Plane of Focus
-
Rock Art in Chaco Canyon most likely depicting an 11th century super nova.
-
[Flash 9 is required to listen to audio.]
“Let’s Do it (Let’s Fall In Love)”, from the Midnight in Paris Soundtack
-
Alexi Hobbs’ “Instincts and Convictions”
“Constellations”, from Alexi Hobbs series Instincts and ConvictionsI’m deliberately posting this after yesterday’s quote from Joerg Colberg’s thoughts on Photography and Trust. Hobbs’ wonderful series Instincts and Convictions reinforces Colberg’s main claim: if a photographer trusts in his images he can keep them simple and let them speak (or, I think, in Hobbs’ case, sing) for themselves.
“Release”, 2011, from Alexi Hobbs series Instincts and ConvictionsEverything in Instincts and Convictions is direct and simple: the color palettes, the compositions, the lighting. But each image feels somewhat like a furtive glance: a brief but knowing glimpse of something greater, something we feel is implied but we don’t quite see or understand. And that is probably the great pleasure of this series, that Hobbs has charged such seemingly simple photos with the tensions of many layers of possible meaning.
from Alexi Hobbs series Instincts and ConvictionsI’m not sure where my current theory on dreams comes from — I read it somewhere, maybe Sartre. (To me) dreams are the random firings of our brains, which can encompass whatever happens to be in our short term or long term memory. The overwhelming randomness of what our brain can conjure up would drive us insane every night if it weren’t for a neat trick: our minds are very, very good at forming narratives around fragmented information. It is these on-the-fly narratives that we think of as dreaming.
To me, I guess, when I look at Hobbs’ work the images become the brain’s collection of memories and it is up to me as the viewer to create a narrative around them. There’s something about this that gives them the enchanting, friendly (or sometimes ominous) feeling of dreams.(Source: featureshoot.com)
-
As a photographer, you have to trust your photographs. You have to trust that they say what you want them to say. Or more accurately, you have to realize that your subconscious mind is bringing more things to photography than your conscious mind might realize.
“Photography and Trust”, an article by Joerg Colberg
I think this is a problem I’ve had: trusting my own photography. I think I’m getting better at it, though, so we’ll see.
-
I really hope this wins best picture. It’s such a wonderfully enjoyable movie.
-
[Flash 9 is required to listen to audio.]
Beethoven’s 7th Symphony, II. Allegretto
2nd movement, great, third movement, though, “What can you do with it? It’s like a lot of yaks jumping about.”
-
24 Hours of Photos from Flickr
“24 Hours of Photos from Flickr”, a show at Foam last December curated by Erik Kessels, a publisher of KesselsKramer Publishing
About a million photos.
(Source: creativereview.co.uk)
-
chicagopast.tumblr.com
Big photos of old Chicago.
If you like ChicagoScreenshots, you’ll probably like ChicagoPast, too.
-
Happy Valentine’s Day from Ernest Hemingway
She did not say anything but slipped her hand inside of his shirt and he felt her undoing the shirt buttons and she said, “You, too, I want to kiss, too.”
“No, little rabbit.”
“Yes. Yes. Everything as you.”
“Nay. That is an impossibility.”
“Well, then. Oh, then. Oh, then. Oh.”
Then there was the smell of heather crushed and the roughness of the bent stalks under under her head and the sun bright on her closed eyes and all his life he would remember the curve of her throat with her head pushed back into the heather roots and her lips that moved smally and by themselves and the fluttering of the lashes on the eyes tight closed against the sun and against everything, and for her everything was red, orange, gold-red from the sun on the closed eyes, and it all was that color, all of it, the filling, the possessing, the having, all of that color, all in a blindness of that color. For him it was a dark passage which led to nowhere, then to nowhere, then again to nowhere, once again to nowhere, always and forever to nowhere, heavy on the elbows in the earth to nowhere, dark, never any end to nowhere, hung on all time always to unknowing nowhere, this time and again for always to nowhere, now not to be borne once again always and to nowhere, now beyond all bearing up, up, up and into nowhere, suddenly, scaldingly, holdingly all nowhere gone and time absolutely still and they were both there, time having stopped and he felt the earth move out and away from under them.
—For Whom The Bell Tolls, Chapter 13
-
“The elemental forces and processes that underlie and shape the planet.”
“St. Michael’s Mount, Cornwall. 25 and 26 June 2009. Low water 1.15pm, high water 8am”, from the “South-West” section of Michael Marten’s series Sea Change“Recent landscape photography has often focused on human shaping and reshaping of the environoment: agriculture, urbanisation, globalisation, pollution,” Marten writes, “Even when critical and committed, this approach can emphasise — even glamorise — humanity’s power over nature. I’m concerned to rediscover nature’s own powers: the elemental forces and processes that underlie and shape the planet.”
“Worms Head, Glamorgan. 25 June 2005. High water 9.45am, low water 4pm”, from the “South-West” section of Michael Marten’s series Sea ChangeI know exactly what Marten means. In my own work I’ve been struggling with the opposite: how to glamorize the taming of nature by focusing on the assertion of the cityscape into the landscape. This is part of why I’m so terribly intrigued by Marten’s work. Instead of vacuous but beautiful images of a clichéd topic like the American southwest, Marten presents with images of nature untamed. Because of something as magnificent (yet quotidian) as the moon moving oceans, our cities must know limits.
“Bedruthan Steps, Cornwall. 25 and 31 August 2007. High water 4.30pm, low water 2pm”, from the “South-West” section of Michael Marten’s series Sea ChangeIn terms of the photographs themselves, I love how Marten plays so dramatically with perspective. “Perranporth, Cornwall, 28 and 29 August 2007. High water 6pm, low water 11.20am” demonstrates this best, with what feels almost like a portrait at high water contrasted against tiny figures in a sweeping landscape at low.
You can read more about Marten’s thoughts on the work over at Camera Obscura.
If you’re lucky enough to live in London you can see an exhibition of the images at Gallery@OXO this fall, from September 25 through October 1. If you’re not lucky enough to live in London, Marten will be releasing a book of the work this fall as well, so keep an eye out!
(Source: lensculture.com)
-
A Frenchman photographing cars (while dressed as a speed camera)
-
(via asktheangels)
-
After Damien Hirst, 2011
-
This was a painful decision,” said Merchandise Mart Properties Inc. President Mark Falanga. “What it boiled down to is that collectors’ buying patterns are gravitating to the coasts. They buy art in New York, Miami and Los Angeles. They favor purchasing there over purchasing in Chicago.
-
[Flash 9 is required to listen to audio.]
“212”, Azealia Banks’ first single
loading…
