Teaching Photography #1: Starting From Why
My niece is twelve. She loves taking photos with whatever’s in her pocket, but the 550D I gave her sits mostly untouched…
Read more →My niece is twelve. She loves taking photos with whatever’s in her pocket, but the 550D I gave her sits mostly untouched…
Read more →I’ve been thinking about how photographers develop over time. Looking at what I’ve been writing over the last few months, I see…
Read more →The next roll of found photos seems to cover winter celebrations. I’d say February. But I don’t know the year.
Read more →Once you understand your cognitive profile, the question becomes what to do with that understanding. You can fight your natural architecture, trying…
Read more →There’s a contradiction that’s been nagging at me for years, and I’ve only recently found a way to articulate why it’s a…
Read more →The next roll of found film is about theatre. The photos seem to have been taken at and around the organisation of…
Read more →Your audience self-selects partly based on shared cognitive architecture. This isn’t about intelligence or sophistication. It’s about whether your mode of thinking…
Read more →My mother sometimes jokes that she raised a ghost, because there are barely any photographs of me as a child or teenager.…
Read more →I don’t have a date or location for these photos. The box doesn’t say anything. Looking at them, I’d say maybe 70s.
Read more →Photography instruction assumes cognitive uniformity. Teachers describe their own process and expect students to replicate it. “Learn to see the light.” “Pre-visualise…
Read more →A software engineer looking 50 in the eye. Photography picked up over 20 years ago, then set aside as life intervened — and recently returned to, with a deliberate focus on monochrome. Also drawn to found negatives: rolls of film abandoned by strangers, full of lives worth rescuing from obscurity.