Reblogged from emptystretch
I think photography and literature are both driven by the impulse to show something about life, to give our observations some kind of form. There was a time when I wanted to write. The desire isn’t so strong now, but I can see a connection between it and the role that photography plays in my life. Both involve imposing a narrative onto experience, noticing details, making connections, figuring out what is important or interesting about a situation and trying to put it into a form that makes you feel something. So much of the literature that moves me has a wandering theme. Stories from the road, people on the move, on the run, or looking for something, the recurrence of the familiar amid uncertainty and change. Such work is reflective of the spirit that made it. It carries the charge of life, always moving, always searching. My process is very much about wandering, being out in the world and coming back with pieces of a story that is hopefully held together by the thread of my own sensibility. I don’t know exactly what I will find when I set out, and that is the point. Photography, like writing, is a means of discovery, a filling in of (or working around) blanks, a fleshing out of ideas or feelings.
Reblogged from thephotographicimage
I’ve fallen in love with photographs that occupy this gray area between mistake and ‘useful’ photography. I usually venture out with the intention of making a traditional photograph, either portrait or landscape that’s effective in telling a story or reaching an audience that can understand it. Instead, I often end up with images where the language is broken and the narrative is non-existent. By sequencing these one-offs, or mistakes, together in a series, it creates confusion (not intentionally), and elicits a response that is unlike the expected. For me, photo-journalism has the same problem. Photography is almost never factual, but it’s there as an aid our understanding of a fact.
Reblogged from natgeofound
Muscles ripple as an Arabian steed rears above its trainer in Jordan, December 1964.Photograph by Luis Marden, National Geographic
Reblogged from artnet
“The artist’s job is to be a witness to his time in history.” - Robert Rauschenberg
Over the course of his career, Rauschenberg was called by turns a Minimalist, a Conceptualist, a neo-Dadaist, and a forerunner of Pop. Pictured is his 1967 work, Test Stone #1.