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© Jennifer Crane
THE INTERNATIONAL SCHOOL OF PHOTOGRAPHY NOW HAS ONLINE COURSES! Very interesting!
::: EXHIBITION OPPORTUNITY :::
Submit your best, most artistic image of an animal or pet. FREE to submit. ALL images get published. Deadline in 3 days!
http://lenscratch.com/exhibitions/submit
© Aline Smithson
All UCSD Photo Students, here’s a great opportunity for you to show off your photographic skills! Consider submitting!
Remembering legendary New York Times fashion photographer Bill Cunningham. This photo of a young Bill Cunningham was printed in the April 2011 issue of Aperture magazine.
R.I.P. great man.
Photographs of British Algae (via Tim Wallace via Charlie Loyd, who adds “By Anna Atkins, the first non–hobbyist/experimental photographer (and a cousin of Jane Austin). Using cyanotype, based on a blue pigment that Europe introduced to Japan (used in 🌊🖼), then 🔄 influenced Van Gogh’s midnight blues.”)
Wonderful historical reference to the first of experimental photographs using cyanotype.
In war zones, she carried a Rolliflex and a brass knuckle-duster engraved with her name.
Read more about Lee Miller, the woman who pushed to the front lines of war zones and sat in Hitler’s bathtub in the pursuit of photography on the Aperture Blog.
Image: Lee Miller, Fire Masks, Downshire Hill, London, England, 1941 © Lee Miller Archives, England 2015
LEE MILLER IS ONE OF MY EARLIEST INFLUENCES...
© Christine Osinski
Embroidered leaves, Hillary Fayle
Drool.
stunning.
Happy Thanksgiving! Here’s to a day of family, friends, and food.
[Roe Ethridge. “Thanksgiving 1984.” 2009. The Museum of Modern Art, New York. © 2015 Roe Ethridge]
Hope you all had a great four days off and worked hard on your final projects! See you all soon.
8 GUGGENHEIM FELLOWSHIP RECIPIENTS SHARE THEIR ADVICE FOR SHOOTING PHOTO PROJECTS
Kim Stringfellow on advice for photographers who are having a difficult time thinking of projects and sticking to them…
When a student of mine is having difficulty locating a subject, theme or issue to build an extended body of work or photographic project series I suggest that they consider their own personal interests—what moves them, what interests do they do outside of visual arts? […] One should be either obsessed or extremely passionate about the subject, especially if they are to commit to it over several years as I do with my own research driven projects.
Want to read more advice from these Guggenheim winners? Read HERE
Stunning vintage found photos of two women in the 50s, shot in medium format and all in color transparency - the whole story can be found here
© Mary Ellen Mark
Amanda and her cousin Amy, Valdese, N.C., 1990
From: REMEMBERING MARY ELLEN MARK (1940 - 2015)
A new book reveals more about the legendary photographer’s seminal work from the 1950s.
On November 9, photographer Robert Frank turns 90. While turning 90 is worth celebrating, what’s even more impressive is that the work he created 60 years ago continues to resonate so strongly today. Frank’s photos of the postwar United States still feel incredibly fresh, even if they bear the weight of history—and even if their details (the clothes, the cars, the hairstyles) seem so dated.
By the time Frank’s now-landmark book The Americans hit US bookstore shelves in 1959, he turned his attention from photography to filmmaking. The negative reaction his debut book received didn’t exactly inspire Frank to keep shooting. Nevertheless, 10 years after it was first published, The Americans became a tour de force in photography, its influence growing exponentially over time.
Such an amazing set of images from Photographer, Hiroshi Wantanabe
BIO
Hiroshi Watanabe was born in Sapporo, Japan. He graduated from Department of Photography, College of Art, at Nihon University in 1975. He moved to Los Angeles after graduation and became involved in the production of TV commercials, eventually working as a producer. He later established his own production company and produced numerous commercials. He received an MBA degree from UCLA Business School in 1993. In 1995 his passion for photography rekindled, and since then he has traveled worldwide extensively, photographing what he finds intriguing at that moment and place. In 2000 he closed the production company in order to devote himself entirely to the art and became a full time photographer.
Some years ago, I wrote “Jessica Todd Harper has a painter’s eye, an artist’s soul, and a photographer’s intuition, and when these three qualities combine, you get images that are sumptuous, rarefied, and exquisite.” Needless to say, I am a big fan and happy to share not only a new body of work, but a…
I really enjoyed this photography project and suggest you check it out.
alright, it’s been sort of a slow day for photography in san diego, so I thought I’d use this opportunity to give a little lesson on the history of photography in sd in order to showcase some of this cities rich artistic heritage. In the 60’s John Baldessari was living and working in National City, where he created a series of conceptual photographs in which he drove around the city taking black and white photos that he later combined with text. So I like to remind people who might think san diego is culturally lacking about these. Well that’s your San Diego Photography Club history lesson for the day. I think the projects coming along pretty well so far. Don’t forget to submit pictures or let me know if there are any photographers in san diego that you think should be included here. Alright, see yah
Solovki, White Sea, Russia (dog with bag), Pentti Sammallahti, 1992 (via Candace Dwan Gallery)
I’m reading John Berger’s The Shape of a Pocket. Berger opens the book with a description of Pentii Sammallahti’s photography. He writes:
Early this morning, when I was still in bed, a swallow flew in, circled the room, saw its error and flew out through the window to alight on the telephone wire. I relate this small incident because it seems to me to have something to do with Pentii Sammallahti’s photographs. They too, like the swallow, are aberrant.
I have had some of his photographs in the house now for two years. I often take them out of their folder to show to friends who pass. They usually gasp at first, and then peer closer, smiling. They look at the places shown for a longer time than is usual with a photograph. Perhaps they ask whether I know the photographer, Pentii Sammallahti, personally? Or they ask what part of Russia were they taken in? In what year? They never try to put their evident pleasure into words, for it is a secret one. They simply look closer and remember. What?
In each of these pictures [the ones in Berger’s house], there is at least one dog. That’s clear and it might be no more than a gimmick. Yet in fact the dogs offer a key for opening a door. No, a gate — for here everything is outside, outside and beyond.
I notice also in each photograph the special light, the light determined by the time of day or the season of the year. It is, inevitably, the light in which figures hunt — for animals, forgotten names, a path leading home, a new day, sleep, the next lorry, spring. A light in which there is no permanence, a light of nothing longer than a glimpse. This too is a key to opening the gate.
The photos were taken with a panoramic camera, such as is normally used for making wide-section geological surveys. Here the wide-section is important, not, I think, for aesthetic reasons, but, once again, for scientific, observational ones. A lens with a narrower focus would not have found what I now see, and so it would have remained ivisible. What do I see now?
We live our daily lives in a constant exchange with the set of daily appearances surrounding us — often they are very familiar, sometimes they are unexpected and new, but always they confirm us in our lives. They do so even when they are threatening: the sight of a house burning, for example, or a man approaching us with a knife between his teeth, still reminds us (urgently) of our life and its importance. What we habitually see confirms us.
Yet it can happen, suddenly, unexpectedly, and most frequently in the half-light-of-glimpses, that we catch sight of another visible order which intersects with ours and has nothing to do with it.
I could keep typing, but I shouldn’t. Better: find a copy of The Shape of the Pocket. You won’t be disappointed. And you can see more of Pentti Sammallahti’s photographs around the web, for example a collection at Peter Fetterman Gallery that begins with one for my favorites: Helsinki, Finland (Dog Stretching), 1982.