“I started not with the feel of the city but with my own emotions. I felt dark, lonely, a little scared, and I built a city—based on New York—out of that feeling. Instead of choosing shapes, I chose lights and shadows. I worked on textures first and added details later. Eventually, I got to a point where all I needed was a small visual anchor to make the image representative rather than abstract. In this case, the delivery man became the recipient (and embodiment) of my emotions.” — Pascal Campion, on his cover for the April 13 edition of The New Yorker.
“I am very sympathetic to the torture of the proverbial blank page: the ways that infinite options can be the greatest source of anguish.” — Sasha Wolf
“. . . we slowly discover that we need not be paralyzed by infinite choices, but rather become gloriously aware of the handful of paths that truly suit each of us.” — Sasha Wolf
“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.
Ooops. I published September 16 on September 9, but won’t change the dates because the URL uses the title and I am not sure what will happen to the posting. That’s why this is labeled “16b.” Sorry for the confusion.
[There is] “a fundamental dichotomy in contemporary photography between those who think of photography as a means of self-expression and those who think of it as a method of exploration.” — John Szarkowski
“It would not be wrong to speak of people having a compulsion to photograph: to turn experience itself into a way of seeing. Ultimately, having an experience becomes identical with taking a photograph of it, and participating in a public event comes more and more to be equivalent to looking at it in photographed form.” — Susan Sontag
“In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art.” — Roland Barthes
“I made a decision to write for my readers, not to try to find more readers for my writing.” — Seth Godin
“They should just go out and photograph and stop talking about it. That’s the only way they are going to find themselves. They can’t do it in their heads – they have to go out and do it in the camera and get it on film.” – Berenice Abbott
“…the art is in selecting what is worthwhile to take the trouble about…” – Berenice Abbott
“We are only trying to tell a story. Let the 17th-century painters worry about the effects. We’ve got to tell it now, let the news in, show the hungry face, the broken land, anything so that those who are comfortable may be moved a little.” — David Seymour (Chim); David Seymour will be the subject of Tom Beck’s presentation on March 9
“Anyone can shoot chaos. But the most perceptive photographers can make compelling pictures out of uninteresting moments.” – Alex Tehrani
“We are making photographs to understand what our lives mean to us.” — Ralph Hattersley