The Two Objects of Photography
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 →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 →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 →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 →I can tell you exactly how I felt standing on a sand dune in Morocco many years ago, watching my wife photograph…
Read more →Photography education and criticism privilege verbal articulation. You’re expected to be able to explain your work, discuss your influences, articulate your intentions,…
Read more →Not legally, though we’ll get to the murky ethics of that. I mean conceptually, technically, aesthetically. Every image I’ve made is somewhere…
Read more →Ansel Adams talked about pre-visualisation as the foundation of his photographic method. He could see the final print before making the exposure,…
Read more →Photography isn’t one thing anymore. It hasn’t been for a while, but we’re still using the same word for fundamentally different activities,…
Read more →Most people assume everyone thinks the same way they do. They imagine that when you say “picture this in your mind,” everyone…
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.