for its distinct character. – Daguerrotype
Juvenile yellow-crowned night heron. Kenilworth Aquatic Gardens, Washington, DC.
Panorama near the intersection of the Black Marsh and Observation Trails.
“The best critiques I’ve seen are not about the image’s technical properties. The best critiques question why the photograph was created in the first place.” — CJ Chilvers in A Lesser Photographer
“The crickets felt it was their duty to warn everybody that summertime cannot last for ever. Even on the most beautiful days in the whole year – the days when summer is changing into autumn – the crickets spread the rumor of sadness and change.” — E.B. White, Charlotte’s Web
“What I’m documenting can be hard to distill, because it’s all around us like the air we breathe. I often need to go to a place where I can capture extreme moments.” – Lauren Greenfield
“I wanted to make pictures that felt natural, that felt like seeing, that didn’t feel like taking something in the world and making a piece of art out of it.” – Stephen Shore
“There’s something arbitrary about taking a picture. So I can stand at the edge of a highway and take one step forward and it can be a natural landscape untouched by man and I can take one step back and include a guardrail and change the meaning of the picture radically… I can take a picture of a person at one moment and make them look contemplative and photograph them two seconds later and make them look frivolous.” – Stephen Shore